Colourlogic: Pir Tareen's Colour Theory
By Pir Tareen
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Book preview
Colourlogic - Pir Tareen
Wheat.
Chapter Index
Copyright
Preface
Notes About the Author
Critical Review
Chapter One: Introduction
Chapter Two: Colour Theory
Chapter Three: Colour Placing
Chapter Four: Circle Method of Painting
Chapter Five: Colour Psychology
Chapter Six: Picture Painting
Chapter Seven: Painting by Various Theories
Colour Plate Index
Plate 1: Sophie Wheat. 80 x 90cm
Plate 2: Pir Tareen Self Portrait. 40x50cm
Plate 3: Artist’s Wife Shazia. 100x150cm
Plate 4: Kalinga Park, Brisbane. 50x60cm
Plate 5: Sydney to Hobart Race. 100x150cm
Plate 6: Dockside, Brisbane. 50x60cm
Plate 7: Reading. 50x60cm
Plate 8: Colloseum, Rome. 50x60cm
Plate 9: Lutwyche, Brisbane. 50x60cm
Plate 10: Aslam’s Landscape
Plate 11: City of Brisbane. 70x140cm
Plate 12: From Hamilton Heights, Brisbane. 100x50cm
Plate 13: Boats in the River. 50x60cm
Plate 14: Primavera. 90x90cm
Plate 15: Chelsea. 50x60cm
Plate 16: Queenslanders. 60x50cm
Plate 17: Jacarandas in New Farm Park, Brisbane. 60x70cm
Plate 18: Banksia. 70x80cm
Plate 19: Pope John Paul II - Vatican Collection. 80x90cm
Plate 20: Changing Climate. 80x90cm
Plate 21: House and a Tree. 85x80cm
Plate 22: House on the Cliff. 85x80cm
Plate 23: Chancellor Andrew Rogers. 80x90cm
Plate 24: Marina Emmanuel. 100x150cm
Plate 25: Grace. 50x70cm
Plate 26: The Poet - Steel Rudd. 50x60cm
Plate 27: Sia Patty Family. 200x150cm
Plate 28: Reclining Lady. 60x70cm70cm
Plate 29: Cheryl White. 100x50cm
Plate 30: Carolyn Barker. 50x60cm
Plate 31: Old Brisbane Museum. 60x70cm
Plate 32: Bronte: 50x60cm
Figures Index
Figure 1: Traditional Colour Wheel
Figure 2: Pir Tareen’s Colour Wheel
Figure 3: Pir’s Palatte
Figure 4: How to Select Colours
Figure 5: Colour Matching Procedure
Figure 6: Colour Matching Summary of Procedures
Figure 7: The Effect of Surrounding Colour on Red
Figure 8: Yellow is the Warmest Colour
Figure 9: Two Methods of Colour Schemes
LOW RESOLUTION
All Paintings are Oil on Canvas, by Pir Tareen, unless otherwise stated.
Preface
I have been lucky in many ways and some of them relate to writing this book. Lucky because I was given the opportunity to be an artist in my youth in a part of the world where art and artistic education were not as well organised as they are in the western world.
Lucky because, nevertheless, I was given a thorough formal training as an artist and was able to view masterpieces in the foremost art galleries of the world. Lucky that I came to Australia where a professional artist, if he is diligent and talented, can make a reasonable living. Lucky that I have had such excellent teachers in many parts of the world who have striven, above the call of duty,
to teach me the Artist’s Way. Lucky to have good friends who have helped me in many ways to thrive and to further my dedication to art – such as producing this book. I dare not mention names in case I miss one. A person of my background needs help at times and I must say that it has always been forthcoming.
I thank them all.
Pir Tareen
The 20th Century has been the great Age of Discovery. There have been more discoveries and advances in one quarter of this century than in the entire preceding history of humanity.
It should not come as a surprise then that a new discovery has been made in an area as important as the colours that surround us. What perhaps is surprising is the simplicity of that discovery.
It is based on the Colour Theory of Pir Tareen. Those who know Pir would know he is the perfect candidate to come up with such a theory. A meticulous, thoughtful, creative and lateral thinker. Pir has conceived of a new way of mixing colours that takes us far