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DO NOT WRITE ON ELEMENTS: COLORCOLOR - The hue that is reflected back to the eyeThree properties:Hue: name of colorValue: hue’s lightness and darkness (a color’s value changes when white or black is added)Intensity: quality of brightness and purity (high intensity= color is strong and bright; low intensity= color is faint and dull)Color has a profound effect on us even though we may not be aware of it. Every day our emotions, moods, mental acuity and even physical sensations—such as appetite—are influenced by the colors that surround us.Imagine that during the night while you were sleeping someone came and painted your walls and ceiling black. How would it make you feel as you began your day? Now imagine waking up to a bright sky blue, or a brilliant yellow, or a pale mint green.? This is a good exercise to get a sense of how much color can affect you.Artists and designers—as well as advertisers—use color very deliberately to make you feel a certain way. Ever wonder why McDonald’s uses so much red and yellow? The colors red and yellow stimulate appetite. Color in the clothing you wear can also have an unconscious effect on others. ?Understanding the psychological and symbolic effects of color, and color theory--how colors relate to each other—can be a powerful tool not just in art, design, and advertising, but also in home decorating and personal style.? A basic knowledge of color can strongly enhance anyone’s life—professional or not.COLOR THEORY: UNDERSTANDING COLOR RELATIONSHIPS USING A COLOR WHEELThe Color Wheel is a useful tool to begin understanding how colors relate to each other. This is a very simple color wheel which we will refer to throughout this section. I suggest that you make your own in a sketchbook or journal. Creating your own color wheel and mixing colors will help you to understand the concepts we are discussing.left22669500?PRIMARY, SECONDARY, AND TERTIARY COLORS?????? The color wheel is built on three colors: red, yellow, and blue. All other colors can be mixed from these three colors (plus black or white).? You can think of them as the building blocks of color.? Often, children's toys, clothes, books, furnishings and other objects use the primary colors, especially for babies and toddlers.1482090455295YELLOWREDBLUEYELLOWREDBLUEPRIMARY COLORS?are the main colors. You must have these three colors to create all the colors on the color wheel. PRIMARY COLORS?Notice the use of primaries in the painting below. How does the use of color feel to you? You might think of balance, basic, building blocks---what kind of emotion do these colors evoke in you?? In this case, black and white are used to define shape in space, and structure.5236210133350026536655143500342901333500?-45720163195Stepping Out, 1978Roy?Lichtenstein?(American, New York City?1923?€“1997 New York City)Oil and Magna on canvas; 86 x 70 in. (218.4 x 177.8 cm)Purchase, Lila Acheson Wallace Gift, Arthur?Hoppock?Hearn Fund, Arthur?Lejwa?Fund in honor of Jean?Arp; and The?Bernhill?Fund, Joseph H.?Hazen?Foundation Inc., Samuel I.?NewhouseFoundation Inc., Walter?Bareiss, Marie?Bannon?McHenry, Louise Smith, and Stephen C.?Swid?Gifts, 1980 (1980.420)?Relational Painting No. 64, 1953? Fritz Glarner (American, born Switzerland, 1899–1972)Oil on canvas? 20?x 20 in. (50.8 x 50.8 cm)Gift of Celeste and Armand Bartos, 1983 (1983.579)??Source:?Fritz Glarner: Relational Painting No. 64 (1983.579) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art???? Summer 1965, 1965Hans?Hofmann?(American (born Germany)?1880?€“1966)Oil on canvas; H. 72, W. 48 inches (182.9 x 121.9 cm.)Gift of?Renate?Hofmann, 1991 (1991.428.1)??????00Stepping Out, 1978Roy?Lichtenstein?(American, New York City?1923?€“1997 New York City)Oil and Magna on canvas; 86 x 70 in. (218.4 x 177.8 cm)Purchase, Lila Acheson Wallace Gift, Arthur?Hoppock?Hearn Fund, Arthur?Lejwa?Fund in honor of Jean?Arp; and The?Bernhill?Fund, Joseph H.?Hazen?Foundation Inc., Samuel I.?NewhouseFoundation Inc., Walter?Bareiss, Marie?Bannon?McHenry, Louise Smith, and Stephen C.?Swid?Gifts, 1980 (1980.420)?Relational Painting No. 64, 1953? Fritz Glarner (American, born Switzerland, 1899–1972)Oil on canvas? 20?x 20 in. (50.8 x 50.8 cm)Gift of Celeste and Armand Bartos, 1983 (1983.579)??Source:?Fritz Glarner: Relational Painting No. 64 (1983.579) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art???? Summer 1965, 1965Hans?Hofmann?(American (born Germany)?1880?