[LoTekK]

quote:

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Originally posted by Jason Manley:
nonsense is a different thread altogether...please stick to the topic.

can any of you find some examples of master paintings with the below color palettes?

what is the definition of "tertiary" colors in regards to the color wheel?

what is the definition of the term "split compliments"?

what is the definition of the term "analogous colors"?

here are the color schemes for the first question...what other schemes can you find??

please provide links.

1 dominant earths (greens and siennas) with orange accents.

2 dominant cools (multiple grays) with warm accents.

3 dominant greens with red accents


thanks...lets see what you know.


jason

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sorry fer adding to the nonsense...

anyways, i got kinda lost with that last bit... did the three answers correspond to the three questions, or are all three the answers to just the first one, as mentioned? (sorry, i'm still learning... )

[Ian Jones]

ANALAGOUS or HARMONIC colours...

Refers to setions of the colour wheel, that are adjacent. Therefore, Sky Blue / Ultramarine / Indigo, are ANALAGOUS or HARMONIC colours because they are right next to each other. Generally it will refer to a quadrent of the colour wheel.

No link sorry.

[Ian Jones]

SPLIT COMPLEMENTARY colours

"A harmony whose middle term has a complementary colour."

I can't work out what that means though. Somebody else know? It seems like a weird statement. I got from a glossary of terms thingy I have.

[Ian Jones]

ooh. forgot TERTIARY colours.

Tertiaries(mixture of primary and secondary)

yellow-orange
red-orange
red-violet
blue-violet
blue-green
yellow-green

[Painted Melody]

I am not an expert, but I will try

1 dominant earths (greens and siennas) with orange accents.



Lucian Freud - Painter and model


2 dominant cools (multiple grays) with warm accents.



Ron Hicks - "Break Time"


3 dominant greens with red accents



Scott Burdick - Maria Backlit

I know the request is for master paintings, but these are my favorite artists.

How did I do?

Jeremy

[LoTekK]

okay, i just picked up this book from barnes and noble while i was looking for von goethe's book... it's called [U]Eploring Color[/U] by Nita Leland, and in the 15 minutes that i've skimmed through it, i think it's going to be invaluable... it only covers traditional media, but the same basic rules apply to digital art...

anyways, i found out the meaning of split complementary, as well as a couple of other related schemes:

1. Split Complementary: one color, and the two colors adjacent to its direct complement... so in RGB, we might have: red, blue-cyan, green-cyan... or something to that effect...

2. Analogous Complementary: one color, plus its direct complement as well as the two adjacent colors to the latter... eg. red, cyan, green-cyan, blue-cyan...

3. Basic Triadic: would basically be red, green, blue, or alternatively yellow, purple, cyan...

4. Modified Triadic: on a 12-color wheel, take one color, skip the next color, take the next, etc, until you get three colors...

5. Complementary Triadic: take direct complements, then one more color halfway inbetween... eg. red, cyan, yellow-green...

6. Double-Complementary Tetradic: as expected, two pairs of direct complements...

that's it for the main types of color schemes... hope this was of help, and glad to actually be able to contribute something (hopefully) useful...

[edit] forgot to add the tetradic scheme... [/edit]

[ January 07, 2002: Message edited by: LoTekK ]

[SporQ]

great info LoTekK

[LoTekK]

oh yeah, i'm going to add one more thing about temperature...

since warm colors appear to advance, and cool to recede, it only makes sense for your color temperatures to cool as the perceived distance in your painting gets further away... however, you can reverse this to achieve what the author calls "ambiguous space" whereby cools are closer than warms, creating a rather vibrant look...

in addition, you can create movement with strong temperature contrasts... i believe seurat (slap me if i got this mixed up) once painted his water using blues and oranges... the stark temp contrast almost made the water appear to shimmer (something about the rods and cones of the eyes getting alternately tired and therefore shifting... i think someone talked about this earlier in the thread)...

okay, hope this is at all helpful...

[edit] on the "ambiguous space" bit, the author included a good example of this: "Early Evening, Monterey Bay" by Benjamin Eisenstat... in the little blurb, the author points out the the large, mid-distance rock formation is in brilliant warms, bringing it forward as the focus of the composition... the smaller rocks, though nearer, are painted in cooler colors, making them seem less important... she says this is one way of solving problems you may have with getting a certain piece of your composition stand out...
[/edit]

[ January 08, 2002: Message edited by: LoTekK ]

[Ian Jones]

Hey Lotekk I said someting earlier about the Bathing at Asnieres 'shimmering effect'

Sounds like a good book you got there, except that I am now a bit confused about harmonious or analogous colour... the complementary aswell? I don't think so.

[LoTekK]

ian, i'm not entirely sure what you're confused about with regards to the color schemes... as far as i understood it from this book, a painting using an analogous scheme will be comprised chiefly of analogous colors (eg. red, orange, yellow), a split complementary will consist mainly of eg. red, blue-cyan, and green-cyan, and so on... the different color schemes bring different moods and feels to the painting, and rather strikingly so, i might add... i can't explain it as well in words as the quick example paints the author provided in the book... the book's pretty cool, coz it provides quickies painted by the author to demonstrate the theories, as well as examples of paintings by other artists in various media...

anyways, one more thing to add to this wonderful thread (thanks jason!):
while this may seem obvious, i figure i should throw it in, seeing as it's not something that i've given thought to when painting... the "pure" hues of different colors will occur at different values... going round the subtractive color wheel, pure yellow has the highest value (lightest), while pure violet has the lowest value (darkest)... again, this should be obvious, but i reckon it may not be something that is given much thought...

hope this is helpful...

ps. ian, yeah, that was the one... i'm on a slow connection, so i was loathe to searching through the three pages to find that post...

