Beruflich Dokumente
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Color
Theory
By
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iii
Color
Types of Color
Additive Mixtures
RGB
Computer Art
Subtractive Mixtures
CYMK
Optical Mixing
Attributes of Color
Hue
Value
Intensity
Back to the Drawing Board 1:
Tints, Shades, and Intensities
1
3
4
6
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11
13
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14
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19
20
21
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Contents
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49
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63
67
Self-Check Answers
71
Examination
73
Contents
Color Theory
COLOR
Color is a property of light. Have you ever seen a ray of sunlight pass through a glass prism? If you have, you know that
a prism refracts, or bends, white light into a range of colors
(Figure 1). This range is known as the visible spectrum. Each
of these colors has a unique electromagnetic wavelength; red
possesses the longest wavelength, while violet possesses the
shortest (Figure 1).
The visible spectrum includes only a portion of the electromagnetic wavelengths that
exist. There are other
waves that the human eye
cant perceive, such as
ultraviolet radiation waves,
X rays, gamma rays,
infrared waves, microwaves, radar waves, and
the electromagnetic waves
used to broadcast radio
FIGURE 1The Visible Spectrum
and television signals.
Objects in our environment absorb certain light waves and
reflect others. The reflected light waves picked up by your
eyes and transmitted to your brain are interpreted as color
sensations.
Color Theory
Color Theory
Color in Art
FIGURE 3Early African Color Drawing
Color often speaks to people on a personal
level. For instance, a single splash of color without form can
arouse an intense reaction from a person. And when color is
used purposefully, it becomes a message carrier.
Light is seen only through its effect on color; thus, light and
color are inseparable. Impressionist and Postimpressionist
painters focused keenly on the quality of light and color in
their artwork. Claude Monet, Auguste Renoir, Edgar Degas,
Mary Cassatt, and Vincent van Gogh were among the many
painters belonging to these famous schools of art.
Color Theory
The colors listed in Table 1 are all pure colors. But any
color can be made lighter, darker, duller, or sharper. This
generally alters the psychological associations of that color.
For instance, an artist who changes a dark royal blue into
a light, delicate sky blue is effectively converting the colors
emotional impact. The same is true of a bright red thats
turned into a rich, dark, wine-colored red. These shades and
variations are what make up the artists repertoire of colors.
TABLE 1Common Color Associations
red
orange
yellow
green
blue
violet
Most artists have distinct color preferences. Despite the general common reactions to color, artists specific likes and dislikes may be conditioned by what theyve experienced in life
and by their individual dispositions. One artists color preferences may include rich reds, oranges, and yellows. Anothers
may consist of tranquil blues and blue-greens. Still another
artist may gravitate to earth colorswarm browns, golds,
and rust-colored reds. As an artist, youll soon discover a
specific range of colors that appeals to you most, and youll
find yourself using those colors over and over in your work.
Your favorites may prove to be subtle mixtures of color that
you arent even aware of now.
Color Theory
Self-Check 1
At the end of each section of Color Theory, youll be asked to check
your understanding of what youve just read by completing a SelfCheck. Writing the answers to these questions will help you review
what youve learned so far. Please complete Self-Check 1 now.
1. Color attracts attention, serves as a warning device, and is a
mode of personal expression. In this role, color becomes a
a. visual communication tool.
b. status symbol.
c. surface decoration.
d. therapeutic agent.
2. Which of the following comprises the range of colors from red
to violet?
a. Infrared waves
b. X rays
c. Visible spectrum
d. Ultraviolet region
3. We see the color of an object because
a. were familiar with it.
b. certain light waves are absorbed and others are reflected by
it.
c. it contains particles of color on its surface.
d. the color is pure.
(Continued)
Color Theory
Self-Check 1
4. The sum of the colors in the visible spectrum produces _______
light.
a. refracted
b. white
c. ultraviolet
d. infrared
5. Which of the following is fundamentally responsible for color?
a. The visual spectrum
b. A persons ability to see
c. Paint
d. Light
Check your answers with those on page 71.
TYPES OF COLOR
There are two types of color systems; one applies to light and
the other applies to pigments. Light is additive color, while
pigment is known as subtractive color.
Additive Mixtures
Color Theory
Color Theory
RGB
In the back of most color televisions and monitors are three
electron guns (Figure 5). Electron guns emit light beams containing the red, green, and blue information used to create a
picture upon the screen. Each beam is focused to hit the
appropriate red, green, and blue phosphor dots along the
inside face of a picture tube. The stronger the information
signal, the stronger the illumination of the corresponding
dot. For example, if the blue and green electron guns hit
their dots with full intensity while the red gun is inactive,
you get cyan. When all of the guns hit their respective dots
with full intensity, the result is white light. And when the
beams hit the phosphor dots at various intensities, a varying
array of colors is the result.
Color Theory
A composite signal
is a signal that
combines color
information with
luminance, or
brightness,
information.
