He painted Rouen cathedral in France some thirty times, but what fascinated him most was not the building-it was, he said, the surrounding atmosphere. Slideshow: Monet, Matisse, and Kandinsky on Colorįrench artist Claude Monet liked to paint the same subject over and over again, at different times of day and in different types of weather. Then view the slideshow below to introduce students to three artists-Claude Monet, Henri Matisse, and Wassily Kandinsky-and the way they used color in their paintings. To get students thinking about color and the moods or feelings that colors can convey, read a book that focuses on color, such as The Day the Crayons Quit by Drew Daywalt. Cool colors-blues, blue-greens, and blue-violets-are those of ice and the ocean. Warm colors-reds, yellows, oranges, and red-violets-are those of fire and the sun. They seem to vibrate and pop out at you, the viewer. One important thing painters know: using complementary colors-the ones across from each other on the color wheel (red-green, blue-orange, and yellow-purple)-make both colors seem brighter and more intense.
Instead, your computer screen mixes other colors from red, blue, and green.
When artists mix pigments of the primary colors, they make secondary colors.ĭid you know that your computer screen also works by using three primary colors? But here, since the colors are light from the monitor and not paints, the three primaries are not the same. With paints of just these three colors, artists can mix them to create all the other colors. Red, blue, and yellow are the primary colors. When light hits an object, we see the colored light that reflects off the object. Light contains different wavelengths of energy that our eyes and brain "see" as different colors. Copies of the "Colorful Language" worksheet and faded image of Rouen CathedralĪre these paintings of the same building? How are they similar and different?Ĭolor is what we see because of reflected light.
Smart Board or computer with ability to project images from slideshow.The result is still an impression or reality but with added vibrancy. Watch the video: In the accompanying video I highlight these painting choices. Use these techniques especially around the focal area or in the prominent light filled areas of your painting. Scumbled brushwork of thick wet paint over dry color to create vibrant light effects. But what about the potential to have layers of color working too. All too often artists settle for one blended flat layer, becuase the drawing is okay. Layers are vital to making colors work extra hard. Use this natural phenomenon and your painting has another dimension as the light changes in the room. First the thick paint makes the most of the pigment. Let nature be your guide.Ĭolor gets a boost when paint is applied in thick layers. Get out the color wheel as a reminder, but do not get too caught up in color theory. Once you are familiar with these it is time to play with other combinations like split complementary schemes. One color to dominate and the complement to create the spark. Get to know these by using them in your painting. The light works beautifully against the shadows colors.Ī basic working knowledge of complementary color combinations is essential. It is in these shadows that overall painting gets it spark. Pay particular attention to the shadow colors and how they change depending on the effect of light. Take a look at these two paintings by Claude Monet from his haystacks series. Whether in shadows as a cool or in indirect light for warmer hues, violet always adds a welcome spark of color in a landscape painting. Instead mix violets from your reds, blues and white to get harmonious color mixes. Try and find a place for warm and cool violet hues. What does that do for your orange and violet mixes? Other ideas are to try quincridone red instead of cadmium red light. If you light colors lean a little to orange the effect is heightened. Play this off warm light and you get exciting combinations. Cobalt blue can produce a high key blue for cool intense shadows. That is fine, but can become stale if you do not try other combinations.Īn example is to use cobalt blue instead of ultramarine blue. For example ultramarine blue and burnt sienna to make dark shadows. You have your pet palette colors and follow the same recipes. I have often said that a limited palette of color will do more good than throwing a dozen or more tube colors onto your palette. They will help you a lot with the next stage of painting. If you are new to color basics please take a look at these tutorials on color fundamentals.
0 kommentar(er)
