I hope you can join us tomorrow, September 18, for our monthly YouTube Live Chat. The topic will be centered around an objective method for pricing your paintings, and how that can take the frustration out of something that's not the
nature of our creative process. You can join us at 2 p.m. Eastern at https://youtube.com/inthestudioartinstruction I dislike using the word "scheme" when discussing anything art related. Bad behavior of humans has given the word a negative connotation, but I don't find any word in the Thesaurus that is a good substitute, so "scheme" it is. ONE SUBJECT, SEVERAL SCHEMESFrench
Impressionist Claude Monet most likely has explored color schemes more thoroughly than any painter in our history. We know that he did dozens of paintings of haystacks (as well as other subjects), each exploring varying light and weather effects on color. Here are three examples, each showing the color scheme found in the painting. A palette
color scheme is any palette of colors in which the hues have some kind of relationship on the color wheel. The relationship can be that all scheme colors have one primary hue in common, it can be how colors are spaced out on the wheel or it can be temperature related, such as all cool or all warm hues. Limited palette schemes (other than monchromatic which uses a single hue) can be made up of two, three or four colors. Those made of two colors are called dyads, three colors are triads and those made of four, tetrads. Many dyad schemes consists of complements, although a two-color scheme can also be analogous. So, what does
this have to do with the artist who just wants to paint without being encumbered with all the theory. We could ignore it all together, but we might miss out on some fun if we did. What if we take a page from Monet? If you
cursor back and study the three paintings we show of Monet's haystacks, we'll see that Monet looked for the color, found a scheme, then slightly enhanced what he saw within a scheme. He kept the value structure he saw. What's so cool about that is that any single value structure can be interpreted with multiple color schemes, each one giving it a different hue interpretation. Just imagine what exhilaration could be
experienced if we tried doing that! Do a study of this reference photo using a dyad complementary scheme of blue-green and red-orange. Remember, you have available the full range of saturations of both hues, and you have the full range of values. Enjoy a fun weekend discovery! During my Language of Painting series, I explained the role of our visual elements. If you'd like to review those roles to better understand the behavior of elements, here are the links to each of those
discussions: Color --Value -- Shape -- Texture -- Size -- Line and Direction
You can access the archive of all my newsletters (as well as the Quick Tips and other stuff) at any time by going HERE.
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I dislike using the word "scheme" when discussing anything art related. Bad behavior of humans has given the word a negative connotation, but I don't find any word in the Thesaurus that is a good substitute, so "scheme" it is.
ONE SUBJECT, SEVERAL SCHEMESHistorically, French Impressionist Claude Monet most likely has explored color schemes more thoroughly than anybody. We know that he did dozens of paintings of haystacks, each exploring varying light and weather effects on color. Here are three examples, each showing the color scheme found in the painting. A color
scheme is any limited palette in which the colors have some kind of relationship on the color wheel. The relationship can be that all scheme colors have one primary hue in common, it can be how colors are spaced out on the wheel or it can be temperature related, such as all cool or all warm hues. Other than monchromatic which is a scheme using a single hue, schemes can be made up of two, three or four colors. Those made of two colors are called diads, three colors are triads and those made of four, tetrads. Many diad schemes consists of complements, although a two-color scheme can also be analogous. So what does
this have to do with the artist who just wants to paint without being encumbered with all the theory. We could ignore it all together, but we might miss out on some fun if we did. What if we take a page from Monet? If you cursor back and study the three paintings we show of Monet's haystacks, we'll see that Monet looked for the color, then enhanced what he saw within a scheme. He kept the value structure he saw,but reinterpreted the color. Just imagine what could be experienced if we tried doing
that! Enjoy a fun weekend discovery! During my Language of Painting series, I explained the role of our visual elements. If you'd like to review those roles to better understand the behavior of elements, here are the links to each of those
discussions: Color --Value -- Shape -- Texture -- Size -- Line and Direction
You can access the archive of all my newsletters (as well as the Quick Tips and other stuff) at any time by going HERE.
|
I dislike using the word "scheme" when discussing anything art related. Bad behavior of humans has given the word a negative connotation, but I don't find any word in the Thesaurus that is a good substitute, so "scheme" it is.
ONE SUBJECT, SEVERAL SCHEMESHistorically, French Impressionist Claude Monet most likely has explored color schemes more thoroughly than anybody. We know that he did dozens of paintings of haystacks, each exploring varying light and weather effects on color. Here are three examples, each showing the color scheme found in the painting. A color
scheme is any limited palette in which the colors have some kind of relationship on the color wheel. The relationship can be that all scheme colors have one primary hue in common, it can be how colors are spaced out on the wheel or it can be temperature related, such as all cool or all warm hues. Other than monchromatic which is a scheme using a single hue, schemes can be made up of two, three or four colors. Those made of two colors are called diads, three colors are triads and those made of four, tetrads. Many diad schemes consists of complements, although a two-color scheme can also be analogous. So what does
this have to do with the artist who just wants to paint without being encumbered with all the theory. We could ignore it all together, but we might miss out on some fun if we did. What if we take a page from Monet? If you cursor back and study the three paintings we show of Monet's haystacks, we'll see that Monet looked for the color, then enhanced what he saw within a scheme. He kept the value structure he saw,but reinterpreted the color. Just imagine what could be experienced if we tried doing
that! Enjoy a fun weekend discovery! During my Language of Painting series, I explained the role of our visual elements. If you'd like to review those roles to better understand the behavior of elements, here are the links to each of those
discussions: Color --Value -- Shape -- Texture -- Size -- Line and Direction
You can access the archive of all my newsletters (as well as the Quick Tips and other stuff) at any time by going HERE.
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