€“1966)Oil on canvas; H. 72, W. 48 inches (182.9 x 121.9 cm.)Gift of?Renate?Hofmann, 1991 (1991.428.1)??????? ? ???????SECONDARY COLORS?are the colors that result from an equal mix of two primary colors. (Refer to the color wheel).? Red + yellow = ORANGE.? Yellow + blue = GREEN. Blue + red = VIOLET.?TERTIARY COLORS?are the colors that result from an equal mix of one primary color and one secondary color (Refer to color wheel). Red + orange = RED ORANGE. Blue + green = BLUE GREEN, and etc.? The word tertiary means third. (Some use the word Intermediate colors)ANALOGOUS AND COMPLEMENTARY COLOR RELATIONSHIPScenter66865500ANALOGOUS COLORS are neighboring colors (next to each other on the color wheel). Green and blue, yellow and orange, violet and red are examples of analogous colors.?? When used together, analogous colors seem to blend with each other. 498157595186500COMPLEMENTARY COLORS Paired colors that are on the opposite side of the color wheel from each other. Red and green, blue and orange, violet and yellow are complementary colors. Complementary colors create strong contrast. They stand out. They draw attention to themselves. When equally mixed you create the neutral color brown. Complementary colors are often used in advertising, and sports team colors.center381000SPLIT COMPLEMENTARY COLORS A color and the two colors on each side of its compliment 2388235242506500center2603500DOUBLE SPLIT COMPLEMNTARY COLORS Two pairs of compliments with one space apart on the color wheelTRIADIC COLORS Three colors spaced equally apart on the color wheelcenter889000Compare the use of analogous or complementary color schemes in the following artworks. Notice how each makes you feel.?Notice how the colors blend together in the first three?examples. The title of?Albers' painting ("Soft Spoken") fits with his use of analogous colorsHomage to the Square: Soft Spoken, 1969Josef Albers (American, born Germany, 1888–1976)Oil on Masonite??? 48 x 48 in. (121.9 x 121.9 cm).Gift of the artist, 1972 (1972.40.7)? 2010 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New YorkSource:?Josef Albers: Homage to the Square: Soft Spoken (1972.40.7) | Heilbrunn Timeline of Art History | The Metropolitan Museum ofArtMorning on the Seine near Giverny, 1897Claude Monet (French, Paris 1840?€“1926 Giverny)Oil on canvas; 32 1/8 x 36 5/8 in. (81.6 x 93 cm)Bequest of Julia W. Emmons, 1956 (56.135.4)Red, Ochre and White, 1952Fritz?Bultman?(American,?1919?€“1985)Gouache and graphite on paper; H. 23, W. 29 inches (58.4 x 73.7 cm.)Gift of Estate of Fritz?Bultman, 1994 (1994.437)?In the next artworks, compare the use of complementary colors to the use of analogous colors.? Compare the Bultman painting below (using complementary colors--the ochre color works like orange) to the previous Bultman painting (Using analogous colors).left5715000Blue I, 1958Fritz?Bultman?(American,?1919?€“1985)Gouache and graphite on paper; H. 29, W. 23 inches (73.7 x 58.4 cm.)Gift of Estate of Fritz?Bultman, 1994 (1994.436)?516826545212000In the following example, Lawrence is using both analogous and complementary colors. Notice how the red stands out strongly and becomes the focal point.Pool Parlor, 1942Jacob Lawrence (American, Atlantic City, New Jersey?1917?€“2000 Seattle, Washington)Watercolor and gouache on paper; H. 31 1/8, W. 22 7/8 in. (79.1 x 58.1 cm)Arthur?Hoppock?Hearn Fund, 1942 (42.167)?46348663993260066294040195600Here Van Gogh paintings, one using analogous colors and the other using complementary colors. 3735705167005La Berceuse (Woman Rocking a Cradle;?Augustine-Alix?Pellicot?Roulin,?1851?€“1930), 1889Vincent van Gogh (Dutch,?Zundert?1853?€“1890?Auvers-sur-Oise)Oil on canvas; 36 1/2 x 29 in. (92.7 x 73.7 cm)The Walter H. and?Leonore?Annenberg?Collection, Gift of Walter H. and?Leonore?Annenberg, 1996, Bequest of Walter H.?Annenberg, 2002 (1996.435)?00La Berceuse (Woman Rocking a Cradle;?Augustine-Alix?Pellicot?Roulin,?1851?€“1930), 1889Vincent van Gogh (Dutch,?Zundert?1853?€“1890?Auvers-sur-Oise)Oil on canvas; 36 1/2 x 29 in. (92.7 x 73.7 cm)The Walter H. and?Leonore?Annenberg?Collection, Gift of Walter H. and?Leonore?Annenberg, 1996, Bequest of Walter H.?Annenberg, 2002 (1996.435)?left161290Madame?Roulin?and Her Baby, 1888Vincent van Gogh (Dutch,?Zundert?1853?€“1890?Auvers-sur-Oise)FrenchOil on canvas; 25 x 20 1/8 in.Robert Lehman Collection, 1975 (1975.1.231)?0Madame?Roulin?and Her Baby, 1888Vincent van Gogh (Dutch,?Zundert?1853?