Thanks for the reply. I'd be grateful if you or someone else could address the second question I posed:
What should one do if he/she has to draw or paint the area (say - ruddy cheeks or dark spots on an apple) that has equal local value (in light) as adjacent shadow. Should one keep its value (in light) equal as the value of shadow?
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Sorry if I wasn't clear, my answer was: ignore the rule and paint it as it is - it shouldn't confuse anyone.
I just discovered this thread now! I am going to read the shit out of this website!
The Dimensions of Colour website will go offline sometime very soon because of an infrastructure migration at ibiblio, so if you find you can't get on, just give it 24 hours and it should be back.
@Pavel. Great, mate, and drop by again if you have any questions or comments.
Atelier Art Classes, Brisbane.
In case anyone reading is from Brisbane, just thought I should mention that Atelier Art Classes is flying me up in April for an intensive weekend colour theory workshop on the 16th-17th - details are on their website. In any case I strongly recommend that you check out the classes at their new studio. The teachers, including Ashtons wunderkind Ryan Daffurn, are all excellent, and they regularly conduct workshops with visiting artists. It's really great to see a school specializing in serious art instruction is now established in my home town.
i have read the dimension of color by brigg, and i say that is the most superb color theory i ever know.
and so sadly, i'm chinese indonesian, and my english is very bad... so i hav to read it several time just for one page. maybe now i'm lost nowhere.
the one that bothering me is the addictive and subtractive complimentary.... i just confuse when we used that... is the addictive for digital media, and subtractive is for traditional media? coz i find it hard to apply for my painting.
the other was the R/G vs Y/B formula... i know how the formula goes by looking in the attached SWF file, and to be honest that was incredible. but somehow i lost why and when to apply the formula.
would you please explain in more simply way for me? sorry of being annoying. but i really2 admire your color theory.
Last edited by grapholic; May 27th, 2011 at 09:39 AM.
i always wanna paint a pale skin and low saturation skin, coz i saw the other artist can paint success of pale skin and low saturation environment and the painting doesnt strange and flat. but somehow i ended with very flat tone... what could be my problem?
maybe a link to my portfolio can explain what i mean
really looking forward to hear the solution from you briggs. the website of yours is really2 make my day.
Colour selection has been something which really bothered me, this site is exactly what I have been looking for.
Much thanks for creating it.
For a newbie like me, it is rather intimidating but im going to read through!
Totally amazing Mr Briggs, and I say that after reading only a particle of the whole of your research article. The key thing for me is that you have not only answered some very relative questions about color I have had since childhood, I am now 61 years of age, and I am learning some new aspects of color that make very good sense in my mind. I continue to read, a slow reader I am..... : )).
Thank you very much for the research and the article, amazing stuff for sure.
hello brigssy you invited me to post some points of trouble I have with color. I never worked alot with color always afraid to use it.
First of all I just have problems with color choice in general.
I think I have the biggest problem with which color to choose when it goes in to the shadow or light. I used to pick just a darker or lighter tone.
here is an example of a painting I made and post in the wip thread. I applied the suggestions and comments I got but I dont understand the why.
For example I would never make up on my own to use purple and violet colors for the shadow of the red dress. I want to understand why to choose that color.
I loved to have some exercises that can help me with this and color choice/harmony in general.
Hope this was what you suggest to post here. thanks again for the invite.
PS Zant, the only valid reason to make the dress a little bluer in the shadow is if the light influencing the shadow area is bluer, in which case you would need to make everything else bluer in the shadow by just the right amount to get a consistent visual effect. Another problem in your later versions is that you made the shadow colour less saturated, which makes it hard to see the material as being the same red object colour as it is in the light. There was nothing inherently wrong with your idea of just making the shadow colour darker (keeping the saturation the same), though you may have gone too dark in your first attempt (see below).
The most important component of colour is value, and that was your biggest problem. If you compare each of your shadow colours with the colour of the same material in the light, sometimes they are much darker, sometimes only a little darker, even comparing shadow surfaces facing exactly the same direction. You need to make these contrasts more consistent to create the effect of a consistent illumination.
I'll have a think about some practical exercises but in the meantime start working through The Dimensions of Colour if you haven't already. You may find the website easier going after you've read the James Gurney book you just ordered, as it's a very good first introduction to an informed approach to colour.
grapholic - very sorry I missed your questions when they came in. If you're still around I'll work on some answers as soon as I have some time.
The Following User Says Thank You to briggsy@ashtons For This Useful Post:
Hi Everyone! This is pretty much a copy paste from an Art Discussion post I made, but I was directed here by a kind user so here's to hoping someone can help me out!
As of late I've been feeling that everything I do in color turns out Bland and boring, and doesn't have the right sensitivity to color that I need as an artist. Are there any exercises I could do to improve my color selecting/usage abilities? Or does this just come with a LOT of practice.
On the same token, while using color I find I have a lot of issues with pushing Value also.
I just finished my first year of Art school, and I know basic principles of color, as well as the different types of Palettes. And I can look at a piece and discern the way they used the colors. But even still I have a really hard time with it. I've been reading a LOT of color books (Color and Light: Guide for the Realist Painter by James Gurney) and while they've really helped me understand certain lighting types and situation, Understanding and doing are two different things lol. Also, things from Observation I can get the colors fairly spot on, it's only when applying color to things from imagination where things get muddled.
I'll go ahead and post an example of where I'm at with Color, and the sensitivity I hope to achieve.
A quick Doodle I did mostly to practice with color, I realize there are Anatomical issues as well as brush problems and some color issues with the hair:
The sensitivity I hope to achieve someday:
Thank you ahead of time for any responses!
hi mr briggs, i'm still around. still wait for ur help. ^^
The idea is to use the paint-mixing complementary for paint mixing, and the additive complementary for all questions having to do with vision. For example, to find the hue that is the most contrasting visually, use the additive complementary. Also, to know what colour an area will appear to move towards because of simultaneous contrast - > additive complementary. Apparent colour of the shadow of a coloured light source - > additive complementary. Colour to move towards to correct a colour cast in a photograph - > additive complementary.
Originally Posted by grapholic
It's really just a better framework to have as your basic conception of colour, instead of the old idea that the basic colours are red, yellow and blue.
Originally Posted by grapholic
Looking at your head studies on DA, I think you need to put in some variation in hue (redder and yellower parts) and chroma into your flesh colours. Take a look at this post:
You'll see that pale-skinned people have quite prominent colour variation.
Please ask again if I haven't explained anything enough!
thanks a lot mr. briggs!
i want to ask what if a blue light cast on a magenta surface?
what is the color of the surface become?
is that an addictive mixing or subtractive mixing?
how's the progress?
thanks.. and sorry for my lagging english.
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