Computer Art
Today, artists are able to work with the aid of computers.
Since the computer has become a medium in and of itself,
many art programs currently include its operation in their
curriculums. Computers are vital to professions such as
computer graphic design, computer animation, and video
production. Computer artists must understand additive color
mixing.
The computer is a very flexible art medium. Its capable of
producing two- and three-dimensional imagery, static and
moving pictures, and sound. And, like other art mediums
color pencils, watercolor, oil paintthe computer offers its
own unique visual qualities.
Subtractive Mixtures
Coloring materials contain filters that subtract or filter out
certain color wavelengths and reflect others. When artists
employ subtractive color, they cancel a surfaces original
color with another color. Colored pencils, pastels, paint, ink,
and pigment are among the materials artists use to do this.
A pigment is a dry coloring substance that, when mixed with
liquid, produces a variety of paints and inks.
Color Theory
Subtractive color is
a color process in
which an artist
cancels the original
color of a surface
with another color.
CYMK
Four-color process
printing is a process
by which four colored
inks are blended by
adding one layer atop
the others.
The subtractive primary colors are cyan, yellow, and magenta. Artists produce a wide range of colors by mixing these
primaries in various intensities; the mixture results in black,
dark gray, or brown. This resultant dark color is used then
to create shades, shadow detail, and gray tones.
In the printing industry, Cyan, Yellow, Magenta, and blacK
are abbreviated together as CYMK. The four colored inks are
mixed by laying one layer of ink on top of the other layers in
a process known as four-color process printing (Figure 6).
FIGURE 6This figure shows the phases of four-color process printing. Studying the photos one after
another, you can see how each progressive layer of color contributes to the completed image. (A)
shows cyan by itself; (B) illustrates yellow added to cyan; (C) shows cyan, yellow, and magenta; and
(D) reveals the addition of black to cyan, yellow, and magenta, yielding the finished photo.
10
Color Theory
FIGURE 6Continued
Color Theory
11
Optical Mixing
An early and important group of artists known as the
Impressionists employed a method of blending color thats
known today as optical mixing. The aim of this method is to
reduce color to its primary components and place fragmented
hues next to each other in an effort to strengthen the sense
of light within color. The optical mixture of these fragmented
hues then occurs in the eye of the viewers.
Self-Check 2
1. You would use an RGB color model to create _______ colors via
the medium of _______.
a. absorbing; television
b. additive; light
c. subtractive; pigment
d. reflective; colored pencil
2. If the image on your television set appears magenta, the
_______ electron gun isnt working properly.
a. red
b. green
c. blue
d. cyan
3. When using a computer to create art, an artist must be
knowledgeable about
a. additive color mixing.
b. subtractive color cancellation.
c. computer programming.
d. the CYMK color model.
Check your answers with those on page 71.
12
Color Theory
Hue
The name of a colorred, blue, or green, for exampleis
called its hue. Only the colors in the visible spectrum are
pure hues. Most colors we see are impure, or mixtures of
several color wavelengths. For example, under the pure hue
known as red are such impure hues as scarlet, rose, and
maroon.
A colors hue is
simply the name
its identified under,
such as red, blue,
green, and so on.
Value
Value is the degree of lightness or darkness within a color.
Values progress from white (the lightest value) to black (the
darkest value), with graded values of gray in between. Tints
are light values that are obtained by adding white to a color
(Figure 8). Shades are dark values that are obtained by
adding black to a color (Figure 9). Tones are the middle
values of colors.
FIGURE 9Shades of a
particular color are created by adding black to it.
Color Theory
13
Intensity
Intensity, frequently called saturation or chroma, refers to
the brightness or dullness of a color. But intensity is different
than valuevalue pertains to light, while intensity pertains
to color. For example, a pure red is high in intensity, whereas a deep, duller red is low in intensity. When you lower
the intensity of a color, we say that the color is being toned
down. The lower the intensity, the duller the color becomes.
Colors at full intensity are described as strong, rich, forceful,
and vivid.
Muted blues, rust colors, and other low-intensity colors are
generally described as subdued or soft. People often label
a color like dark olive-green as drab. Toning down, or
dulling, colors greatly expands the variety of colors one has
to choose from.
The intensity of a hue can be dulled in one of two ways:
(1) by mixing the hue with its complement color or nearcomplement, or (2) by mixing the hue with white, black, or
gray. Complement colors lie at opposite ends of the color
wheel from each other. For instance, in the color wheel in
Figure 10, we see that yellow is the complement of violet,
and blue is the complement of orange. As youll soon learn,
1, 2, and 3 signify primary, secondary, and intermediate
colors, respectively.
Examine the gradation scale in Figure 11 and in the corresponding figure in your Art Color Cards. You can see that the violet
becomes duller as its mixed with its complement of yellow.
14
Color Theory
FIGURE 10Complementary
colors are considered the
direct opposites of each other.
FIGURE 12 As shown
in this illustration, adding
gray to a color also produces a dulling effect.
