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Thread: Fletcher: Colour Control
October 12th, 2009 #14
I doubt he'd be pissed. As far as I know that text is public domain. The other, more well known, book by Fletcher on woodblock printing is even available at Project Gutenberg I believe (don't quote me on that). I like to think he'd appreciate the fact that the information is being spread around.
"Contrary to the belief of the layman, the essential of art is not to imitate nature, but under the guise of imitation to stir up excitement with pure plastic elements: measurements, directions, ornaments, lights, values, colors, substances, divided and organized according to the injunctions of natural laws. While so occupied, the artist never ceases to be subservient to nature, but instead of imitating the incidents in a paltry way, he imitates the laws."-Andre Lhote
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December 7th, 2009 #15Registered User
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A bit late posting to this thread.
Regarding the Fletcher Method. I think this method works best when used in conjunction with an observational method such as the Munsell system. At least when it comes to observational painting. While the text attempts a similar section, it is in many ways lacking comparatively. However I have found the book quite brilliant when dealing with the wonderful nuances of color harmony.
While having not attended his atelier I am very familiar with what he teaches and he is an impressive man through and through. I am from the Chadds Ford area of PA and as such have met many students of his. What a wonderful intense place from what I hear. Here is quote his students might be familiar with:
"Talent is a word found in the mouth of the lazy to dismiss the hard work of those who have achieved."
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December 7th, 2009 #16
April 28th, 2010 #17
Thanks a lot for posting this. As I prefer to sit and read things instead of looking at a computer screen I would like to print this, but when I try to save the images, I just end up with a rather empty attachment.php-file.
Do you happen to have the images available for straightforward download somewhere?
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April 30th, 2010 #18
The house nerd is now home from work and he taught me how to do it: Just rename the attachment.php-file and make it into a jpg-file instead.
May 24th, 2010 #19
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August 5th, 2010 #20
Sorry for the late replies
Camilla: I do have the pages scanned in at a much larger size but I don't have those posted anywhere, this was the largest size I could post,without splitting the pages. Are they ok to print?
BluezAce: You're welcome!
StarInATeacup : you mean this?
Last edited by Zazerzs; August 5th, 2010 at 02:59 AM.
August 13th, 2010 #21Registered User
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very cool book, thanks.
On the topic of last chapter and music.
As some might know, sound and light are waves, and tone of sound comes from wave frequency. So if we take light as waves and compare it's frequency to sound, there is about one octave of waves that human percepts with eyes.
Fletcher's colors inside palette are white piano keys, and outside are black piano keys.
The author says it's wrong to bind notes to particular colors, but ok to use colors in octave correlation.
In the following source green is marked as "C" note
But can we rotate palette and make a red color as "G" major, or forget about green mark and count it as "C"? (sorry if wrong I'm not musician)
Is it right to use rotated palette with not red as major? Does non-spectral magenta color require any special care?
And if there are musicians, please share what you know of possibilities inside one octave.
November 5th, 2010 #22
May 15th, 2012 #23Registered User
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Thanks for the scan...awesome info. Here is a link to Myron's Colour Course intro http://vimeo.com/41986032
Last edited by aloza; May 24th, 2012 at 08:52 AM. Reason: correction
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May 15th, 2012 #24
First, read the book and watch the first class.
To answer your questions:
1. If you'd read the book and watched the video, you'd see that there's no set group of colors to use that are "better" than another. You choose your colors based on a) what key you want to work in and b)what "Intensity" you choose to tune your palette to (i.e. there are four basic levels of "Intensity" which you can tune your palette to. They are: High Intensity, Middle-High, Middle-Low, and Low Intensity). If you've read other color theory texts, when Fletcher (or Myron) use the term "Intensity" they're essentially talking about what other color theorists refer to as "Chroma." Also, when Fletcher uses the term "Temperature" he's essentially talking about "Hue." So, while Fletcher says "Temperature, Value, and Intensity" most people these days say "Hue, Value, and Chroma." Just FYI.
EDIT: To clarify things a bit more: In a "High Intensity" palette you might lay out Cadmium Yellow, Cad Orange, Cad Red, Pthalo Blue, etc. In a "Middle-High Intensity" palette you would "tune" your colors by mixing Yellow Ochre with the Cad Yellow, Burnt Sienna with Cad Orange, and maybe Venetian Red with your Cad Red, etc. The general premise is that the palette is an instrument and should be "tuned" according to the needs of the piece.
2. The easiest way to learn to use the system is to use a glass palette like he does in the video. Underneath the glass, place two sheets of paper. One should have the color wheel drawn on it and the other should have that geometric figure. The geometric figure should be on a separate sheet so you can rotate it when you want to change keys. If you don't have a glass palette then just draw the figure onto a paper palette.
Then you mix along like they tell you to do. Because of the guidelines of the geometric figure you have a basic road map of where you're moving in color-space.
Here's a palette I did in the key of Red_Yellow_Blue-Green. Hope it helps clarify things.
Last edited by jpacer; May 23rd, 2012 at 03:21 PM. Reason: typos and clarification"Contrary to the belief of the layman, the essential of art is not to imitate nature, but under the guise of imitation to stir up excitement with pure plastic elements: measurements, directions, ornaments, lights, values, colors, substances, divided and organized according to the injunctions of natural laws. While so occupied, the artist never ceases to be subservient to nature, but instead of imitating the incidents in a paltry way, he imitates the laws."-Andre Lhote
Web, FineArt, Sketchbook
May 16th, 2012 #25
May 20th, 2012 #26Registered User
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