€“1890?Auvers-sur-Oise)FrenchOil on canvas; 25 x 20 1/8 in.Robert Lehman Collection, 1975 (1975.1.231)?VALUE: TINTS AND SHADESVALUE is the lightness or darkness of tones/ hue (color). In pencil drawings, value is determined by the amount of pressure you apply with the pencil. The more the pressure, the darker the value. A very light touch will produce the lightest shades. A classic exercise in working with value is to take your pencil and draw lines back and forth on the paper, without lifting the pencil, starting with the lightest values you can create and gradually adding more pressure to the pencil to create progressively darker value, ending with the darkest hue you can create. See how many different values you can create.? This will enable you to create the exact values you want in your work.center100838000Lighter values can be added to a hue by mixing white (or a lighter color) with it. This is called a TINT. Darker values can be created by mixing black (or a darker color) with the original hue. This is called a SHADE. Practice mixing colors to create as many tints and shades as you can. The more you practice missing colors, the more precise you can be with color in your own work.?MONOCHROME AND NEUTRALSleft102298500A color scheme that incorporates tints and shades of only one hue (color) is called MONOCHROMATIC. What kind of effect do you think that would have? Imagine a room painted and decorated with a monochromatic color scheme, or an outfit that incorporates tints and shades of just one color.The Picture, 2004Shishir Bhattacharjee (Bangladeshi, born 1960)Mixed media on canvas; 135 X 135 cm Image courtesy of the artist Source:?Postmodernism: Recent Developments in Art in Pakistan and Bangladesh | Thematic Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art?59626595948500NEUTRAL colors are considered to be whites, blacks, grays, browns and some tans. They are called neutral because they are considered to have a minimal impact. (However, all you have to do is imagine a room filled with office cubicles or a doctor’s exam room to see that we do have a response to neutral colors)In artwork, neutrals are used when the artist wants to emphasize structure or form over a response to color. Cubists originally used only neutrals to call attention to the multiplicity of viewpoints they combined.?Some photographers prefer black and white over color photography, so they can emphasize form.In fashion, decorating, and graphic design, neutrals are used for the same reason, to emphasize structure and form. Sometimes neutrals are used in clothing to keep from calling attention to oneself, and in rooms to try to appeal to a wider group of people.?WARM AND COOL COLORSSome colors are called WARM because they tend to?feel?warm; while others are called cool because they tend to?feel?COOL. Warm colors are Red, Yellow, Orange and all hues in between. Cool colors are Blue, Green, Violet and all hues in betweenThe use of either predominantly warm or predominantly cool hues has a markedly different psychological effect. For example, to some people cool colors feel more calm, while warm colors may feel more energetic. An equal use of cool and warm colors would balance the psychological response.In addition to the psychological aspect, there is an optical effect of warm and cool colors. Cool colors appear to recede, while warm colors appear to come toward the viewer.40824152844800025336545466000Compare the feeling of the two rooms below.? One uses primarily?warm colors, while the?other uses primarily cool colors.??3990975723900 Room from the Hewlett House, ca. 1740–60Woodbury, New York? 9 ft. 3/4 in. x 17 ft. 3 in. (panel)Gift of Mrs. Robert W. de Forest, John B. Dunn, William B. Codling and Edwin N. Rowley, 1910 (10.183)? Source:?Room from the Hewlett House [Woodbury, New York] (10.183) |?Heilbrunn?Timeline of Art History | The Metropolitan Museum of Art0 Room from the Hewlett House, ca. 1740–60Woodbury, New York? 9 ft. 3/4 in. x 17 ft. 3 in. (panel)Gift of Mrs. Robert W. de Forest, John B. Dunn, William B. Codling and Edwin N. Rowley, 1910 (10.183)? Source:?Room from the Hewlett House [Woodbury, New York] (10.183) |?Heilbrunn?Timeline of Art History | The Metropolitan Museum of Art-22860635635 The Croome Court tapestry room, Worcestershire, 1758–67 Designed by Robert Adams (English, 1728–1792)Plaster, pine, mahogany, bronze-gilt, marble, lapis lazuli, steel, and tapestry???H. 27 ft. 1 in. (825.5. cm), W. 22 ft. 8 in. (690.9 cm), D. 13 ft. 10 3/4 in. (423.5 cm)Gift of the Samuel H. Kress Foundation, 1958 (58.75.1–22)? Source:?Robert Adams: The Croome Court tapestry room, Worcestershire (58.75.1-22) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art0 The Croome Court tapestry room, Worcestershire, 1758–67 Designed by Robert Adams (English, 1728–1792)Plaster, pine, mahogany, bronze-gilt, marble, lapis lazuli, steel, and tapestry???H. 27 ft. 1 in. (825.5. cm), W. 22 ft. 8 in. (690.9 cm), D. 13 ft. 10 3/4 in. (423.5 cm)Gift of the Samuel H. Kress Foundation, 1958 (58.75.1–22)? Source:?Robert Adams: The Croome Court tapestry room, Worcestershire (58.75.1-22) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art?INTENSITYINTENSITY refers to how?pure?a color