Color Theory
15
Self-Check 3
1. Forest, olive, and mint fall under the hue of
a. yellow.
b. blue.
c. green.
d. violet.
2. You can obtain shades of a color by mixing it with
a. black.
b. its complement.
c. white.
d. its primary.
3. One way to lessen the intensity of a hue without changing its
value is to mix it with a similar hue of
a. an intermediate color.
b. white.
c. gray.
d. its complementary color.
4. Middle values resulting from adding grays to a hue are called
a. tones.
b. tints.
c. shades.
d. shadows.
(Continued)
16
Color Theory
Self-Check 3
5. A new house is painted pale yellow. The correct description of
this color is a
a. light shade of yellow.
b. light value of yellow.
c. highly saturated yellow.
d. high-intensity yellow.
Check your answers with those on page 71.
Ruler
Drawing pencil
Sketchpad
4 colored pencils: one primary color (red, blue, or yellow), one secondary color
(orange, violet, or green), black, and white
Pencil sharpener
Objective
To practice mixing tints and shades and dulling a hues intensity
(Continued)
Color Theory
17
Tints
3. Begin by filling in the first block of the first scale with an even area of color. Fill in
the second block with this color as well, combining it with several strokes of
white. Gradually increase the amount of white within the color of each block as
you work toward the far right of the scale. When youve finished, you should see
the pure hue in the far left block. As you look across the four remaining blocks,
the hue should be seen gradually lightening in value (Figure A).
FIGURE A
Completed Tint
Scale
Shades
4. Draw an evenly filled area of the same hue in the first block of your second scale.
As you work across this scale, mix layers of the hue with black, gradually darkening the shade as you work to the right. The finished scale should display blocks
ranging from light to dark, with the pure hue seen on the left and progressively
darker shades filling the blocks toward the right (Figure B).
FIGURE B
Completed Shade
Scale
(Continued)
18
Color Theory
FIGURE C
Completed Intensity
Scale (Complement
Mix)
6. In the fourth scale, draw an even layer of the hue in the left block. Working toward
the right, add increasing amounts of gray to the hue in each block (Figure D).
FIGURE D
Completed Intensity
Scale (Gray Mix)
When youve finished Back to the Drawing Board 1, you can check the tint, shade, and
intensity scales you created against the figures on your Art Color Cards.
Color Theory
19
Primary Colors
In the artists color circle, the hues of yellow, red, and blue
are primary, or parent, colors. This means that they cant
be created from other colors. Rather, every other hue on the
color circle is made through combinations of yellow, red, and
blue. As you see in Figure 13, the primary colors (designated
with the number 1) connect by way of a triangle on the color
circle.
The center of the color circle in Figure 13 represents the
color you would get if you mixed all of the colors together.
Notice that this hue is a deep graya neutral colorand not
black. In theory, when working with subtractive colors, mixing all of the primary colors together should result in black.
20
Color Theory
Secondary Colors
Whenever equal amounts of two primary colors are mixed,
another color, called a secondary color, is formed. If you mix
red and blue, the result is violet (or purple). Mixing blue and
yellow yields green. And a mixture of red and yellow produces orange. These three colors, violet, green, and orange,
are all secondary colors. Secondary colors, designated by the
number 2, form an inverted triangle on the color circle
(Figure 13).
A secondary color is
formed from equal
amounts of two
primary colors.
Intermediate Colors
When you mix a primary color with a neighboring secondary
color in equal amounts, the result is an intermediate color.
(These intermediate colors are designated with the number 3
upon the color circle in Figure 13.) For example, a mixture of
yellow (primary) and green (neighboring secondary) results in
the intermediate color of yellow-green. Similarly, combining
yellow and orange creates the intermediate color of yelloworange.
An intermediate color
is formed by mixing a
primary color with a
neighboring secondary color on the color
wheel.
Mixing colors that are side by side on the color circle will
produce even more colors than those included on this circle
for as long as the eye can distinguish them. But for now,
these twelve primary, secondary, and intermediate colors
with their varying tints, shades, and intensities provide us
with a wide range of possibilities.
Color Theory
21
Complementary Colors
As you learned in the previous section, colors located directly
opposite each other on the color circle are known as complementary colors. Orange is the complement of blue, green is
the complement of red, and violet is the complement of yellow.
(Orange, green, and violet are also the secondary colors.) The
complement of red-violet is yellow-green.
Dulling Colors
When complementary colors are mixed together, they lessen
each others intensity. If various amounts of yellow are added
to violet (yellows complement), the violet becomes duller and
golden in color. As more yellow is added, the violet becomes
duller and duller until its a brown or a dark gray.
The ability to dull colors is one of the most important color
skills youll gain from this study unit. Utilizing this skill will
enable you to obtain any low-intensity color you wish to
paint or draw.
Many artists use very few pure hues. Then they can change
the value of the hues (make lighter or darker) or change their
intensity (make duller). Most paintings and colored drawings
are carefully thought-out combinations of hues, values, and
intensities.
