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- Herausgeber: Batsford
- Kategorie: Geisteswissenschaft
- Sprache: Englisch
Bestselling artist and writer Hazel Soan presents a concise and approachable guide to colour in painting. Whether you are using watercolour, oils or acrylic, Learn Colour In Painting Quickly demonstrates how to make the most of colour in your painting. The book is filled with easy-to-follow instructions and step-by-step exercises, and written in an accessible way for all artists to learn about colour. The book begins with the Basics of Colour: what it is, how pigments are made and our emotional responses to colour, it then moves on to The Colours in the Palette: properties of different colours, transparent and opaque colours and granulating and sedimentary colours. Next comes Warm and Cool Colours: how colours are classified and how to use temperature bias. The Interaction of Colours looks at which colours work best together and how to use a colour wheel. In The Mixing of Colours, Hazel explains the differences between mixing on palette and paper and how to blend by eye, as well as primary and secondary colours and layering. The Effect of Light and Shade on Colour looks at how depth and form are created by tone. Finally, Hazel looks at suggested colour palettes and winning colour combinations. Illustrated with Hazel's magnificent, colourful paintings, and with exercises and expert guidance throughout, this book is the perfect way to master colour in your painting.
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Seitenzahl: 55
Veröffentlichungsjahr: 2018
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Connections (detail)
Oil on canvas 122 x 76cm/48 x 30in
Learn Colourin PaintingQuickly
Hazel Soan
To family, friends and fellow travellers – you have filled my life with colour.
My thanks as ever to Cathy Gosling and Tina Persaud and my publishers Pavilion. Especially to my editor Nicola Newman and designers Tokiko Morishima and Rosamund Saunders.
Contents
Introduction
CHAPTER 1
What is Colour?
How do we see colour?
Addictive and subtractive mixing
CHAPTER 2
Pigment – The Stuff of Paint
Colours – the raw materials
The binder
A very brief history of pigments
Developments in colour science
Inorganic pigments – the earth colours
Inorganic pigments – the metal colours
Organic pigments – carbon
Modern equivalents of traditional colours
A golden age of colour
CHAPTER 3
The Colours in the Palette
Colours are more than their hue
Transparency and opacity
Transparent colours in action
Opaque colours in action
Staining and tinting strength
Lifting colours
Granulating/sedimentary colours
CHAPTER 4
Cool and Warm Colours
Temperature bias
Why temperature matters
Cool or warm?
CHAPTER 5
The Interaction of Colours
Colour is relative
Harmonious colours
Complementary colours
Colour compensation
CHAPTER 6
The Mixing of Colours
Mixing methods
Mixing and tinting strength
Keeping colours clean
Mixing on the palette
Mixing in the eye
Mixing on the painting
Layering
Glazing
The primary colours
Mixing secondary colours
Mixing browns, greys and blacks
Mixing opposites
Tints and shades
Colour combinations
CHAPTER 7
The Effect of Light and Shade on Colour
Light and shade, tone and value
Local colour, highlights and shadows
Space and depth
CHAPTER 8
Colours and Combinations
Choosing a palette of colours
White
Yellows
Orange
Reds
Violet
Blues
Greens
Brown
Greys and blacks
CHAPTER 9
Go for it!
Exploring colour
Index
INTRODUCTION
Colour is a quintessential aspect of the art of painting and my aim is to unravel the mysteries of colour and pigment in ways that will help you choose, use and mix colours effectively. Some people have a natural colour sense, knowing instinctively which colours to put together in a painting, but for those who don’t, rest assured, this is a skill that can be learned. Colour obeys both scientific and artistic rules, and paint is a physical substance, so how it behaves can be explained, grasped and put into action. Naturally I write from a personal perspective, so this book includes the colours I use in my watercolours, oils and acrylics. Welcome to this colourful and exciting journey!
Fearless
Watercolour 76 x 56cm/30 x 22in
Understanding how colour works gave me the confidence to paint this elephant in strong, bright hues.
Song of the Street
Watercolour 25 x 35.5cm/10 x 14in
Colour is awe-inspiring. The more I find out about it the more I am filled with a sense of wonder ... and I am still learning.
CHAPTER 1
WHAT ISCOLOUR?
How do we see colour?
Without light there is no colour. Light is electromagnetic radiation, measured in wavelengths, which are visible to the human eye between infrared and ultraviolet. Different wavelengths look like different colours to us – as seen in the rainbow – and when mixed together appear as white light. As light strikes an object, some of its wavelengths are absorbed and some are reflected. The wavelengths that are reflected are the colours we see.
The spectrum of visual colours
When white light is split by a prism we can see the six colours of light that are visible to the human eye: red, orange, yellow, green, blue and violet.
Red is the colour shown by the longer wavelengths (infrared are longer, but we cannot see them). Blue is the colour exhibited by the shorter wavelengths (ultraviolet wavelengths are shorter still).
Corniglia
Watercolour 25 x 28cm (10 x 11in)
These houses have no colour until light shines on them and is reflected back into our eyes.
A spectrum of colours
When we see an object such as a red rose, it is not the case that the rose is red; it has absorbed all the wavelengths of light except for red. The reflected light bounces back to the eye, hits the light-receptive cells in the retina, the optic nerve whizzes the signal to the visual cortex, and the information is processed by the brain as the colour red.
So you can see that the colours of objects are not actual colours, but the result of reflected light and a response/judgement call made in the brain reacting to a sensation in the eye. Colour is neither absolute nor finite; it is a variable dependent on light.
Tivoli Roses
Watercolour 28 x 38cm/11 x 15in
The colours of these roses are determined by the wavelengths of reflected light. Under a light other than white they would show as different colours.
The cosmic balance
Light zooms across the Universe, but we can only see it when it strikes matter. Matter acts as a mirror for the light, absorbing it and reflecting it. Without matter we cannot see the light, and without light we cannot see the matter. Each needs the other to be made visible – the perfect cosmic balance.
Additive and subtractive mixing
Artists’ paint is made from pigments, the colours of which mix differently from those of light because they are received differently. Colours of light are emitted and add together to make white light – hence this is called ‘additive mixing’. The colours of material pigment, on the other hand, are reflected colours. When these are combined the mix becomes increasingly dark as wavelengths of light are subtracted by absorption and fewer are reflected back. Pigment mixing is thus referred to as ‘subtractive mixing’ and eventually reaches black, when all the light is absorbed.
Additive mixing
Red, green and blue are the primary colours of light; they mix together to make white light. Magenta, cyan and yellow are the secondary colours.
Subtractive mixing
Red, yellow and blue are the primary colours of pigment. They mix together to make black since all the wavelengths of light have been absorbed. Orange, green and violet are the secondary colours.
White
When we see white, the object is reflecting all the colours of light. When we see black, it means almost all the colours of light are being absorbed.
Black and white
The sums of additive and subtractive mixing, white and black, are two complementary opposites that make a whole. Colour is heightened by opposites and the brain finds satisfaction in completing the spectrum.
