Dodaj linki
The Secret River streaming
5 years ago




4 KNOW YOUR SECONDARY COLOURS Secondary colours are green, orange and purple. Secondary colours are the colours formed by mixing the primary colours. These with the primaries give us the six full-strength colours of the spectrum. They are arranged (as you can see) in sequence in a circle and I’ve outlined them in black in the diagram. By mixing each colour with its neighbour, we get six more colours, called the tertiary colours. In this image, notice how controlled the palette is. The colour palette was not chosen randomly, but very deliberately to further enhance the mood of the piece. If you know your colour theory, you’ll be aware that the colour blue has a calming effect on human beings and therefore is the obvious choice for this image. 5 KNOW YOUR TERTIARY COLOURS Tertiary colours are: yellow-orange, red-orange, red-purple, blue-purple, blue-green and yellow-green. These are the colours formed by mixing one primary and one secondary colour. Again I’ve outlined them in black so they’re more obvious to you. Artist insight Colour theory 6 SUCCESSFUL COLOUR IS BALANCED You can’t simply make an object or subject in your painting colourful by using one or all of the primary colours. You must find balance in your colour composition. There needs to be some tertiary colours or greyness in your colour scheme to calm the painting down a bit. If you don’t keep this in mind as you construct your painting, you’ll have the viewer looking everywhere, even if your value and design composition is well thought out. In nature especially, you will seldom see primary and secondary colours occurring in abundance; instead it’s a delicate balance to make up the whole that is our reality. It’s our job as artists to know when and how to skew that reality or accentuate that reality to make it more beautiful, more dramatic or more frightening, whatever the assignment may be. October 2006 83 UNI09.tips_colour 83 16/8/06 19:41:41

84 Workshops 7 IS IT RELATIVE? Think your colour scheme through and make sure it’s relative to the subject matter of your painting. When thinking about mood and tone, think about the finished piece. If you’re depicting a scene of power and destruction, you wouldn’t paint it with happy colours, would you? The image above shows the powerful combination of value and colour working together to create a mood that affects the viewer and further ‘sells’ the concept behind the image. Here I’m using an abundance of tertiary colours offset with just a touch of primaries (in the eyes and spinal cord) to lead the viewer’s eye through the image to the focal point (the face and eyes of the character). 8 MONOCHROMATIC The monochromatic colour scheme uses variations in lightness and saturation of a single colour. Working in monochrome is a quick and easy way to add colour and life to your value studies. The approach is the easiest way for the novice to deal with colour without sacrificing quality and impact. In fact, I think some of the most emotionally driven imagery uses this approach. The downfall with a monochrome colour scheme is that it can sometimes lack brilliance and contrast. October 2006 9 ANALOGOUS COLOURS The analogous colour scheme uses colours that are adjacent to each other on the colour wheel. One colour is used as a dominant colour while others are used to enrich the scheme. The analogous scheme is similar to the monochromatic, but offers more nuances. I find this approach much more effective than a monochrome colour scheme and it’s virtually as easy to produce. 10 COMPLEMENTARY COLOUR SCHEMES The complementary colour scheme consists of two colours that are opposite on the colour wheel. This scheme looks best when you place a warm colour against a cool colour; for example, red versus green-blue. When using this scheme, choose a dominant colour and then use its complementary colour for accents. One of the more traditional approaches for this type of colour scheme is to use one colour for the background and its complementary colour to highlight important elements. Through this approach you’ll get colour dominance combined with sharp colour contrast. The challenge here is that although it produces high contrast and high impact visuals, it’s far more difficult to handle than an analogous and monochromatic colour scheme. You must be very careful to balance your colour usage just right. The split-complementary colour scheme is a variation of the standard complementary scheme. It uses a colour and the two colours adjacent to its complementary. This provides high contrast without the tension of the complementary scheme. UNI09.tips_colour 84 16/8/06 19:41:49

Tutorials in Diagnostic Radiology - Mayo Clinic
SESA Tutorial - WSMO
Phase-Contrast & Fluorescence Microscopy Tutorial - Applied ...
Secondary CMB Anisotropy - Wayne Hu's Tutorials
MCP Tutorial 1.9.2 - Aura, Aura Scanning, Energy Scanning.
exploring complementary colours - Zart Art
Secondary CMB Anisotropy - Wayne Hu's Tutorials