22
Color Theory
Self-Check 4
1. Label the following as primary, secondary, or intermediate
colors.
a. blue-green
_______________
b. yellow
_______________
c. blue
_______________
d. blue-violet
_______________
e. orange
_______________
f. violet
_______________
g. red-violet
_______________
h. yellow-green
_______________
i. red
_______________
j. red-orange
_______________
k. green
_______________
l. yellow-orange
_______________
Color Theory
23
Drawing pencil
Drawing paper
Pencil sharpener
Objective
To draw a color circle with 12 segments and to mix the secondary and intermediate
colors from only the primary colors using colored pencils
Procedure
1. Trace the diagram for your color circle on a clean sheet of drawing paper from the
model in Figure A. Lightly print the names of the colors outside the circle.
FIGURE AColor
Circle Model
(Continued)
24
Color Theory
FIGURE BPrimary
Colors on the Color
Circle
3. Repeat this process for each of the primary colors (Figure B).
Secondary Colors
4. Add secondary colors by mixing layers of the appropriate primary colors together.
(You may want to practice mixing colors on another sheet of paper before filling in
the colors on the color circle.) Lightly draw an even layer of one primary. Then
lightly add a layer of another primary on top of the first layer. Alternate the layers
of the two primary colors youre mixing to get the desired secondary color. Again,
changing the direction of the colored pencil strokes in each layer helps you to
blend the layers evenly. If your strokes are heavy in one section and too light in
another section, the color will appear uneven. Slowly build up to each secondary
color. If you feel a mixture contains too much of one of the primaries, add extra
(Continued)
Color Theory
25
Its important to keep your colored pencils sharp in order to draw light, even layers of
color. Consult the illustration in Figure A for the correct location of the secondary colors. Fill both the large and the small pie-shaped areas with color (Figure C). Later youll
dull the colors in the inner circle by changing their intensities.
Dont be concerned if the secondary colors you mixed dont quite match the colors you
get from your orange-, violet-, and green-colored pencils. Remember, most pigments
including those found in colored pencilscontain impurities. Mixing colors takes
practice.
FIGURE CColor
Wheel Containing
Primary and
Secondary Colors
(Continued)
26
Color Theory
FIGURE D12-Segment
Color Circle
Color Theory
27
Colored Pencils
In general, youll want to sketch your subjects with a drawing
pencil. Always remember to use a light touch; if the marks
are too heavy, theyll interfere with your progress with the
colored pencils. Use your colored pencils carefully to create
colors that most closely match those of your subject. With
practice, youll soon learn to combine and modify colors to
achieve your desired effect. Remember to keep colored pencils sharpened; because theyre softer than drawing pencils,
colored pencils need to be sharpened gently and often.
Colored pencils come in a variety of colorsreds, yellows,
greens, and blues, to name just a few. You may notice that
the colors vary slightly from one brand to another. Brandname inconsistencies in coloring materials may even cause
your color models to appear different than those presented in
this unit. Although you cant prevent these discrepancies,
you should remain aware of them.
28
Color Theory
Ruler
Drawing pencil
Sketchpad
Plastic container
Ballpoint pen
Color Theory
29
30
Color Theory
FIGURE 15Experimenting
with Blue Values
Combining Colors
You can obtain colors in addition to those in your set of colored pencils by laying one color over another. In Figure 16,
strokes of blue (as on the bottom) are laid over violet (as on
the top) to produce a violetblue color in the
middle area. Try
this combination, as illustrated, in your secFIGURE 16Combining Colors
ond square.
Then experiment
with other color
combinations,
such as red over
orange or blue
over yellow.
Color Theory
31
Dulling Colors
FIGURE 17Adding
green to the top layer
of red in this square
lowers the reds intensity.
Darkening Colors
32
Color Theory
Lightening Colors
If you have a white pencil, you can use it to obtain a lighter
color value in one of two ways. In the middle area of the
square in Figure 19, we see pure (or relatively pure) blue.
Apply blue like
this to the middle of your fifth
square. In the
top area of the
square, apply
white first; then
lightly add
FIGURE 19Two Ways of
strokes of blue.
Lightening Color
The bottom area
of the square in
Figure 19 displays your other
option: filling in
strokes of white
over a blue area. As youll see, both methods produce a
considerably lighter shade of blue.
Bruised Paper
To avoid dark, ugly areas, as in the upper portion of Figure
20, you must sketch lightly and erase gently over areas of
your paper that have been slightly damaged. On the other
hand, you can
deliberately rough
up the paper with
an eraser or a craft
knife to create special effects. In the
lower portion of
Figure 20, a knife
has been used to
create rain strokes
that appear as if by
magic when a colored-pencil tone is
laid over them.