is. The purity of a color is determined by whether or not a color is mixed with other colors and to what degree.??The most intense colors are those that are not mixed with other colors. Less intense colors are those that are mixed with other colors (including black or white). These colors are called more?muted.?Like complementary colors, intense colors attract attention. A color scheme that attracts the most attention is the use of complementary colors with a high degree of intensity.A good place to observe the contrast between intense and muted colors is looking across a river or a vast landscape. The colors on the same side of the river, or those closest to you in the landscape are more intense. Those on the other side of the river, or far away in the landscape are more muted. This is known as atmospheric perspective. If you want to create an illusion of great distance or space, use a contrast of?intense and muted colors.46291548323500398716548641000Notice the difference between the two paintings below. One uses very intense colors, while the other uses muted colors. Compare the feeling and effect of intensity of color.??0244475André Derain, 1906Maurice de Vlaminck (French, 1876–1958)Oil on cardboard??? 10 3/8 x 8 1/4 in. (26.4 x 21 cm)Jacques and Natasha Gelman Collection, 1998 (1999.363.83)? 2010 Artists Rights Society (ARS), New York / ADAGP, Paris????? Source:?Maurice de Vlaminck: Andre Derain (1999.363.83) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art0André Derain, 1906Maurice de Vlaminck (French, 1876–1958)Oil on cardboard??? 10 3/8 x 8 1/4 in. (26.4 x 21 cm)Jacques and Natasha Gelman Collection, 1998 (1999.363.83)? 2010 Artists Rights Society (ARS), New York / ADAGP, Paris????? Source:?Maurice de Vlaminck: Andre Derain (1999.363.83) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art3648075219710Hammamet with Its Mosque, 1914Paul Klee (German, born Switzerland, 1879–1940)Watercolor and pencil on paper???????? 8 1/8 x 7 5/8 in. (20.6 x 19.4 cm)The Berggruen Klee Collection, 1984 (1984.315.4)? 2010 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn?????? Source:?Paul Klee: Hammamet with Its Mosque (1984.315.4) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art0Hammamet with Its Mosque, 1914Paul Klee (German, born Switzerland, 1879–1940)Watercolor and pencil on paper???????? 8 1/8 x 7 5/8 in. (20.6 x 19.4 cm)The Berggruen Klee Collection, 1984 (1984.315.4)? 2010 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn?????? Source:?Paul Klee: Hammamet with Its Mosque (1984.315.4) | Heilbrunn Timeline of Art History | The Metropolitan Museum of ArtPSYCHOLOGICAL COLOR AND SYMBOLIC COLORPSYCHOLOGICAL COLOR VS. SYMBOLIC COLORMost of what we have studied so far considers the psychological effect of color, in other words, how people may feel when they are exposed to certain colors. This is a very personal thing that varies from person to person, but there are many similarities between people. Certain aspects of color theory involve a more optical response, how the eye perceives color. For example, complementary colors attract attention, and warm colors seem to come forward while cool colors appear to recede.Symbolic color is universally (or culturally) accepted use of color to represent something specific. Flags that represent different nations, sports teams, cultural rituals such as weddings and funerals, and holiday themes are all examples of symbolic color. Everyone (within a specific group of people) accepts that symbolic colors represent very specific things. An emotional, or psychological response to symbolic color is a response not to how the color?feels, but to what the color?represents.How does the use of symbolic color affect the meaning or content of the two paintings below?11049016573500Freedom of Speech,?1990??????Faith?Ringgold (American, born 1930)Acrylic and pencil on paper? 24 x 35 3/4 in. (61 x 90.8 cm)Purchase, Gift of Hyman N. Glickstein, by exchange, 2001 (2001.288)Faith Ringgold ? 1990? Source:?Faith Ringgold: Freedom of Speech (2001.288) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art477012015875000Flags, 1968Jasper Johns (American, born 1930)Lithograph with stamps? 34 x 25 in. (86.4 x 63.5 cm)Gift of Dr. Joseph I. Singer, 1969 (69.701.2)? Jasper Johns/Licensed by VAGA, New York, NY? Source:?Jasper Johns: Flags (69.701.2) | Heilbrunn Timeline of Art History | The Metropolitan Museum of ArtThis Jasper Johns painting has a very interesting visual effect. Stare at the upper portion for a few moments and then quickly shift your gaze to a white surface, like a wall or a sheet of paper.? You should see the flag in red, white, and blue. ................
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