Classic paintings involve more than mere application of colors on the canvas or surface. The painter must tap into a deeper perception in order to produce a picture that looks more realistic. Advanced color theory helps you to recognize and take advantage of outer qualities of light which lend form or objectify your images or matter. This is a departure from the basic understanding of colors which emanated from primary and secondary groupings.
There is a new dimension of coloring that emerges with the appreciation of magenta and green. This dimension can be described as the inner feeling that makes them to appear more appealing or lovelier. A painter or color dealer who appreciates these aspects can produce magnificent images from simple or ordinary colors.
The original understanding of colors was limited to the perceptions of ones eyes. This denied painters and other color users the advantage of appreciating the essence of individual colors as opposed to human perceptions. These perceptions have changed to accommodate lightness, hue, saturation and the characteristics of light that make it possible to perceive these colors.
Colors are distinguished from each other by hue. This is the element that makes blue distinct from red or yellow. There are dormant wavelengths emitted by these colors either naturally or when light falls on them. Lightness and saturation, among other elements change with the addition of white or black to form tonal families.
Saturation is defined as the brightness individual colors based on their lightness or value. It can be viewed in light of middle gray such that less saturated colors are nearer to gray while more saturated colors are further away from gray. A simple explanation is the extent to which gray dilutes a color.
When mixing colors, for instance during painting, this advanced theory advises you to avoid holes or jumping colors. A hole is a dark section on a painting or surface that appears distant yet is on the same level as the other objects. If distant objects are painted with similar saturation or intensity colors, they will appear as though they are jumping out. This will affect the aesthetics of your painting, image or surface.
The theory lays a lot of emphasis on shadows. There is an element of directional light on every painting. This has been witnessed on every classic painting. Your work should depict consistency in shadowing which is conscious of the shape of the object and the surface on which the shadow has fallen. While painters depend on memory their recollection must produce a realistic image.
There are optic illusions that affect the realistic perception of your image. These illusions trick the eyes into perceiving an object in the form which it does not appear. Pay close attention to these illusions if you intend to produce realistic work. The use of vertical running strips on a shorter person will make him to appear taller. This will either produce balance or make your work to appear unrealistic.
There is a new dimension of coloring that emerges with the appreciation of magenta and green. This dimension can be described as the inner feeling that makes them to appear more appealing or lovelier. A painter or color dealer who appreciates these aspects can produce magnificent images from simple or ordinary colors.
The original understanding of colors was limited to the perceptions of ones eyes. This denied painters and other color users the advantage of appreciating the essence of individual colors as opposed to human perceptions. These perceptions have changed to accommodate lightness, hue, saturation and the characteristics of light that make it possible to perceive these colors.
Colors are distinguished from each other by hue. This is the element that makes blue distinct from red or yellow. There are dormant wavelengths emitted by these colors either naturally or when light falls on them. Lightness and saturation, among other elements change with the addition of white or black to form tonal families.
Saturation is defined as the brightness individual colors based on their lightness or value. It can be viewed in light of middle gray such that less saturated colors are nearer to gray while more saturated colors are further away from gray. A simple explanation is the extent to which gray dilutes a color.
When mixing colors, for instance during painting, this advanced theory advises you to avoid holes or jumping colors. A hole is a dark section on a painting or surface that appears distant yet is on the same level as the other objects. If distant objects are painted with similar saturation or intensity colors, they will appear as though they are jumping out. This will affect the aesthetics of your painting, image or surface.
The theory lays a lot of emphasis on shadows. There is an element of directional light on every painting. This has been witnessed on every classic painting. Your work should depict consistency in shadowing which is conscious of the shape of the object and the surface on which the shadow has fallen. While painters depend on memory their recollection must produce a realistic image.
There are optic illusions that affect the realistic perception of your image. These illusions trick the eyes into perceiving an object in the form which it does not appear. Pay close attention to these illusions if you intend to produce realistic work. The use of vertical running strips on a shorter person will make him to appear taller. This will either produce balance or make your work to appear unrealistic.
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