Color Theory
33
Flowing Color
FIGURE 21Using
Moisture to Modify
the Color of an Area
As in Figure 21, fill in your seventh square with red coloredpencil strokes. Then wet a brush, shake off the excess water,
and moisten one
half of the square,
as shown in the
lower right portion.
What happens? The
pencil strokes dissolve and flow
together to form a
glowing area of brilliant color. The dry
area in the upper
left retains its grainy
pencil-tone look.
FIGURE 22Adding a
second color to the moistened area of a first color
can produce interesting
effects.
34
Color Theory
Ballpoint Pen
In your ninth square, write or draw words with a ballpoint
pen. Then, lay colored-pencil tones over the ink. Some of the
ink lines may
become obscured.
But if you wet
the colors lightly,
the ink lines will
reappear as the
colors dissolve
and become transparent (Figure 23).
FIGURE 23Adding coloredpencil tones and light wetness to ballpoint pen ink
results in an emphasis upon
the inked words.
Paper Texture
The texture of paper affects the texture of a colored-pencil
drawing. Pencil strokes over a rough watercolor paper produce
the texture shown in the upper half of Figure 24. When these
strokes are
moistened (as
in the lower
left), the color
dissolves and
settles into the
papers depressions. When
this area dries
FIGURE 24Using paper of a
(as in the lower
rougher texture results in still
more effects when water and
right), a second
colored-pencil strokes are
color, such as
applied.
blue, can be
added to produce a twocolor effect.
Experiment
with both of
these techniques in your
tenth square.
Color Theory
35
Pencil sharpener
Objective
To mix the 12 colors on the color circle with their complements, using only the primary
colors
Procedure
1. First, study the secondary colors on the color circleorange, violet, and green.
These colors are made from combining equal amounts of the primaries on each
side of them. The intermediate colors are made from mixing 50 percent of a secondary color with 50 percent of a primary color. Thus, an intermediate color contains more of a primary color than it does a secondary color, since the secondary
color already contains 50 percent of one of the primaries needed to make the
intermediate color. Dont worry; this sounds more complex than it actually is!
Practice blending your colors on a separate sheet of paper before mixing the
colors with their complements on the color circle.
2. Recall that the complement of a color lies directly opposite that color on the color
circle. Then, when youre ready, mix each color with its complement in the inner
pie shapes of the color circle. Do this by lightly adding complement to the color
you wish to dull. Try to add the complement color gradually; its easier to add
color than it is to take it away at this point.
For example, the complement of yellow-orange is blue-violet. To blend blue-violet
with yellow-orange, begin by lightly applying a very thin layer of red to the yelloworange area of the inner circle. Then add thin layers of blue. (Blue-violet contains
more of the primary color blue than red.) When the yellow-orange appears dull in
contrast to the original yellow-orange, youll have met your objective. Continue to
slightly dull each of the colors around the circle until it resembles the circle in the
following figure.
(Continued)
36
Color Theory
FIGURE12-Segment
Color Circle with
Low-Intensity Colors
Produced in the
Center
Color Theory
37
38
Color Theory
Local Color
Local color is the color or hue of an object seen in natural
daylight. It doesnt include any hue, value, or intensity
caused by reflection or shadow. For example, a green ball
has a medium-green hue in natural daylight; thus, mediumgreen is the local color of the ball.
The shaded area of the ballthe area turned away from the
lightis a duller green. In addition, the medium-green areas
may reflect some yellow from a yellow object placed in front
of the ball. The dull green and yellow colors seen on the ball
arent part of its local color; rather, theyre acquired colors, or
colors that result from shadows and objects located nearby.
Its important that you display acquired colors as well as
local color when painting or drawing an object. Acquired
colors help to establish the illusion of three-dimensional
space in your artwork.
An objects acquired
color is the color
resulting from
shadows and other
objects located
nearby.
Tonal Color
Tonal color refers to the changes in value of a color from light
to dark. Mixing a hue with gray, which is a blend of white
and black, results in tonal color. You can produce different
tonal gradations by mixing a hue with different value levels
of gray. Tonal colors allow artists to infuse their work with
shape and proportion.
Reflected Color
The white ceiling of a front porch reflects the green of a
surrounding lawn. A boys face is brightened by the light
bouncing off textbook pages as he studies under a lamp.
The color yellow becomes visible upon a girls neck as a
friend holds a buttercup wildflower under her chin in the
sunlight. These are all examples of reflected color.
Color Theory
39
Volume Color
Volume color is a characteristic of three-dimensional transparent fluids. Tea, for example, appears darker in a cup than
it does in a spoon. Similarly, a swimming pool with blue
plastic lining makes the water within the pool appear blue.
And, as you walk down the steps into the pool, the water
looks progressively more blue.
Most watercolor paints are volume colors. This means the
intensity of the color increases as its volume increases, or as
layers of the color are added on top of each other. This isnt
true of oil paint, colored pencils, or colored pastels, which
are all considered surface colors.
Aerial Perspective
The atmosphere is
the surrounding
mass of air existing
between all objects
upon the earth.
