"Dividing your palette into warm and cool segments was
the first step in understanding color temperature. You're now
going to learn how to identify and paint warm and cool combinations
within a particular bracket of color. At first glance all the
blues on the wheel appear to be consistently cool. However, between
the various blues lies still another series of warm and cool temperature
changes. So, too, with all the other primary and secondary colors.
For example, cerulean blue appears cool next to cadmium orange.
But, put a swatch of ultramarine beside cerulean blue, and the
color takes on a warmth and also, because of the contrast, brings
out the cool purple cast unique to ultramarine. This is because
cerulean blue contains a small amount of yellow whereas ultramarine
is tinged with violet. There are similar effects with the juxtaposition
of each set of analogous colors on the wheel. Permanent green
light appears cool beside cadmium yellow pale yet warm compared
to thalo green or viridian. Alizarin crimson looks warm beside
cobalt violet, yet cool next to cadmium red. Compound this with
value and color intensity changes, and the number of possible
color mixtures obtainable becomes nearly endless." -
Charles Sovek, Oil Painting, Develop your Natural Ability.
2. Word for the week:
Original Print: A print pulled under the artist's control in
graphic arts, such as etching, lithography, etc.; not a mechanical
or photographic reproduction. - North Light Dictionary of Art
Note: You'll find some controversy going on in the field of "Prints"
currently, as many artists have opted to produced "editions"
or "limited editions" of "signed Prints" using
offset lithography -- the same process that is used to produce
thousands or millions of color reproductions in color magazines
and books. They are signing and selling these as "original
limited edition prints", sometimes with large price tags.
It is a questionable practice.
3. Practice: "Learning bears fruit when it is applied."
Seven color rules given by Sovek in his book:
1. No single color has a specific temperature identity until compared
with another color.
2. A color appears most intense when placed next to its complement.
3. Avoid placing two equally intense primary or secondary colors
beside each other.
4. Every object in light should appear consistent with the color
temperature of the source of the light. (If in yellow light, mix
in yellow in the light areas)
5. Every object in shadow should contain some color complementary
to the temperature of the light. (If the light is yellow, mix
in purple in the shadow areas)
6. Not only does a color appear brighter when illuminated by the
light of a similar color but also duller when illuminated by the
light of a complementary color.
7. The color of a light will intensify those colors analogous
to it and neutralize those which are complementary.
--- Try out these rules, either looking at something you're working
on already or setting up a still life to demonstrate their truth
or untruth. Take these and any rules with a grain of salt. They
are not laws --- just guidelines. You are still the artist and
you are in charge.
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