[edit] oops, just realized i had forgotten to mention that i had read about the shimmering water thing on this thread... [/edit]

[ January 08, 2002: Message edited by: LoTekK ]

[Jason Manley]

nicely done everyone!! really great answers...and even more questions to ask...you all are really adding a lot of useful information.

can any of you find examples of the other color schemes mentioned in the above posts?? it would be great to see paintings and examples of a bunch of different color palettes and then go ahead and discuss mood and feeling in regards to their schemes.

bring it on!

j

[LoTekK]

whoops, just remembered... i've already uploaded them...

i have 6 of them, so i'll just post links:

Monochromatic
Analogous/Harmonious
Split Complementary (Red-Orange, Yellow-Orange and Blue)
Basic Primary Triad
Modified Triad
Loose Double Complements

enjoy...

[edit] stupid typos [/edit]

[ January 11, 2002: Message edited by: LoTekK ]

[LoTekK]

whoops, the thread fell to page 2... just *bumpin'* it on up...
anyways, i'm on campus now, but when i get home, i'll upload some scans from the book i've been raving about... pretty good examples of different color schemes, though they're not by classical painters (more contemporary, actually)...
keep this thread alive!

[isthmus nekoi]

Pls forgive me if I'm repeating anything, this thread is darn long!

Colours are all relative: you can only really see a colour when you put it in context. It might be red, but once you see the red w/other colours you know a lot more about the red (ie it's cooler than the green it's beside, more saturated etc.) Red itself is classified as a warm colour, but put it beside another warmer colour and it can become cool.

An exercise I had to do *repeatedly* was painting a coloured object on the same coloured background ie. a white mug and a white cloth. It sounds boring (actually, it is after awhile ^_~) but you begin to see the huge variations in tone, tempurature, saturation - even in a seemingly colourless/monotone set up. The 'white' painting will only work if you encorporate blues and pinks and yellows into the palette. The whites not only come alive, but it gives a much more realistic 3D look.

It can help to do an exercise isolating one or two colour properties to understand those aspects of colour. ie. take a little photo (newspaper is good), and then paint over it, matching only the values, and then try again w/tempurature (use a red and a blue). This can be done on Pshop too. btw, it's very helpful to understand values - it totally affects the composition of a piece.

Always keep in mind reflective light to create more 3D - it takes on the colour of the object it bounces off from (vs. onto). Take care to keep the reflective light at a reasonable value - beginners tend to go too light...

[Ian Jones]

Thx Lotek, that helps my understanding a bit.

I'm confused about warms and cools. As I understand it, shadows are cool, the rest is warm. To throw another spanner in the works however... when the environment is cool, then the shadow will we warm. am I right?

[edible snowman]

ian, i think it depends on the environment. for example, in the gym i go to, the beams of the ceiling that are lit appear cool and a little bluish, even though they are lit by a slightly yellow light. that's because the shadowed side of the beams are lit mostly by the reflective light of the really yellow floor. To add to the complication, there are big green pipes reflecting light onto the lit side of the beams also. i came to the rather arbritrary conclusion that there is always a contrast in temperatures between the sides of an object that are lit and the sides are in shadow. i try to observe things to see if its true or not, it eases the boredom of my day.

[Ian Jones]

Thx for the clarification. I got this sick feeling all of a sudden, that I was getting it wrong for such a long time. I see your point about the complexities that environments may have, and I will keep that in mind.

[davi]

why do people bump old threads?

[Dr. Bang]

cuz this thread deserved to be bumped

[Bilbo]

I just wanted to let you know of a relevant piece of software called "Color schemes" which is all about experimenting with different palettes and colors using different schemes and formulas. There is also a document available for download, which contains some information about these different schemes and about the program's interface and usage.
This program is completely free, you can find it in the bottom of this page:
http://www.oken3d.com/html/tips.html

(Do check out the entire www.oken3d.com website, it holds some of the most vibrant and unique 3d artwork i've ever seen).

sorry if this sounded a bit like an advertisement

[tayete]

Nice software...thanks for the info, BILBO.
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http://tayete.blogspot.com

[bM]

Excellent thread, i've learned so much

I have some thoughts, what about color management on computers, how is your icc profile configured. I mean if you paint a certain color in traditional media it is only the light in the enviroment that changes that.
But on a monitor its backlit my light and can be configured in the computer.
We have for instance different gamma settings on a pc and macintosh...

What and how should an artist think of.

Another thing that i find exciting, although it has been explained is when you work all night and goes to bed. Next day you get to the computer and look at the same image. The once total black screen is grey and saturated. And the image is realy bright like the gamma where off.. I love this, i goes away as soon as your eyes got adjusted again but its a cool effect.

Take care.
_________________
Sincerely
- Nicklas Forsberg a.k.a bM
- http://www.nalf.se