40
The thin, transparent layer of air that exists between the eye
and all objects is called the atmosphere. As you learned in an
earlier section, aerial perspective refers to the lessening of
color intensity and sharpness of an object as the distance
between the observer and the object increases. This visual
phenomenon is an effect of the atmosphere. Aerial perspective
is observable from both ground level or above-ground level as
one looks down from a tall tower or an airplane.
Color Theory
Color Temperature
The color of an object appears to vary under different sources
of light. In addition to the sun, artificial types of light exist,
such as tungsten, neon, and fluorescent lights. These artificial
lights each affect the color of an object somewhat differently.
In addition, the color you perceive under any of these types of
light is never the true color of the object as seen in daylight.
When it rises and sets, the sun seems to take on a reddish
color. Yet at midday, sunlight contains a bluish tint. This
reddishness and bluishness of light is an effect of color temperature. The more blue that exists in light, the higher its color
temperature; the more red contained in light, the lower its
color temperature. The ordinary light bulb used in most homes
contains more red than a fluorescent light. Fluorescent lights
contain more blue and green, and therefore have a higher
color temperature. This type of temperature has nothing to
do with the amount of heat generated by the light source.
Color temperature is expressed in Kelvin degrees. Standard
indoor light is 3,200 Kelvin degrees; standard outdoor light is
5,600 Kelvin degrees. Outdoor light contains more blue than
indoor light, and thus has a higher color temperature.
Color Theory
41
Self-Check 5
1. The color we associate with objects under ordinary daylight is
called _______ color.
2. A large white ball is located in the background of a still-life
arrangement. A red plastic bucket and a yellow shovel are
placed in front of the ball. All three objects lie under a single
white light. The red and yellow that are visible upon the ball are
called _______ colors.
3. The loss of hue intensity and overall detail that occurs as
distance increases between you and an object is the result
of _______.
4. Watercolors are transparent colors that increase in intensity
with each successive layer; this is a characteristic of _______
color.
5. When youre indoors drawing with color and using lamps with
ordinary light bulbs, the colors appear slightly different than
they do outdoors in daylight. This is due to a change in color
_______.
Check your answers with those on page 72.
Pencil sharpener
Sketchpad
42
Color Theory
Procedure
1. Select a real apple to draw. Although any type of red apple will suffice, Red
Delicious apples possess a deep red intensity and the classic apple shape,
a shape often reproduced in drawings.
2. Set your apple on display so that you have a good close-up view. Place the apple
on a white surface, such as a large piece of paper or a white cloth. Set a single
light source, such as a table lamp, above and off to one side of the apple.
3. Since part of the apple is ball shaped, you can use a pencil compass to draw that
portion of the apple. Then add the humps at the bottom and other irregularities
that you observe (Figure A). Be sure to draw light lines so that you wont need to
erase heavily. Such erasures roughen the surface of the paper, making it difficult
to apply even colored-pencil tones.
Color Theory
43
6. If your apple has a touch of green in the area surrounding the stem, add a small,
light layer of blue over the yellow layer. This will build up the green.
7. Next, apply a light layer of red, allowing some of the yellow to show through
(Figure C). Be sure the strokes of the colored pencils follow the curves of
the apple.
(Continued)
44
Color Theory
(Continued)
Color Theory
45
The apples shadow may appear bluish in some areas and a dull violet in other areas.
Blue and red combine to make a light violet, and adding a light layer of yellow on top
dulls the violet. Combine alternate layers of primary colors and secondary colors to
produce the color that most closely represents the color you see. Or use mixtures of a
particular hue with grays to make different values of that hue.
13. If the outer edge of the apple looks ragged and uneven, even the edges with the
sharp point of your red pencil. Then add more strokes to blend the new strokes
with the colors already there.
(Continued)
46
Color Theory
FIGURE FFinished
Drawing of Apple with
Reflected Colors, Local
Colors, and Highlights
Indicated
(Continued)
Color Theory
47
FIGURE GFinished
Drawing of Apple with
Reflected Colors, Local
Colors, Tonal Colors, and
Highlights Indicated
Some artists strive for a realistic, almost photographic look. But thats only one of
many artistic ways to interpret a subject. It isnt necessary that your rendering resemble a photograph for it to be a successful work of art. In fact, its the unique quality of
each medium that distinguishes a rendering from a photograph and provides an artistic
look. For instance, the textured quality of paper gives colored-pencil renderings a
uniquely grainy appearance.
(Continued)
48
Color Theory
PRINCIPLES OF COLOR
COMPOSITION
Certain color combinations create visual relationships. These
relationships rely on harmony, contrast, proportion, or a
mixture of all three. Color combinations apply to the various
intensities and values of the hues as well as the hues
themselves.
Colors next to each other on the color circle generally blend
well together and have little contrast. Similarly, colors that
are equally spaced from each other on the circle tend to
harmonize readily with each other. However, colors opposite
from each other on the color circle are complementary and
thus contrast each other.
