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 is arguably the most thorough explorer of color schemes in the history of painting. He produced dozens of paintings of haystacks, among other subjects, each examining the effects of different lighting and weather
conditions on color. Below are three examples, each illustrating a traditional color scheme. A palette color scheme is a specific palette of colors that share a connection on the color wheel. This connection can be based on several factors, such as having a primary hue in common, the spacing of colors on the
wheel, or the temperature of the hues (cool or warm). When it comes to limited palette schemes, they can be made up of two, three, or four colors. Schemes with two colors are known as dyads, while those with three colors are called triads. On the other
hand, schemes with four colors are referred to as tetrads. Many dyad schemes consist of complementary colors, although a two-color scheme can also be analogous. The definition of a painting's color scheme remains the same, but it doesn't actually pertain to the colors on the artist's palette. Instead, it refers to the colors that are visible in the actual painting. Surprisingly, the color
scheme on the palette and the one in the painting may not be identical. 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, you'll see that Monet looked for the color in his subject, 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. All you are changing is the
color scheme. Have fun! Enjoy a fun weekend discovery!
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Happy Painting,
Dianne
dianne@diannemize.com
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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!
|
Happy Painting,
Dianne
dianne@diannemize.com
|
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!
|
Happy Painting,
Dianne
dianne@diannemize.com
|
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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