Color Theory
49
50
Color Theory
Split Complementary
Although split complementary schemes display a more subtle
contrast than complementary color schemes, their overall
effect is still striking. The split complementary scheme uses
any three colors linked by points of an isosceles triangle,
which is a triangle with two equal sides (Figure 26). Therefore,
it uses a hue and the colors on each side of its complementary
color. The colors on each side of the complement combine to
form the complement color of the hue. For example, on a
twelve-segment color circle, yellow-orange and red-orange
combine to form orange. Orange is the complement of blue.
An isoscoles triangle
is a triangle with two
equal sides.
Color Theory
51
Double Complementary
One color, its next-door neighbor, and the complements
of both form a double complementary color scheme. In
Figure 27, we see that this arrangement forms a thin
crosslike configuration on the color circle.
52
Color Theory
Triad
The triad color scheme uses the three colors touched by the
points of an equilateral triangle, or a triangle in which all
three sides are equal (Figure 28). Yellow, red, and blue form
a primary-color triad, and the effect can be very intense.
An equilateral
triangle contains
three equal sides.
Color Theory
53
Tetrad
The four colors in a tetrad color scheme form a square or rectangle within the color circle (Figure 29). This combination
uses the most color of any color scheme.
54
Color Theory
Analogous
An analogous color scheme uses two or more adjacent colors
on the color wheel. Any three colors lying next to each other
on the color circle blend easily with each other, since at least
one is a mixture of another. As you can see in Figure 30, the
analogous color scheme lacks contrast.
Color Theory
55
The afterimage serves as an example of the way complementary colors enhance each other. One particular color is influenced by other colors
that surround it.
Generally speaking,
when one color is placed
within an area of color
that isnt its complement, the complement of
the foreground color
appears in the backFIGURE 31Creating an Afterimage
ground. This is because
the brain seeks this complement color even if it isnt present
and spontaneously creates it.
Simultaneous contrast occurs when a
color is placed
against one of its
noncomplementary
colors; the background color then
instills qualities that
are opposite of itself
into the foreground
color.
56
Color Theory
FIGURE 32Looking from left to right, the green circle appears to darken.
Color Ranges
Colors are often divided into two groups, warm and cool.
This is because certain colors are psychologically and symbolically associated with either warm or cool objects. Warm
colors tend to make us more active, while cool colors seem to
dampen our moods.
Color Theory
57
Color Energy
Color energy describes the impact a color has on us. The
energy of a color depends on its hue, intensity (saturation),
the size of the colored area, and the contrast between the
foreground and background colors.
Color energy describes
the impact a color has
on us.
58
Color Theory
FIGURE 34Harmonic
Proportions of Pure Hues
and Their Complements
Coloring Shadows
Shades and shadows are different from each other. Shades
are values added to the surface of an object. You can usually
see them in areas that are either unlighted or partially lighted. Shadows are created by an object thats situated between
a light source and another surface or the ground. A shadow
is cast from an object; this means that the shadow falls from
the object onto another surface. Therefore, shadows reflect
the shapes of forms and textured surfaces.
Shadows and shades add dimension and depth to artworks.
Though the artist must sacrifice detail in these areas, shades
and shadows arent without color or value.
Color Theory
59
Using Complements
In this unit, you mixed hues with their complements to dull
colors and lessen their intensities. You also learned how hues
and their complements are used in shaded and shadowed
areas. The hues shared between the dark areas and areas of
local color should create a harmony within artwork. Mixing
hues and their complements expands your color choices with
a wide range of colors. They can add richness and depth to
shadows and shaded areas, conveying both emotion and
energy.
60
Color Theory
Self-Check 6
Refer to the color circle below to answer the following questions. In addition, check the corresponding images for each question in your Art Color Cards before selecting your answers.
1. Which of the following rows of colors exhibits an analogous color scheme?
a.
b.
c.
d.
(Continued)
Color Theory
61
Self-Check 6
2. Which of the following rows of colors exhibits a split complementary color scheme?
a.
b.
c.
d.
b.
c.
d.
b.
c.
d.
(Continued)
62
Color Theory
Self-Check 6
5. Which of the following rows of colors exhibits a triad color scheme?
a.
b.
c.
d.
Ruler
Drawing pencil
Sketchpad
Plastic container
Color Theory
63
(Continued)
64
Color Theory
FIGURE BColored-Pencil
Rendering of Swan Photograph
Objective
2. On heavy drawing paper that wont warp with water, lightly mark off a rectangle
thats 4 in. wide by 5 in. high with your drawing pencil. (Leave a few inches of
clean white space around this rectangle in case you want to place your finished
artwork in a 5 in. by 7 in. frame.)
(Continued)
Color Theory
65
4. Now cover every area of your rectangle except that area showing the swan with
blue pencil strokes. Leave the swan completely white. Then, with a wet brush
(shaken to remove excess moisture), dissolve the blue stroke. Allow the rectangle
to dry completely before moving on to the next step.
5. When all areas are dry, start adding coloreither the colors shown in Figure B
of your Art Color Cards, or those of your own choosing. Draw vertical lines for
the tower reflections. Draw circles around the swan to show its movement in the
water. Use free, loose strokes for the reflections of the trees. If you wish, use
the damp brush to soften and brighten some of these areas.
(Continued)
66
Color Theory
Color Theory
A viewfinder is any
device used to limit
your view and reveal
a portion of a scene
or object.
67
68
Color Theory
Color Theory
69
Self-Check 1
1. a
2. c
4. b
5. d
Self-Check 2
1. b
2. b
3. a
Self-Check 3
1. c
2. a
3. d
4. a
5. b
Self-Check 4
1. a.
b.
c.
d.
e.
f.
g.
h.
i.
j.
k.
l.
intermediate
primary
primary
intermediate
secondary
secondary
intermediate
intermediate
primary
intermediate
secondary
intermediate
Answers
3. b
2. c
71
Self-Check 5
1. local
2. reflected
3. aerial perspective
4. volume
5. temperature
Self-Check 6
1. b
2. a
3. b
4. d
5. c
72
Self-Check Answers
Color Theory
EXAMINATION NUMBER:
03202500
Whichever method you use in submitting your exam
answers to the school, you must use the number above.
For the quickest test results, go to
http://www.takeexamsonline.com
When you feel confident that you have mastered the material in
this study unit, complete the following examination. Then submit
only your answers to the school for grading, using one of the examination answer options described in your Test Materials envelope.
Send your answers for this examination as soon as you complete
it. Do not wait until another examination is ready.
Questions 120: Select the one best answer to each question.
1. The range of dark and light blue in the sky refers to the
_______ of this color.
A.
B.
C.
D.
value
color temperature
intensity
hue
2. In the summer, youre assigned to take a photograph of a lighthouse. Its essential that the color temperature of this photograph
be cool. The best time of day for you to take this photo would
be
A.
B.
C.
D.
7:00 A.M.
11:00 A.M.
12:00 P.M.
3:00 P.M.
Examination
Examination
73
3. A new house is being built and the designers want the indoor lighting to have a high color
temperature. Which of the following would be the best type of lighting to install?
A.
B.
C.
D.
Incandescent lighting
Flourescent lighting
Table lamps
Skylights
4. Youre asked to set up a still-life arrangement of objects for a drawing class, including the
lighting. You know that if you add too much light to the objects, the
A.
B.
C.
D.
5. You wish to darken a particular shade of blue, so you try adding layers of blue colored
pencil. However, this doesnt make the blue as dark as you would like it to be. Your next
step, then, should be to add layers of
A.
B.
C.
D.
brown.
blues complement.
gray.
red or violet.
6. Which of the following groups of colors would best communicate a solemn mood?
A.
B.
C.
D.
7. When your brain automatically seeks the complements of highly saturated colors, this
visual phenomenon is called a(n)
A.
B.
C.
D.
simultaneous contrast.
contrasting complementary color.
complementary split.
afterimage.
8. To make objects appear to recede into the background, your best bet would be to
A.
B.
C.
D.
74
Examination
colored pencils
watercolor paints
oil paints
colored pastels
10. During World War I, a tabloid was published with the word revolution appearing in color
on the papers masthead. Which of the following colors do you think was used to attract
attention and reinforce the implications of this word?
A.
B.
C.
D.
Violet
Red
Green
Yellow
11. If you wish to balance complementary colors so that theyll appear static and harmonious,
its important to
A.
B.
C.
D.
12. Youve been asked to create a color drawing outdoors at a time of day when the sun
produces high-contrast light and many shadows. Which of the following would make up
an appropriate palette for drawing the shadows?
A.
B.
C.
D.
Black
Values of gray
Complementary colors
Analogous colors
13. Youre designing a poster thats to announce a rock concert. From the choices below,
select one essential visual consideration that will make the poster eye-catching.
A.
B.
C.
D.
Examination
75
14. You take the design for the poster from Question 13 to a commercial printer. Which of the
following abbreviations represent the range of color that he or she will use?
A.
B.
C.
D.
RGB
RYB
CYMK
CYRB
15. A stage director wants yellow light projected onto his actors. What filters should he place
over white light to achieve this effect?
A.
B.
C.
D.
16. Working with a limited palette of colors still allows for a wide range of colors. Of the following groups and combinations, _______ will give you the most variations.
A.
B.
C.
D.
19. When an artist is working with _______, he or she is said to be working with additive
color; when an artist is working with _______, he or she is said to be working with subtractive color.
A.
B.
C.
D.
76
Examination
20. If you were to take three photographs of the same object outdoors on a clear dayone
in the early morning, one at noon, and another near sunsetyou would expect the color
of the object to appear
A.
B.
C.
D.
Examination
77