HALL GROAT II
AMERICAN ARTIST
Classical Realist Oil Painting
© 2007 New York Art Collection
All Right Reserved. No part of this publication
may be
reproduced or transmitted in any form or by any
means,
electronic or mechanical, including photocopy,
recording or
any other information storage and retrieval
system without
the prior permission in writing from the
publisher.
First published in the United States of America
in 2007 by
New York Art Collection
PO Box 8781, Endwell, NY 13762
First paperback edition 2007
Library of Congress Catalog Card Number
ISBN 978-0-9799476-0-5
Printed and sattle
stitched in Endwell, NY
Thank you
for purchasing my instructional DVDs on classical realist oil painting. I hope
that you find the demonstrations beneficial to your development as an artist,
or to your art students', if you plan on using them in the classroom. The
included DVDs, were created in Apple IMovie and are organized according to
chapters—therefore upon loading the DVD, one can choose which demonstration to
begin with. They can be viewed either on your computer or television. Each
demonstration is divided into sections with topic headings that correspond to
the outline included within this instructional guide. Please begin with the
introductions. Based on my experience, one learns best through observation and
application. Therefore, all of the demonstrations, with the exception of the
two fully narrated pieces, include relaxing background music, rather than
repetitive narrative descriptions of the same process outlined within the
texts. The two demonstrations that I do narrate, however, are presented as
solid models for the concepts presented in this guide. If you have purchased my
more recent DVDs—volumes #6 and later—you will find that all of them contain
comprehensive narratives. The glossary and charts found throughout this text
are to assist you in understanding terms that you may not be familiar with. All
of the demonstrations are approximately 15-30 minutes in length, and focus on
the fundamental concepts that are essential for creating a classical naturalist
painting, based on my experience. The focus within all the demonstrations is on
the conceptual process for painting the illusion of three-dimensional form,
light, and texture, in addition to different methods for applying paint, rather
than delving into composition and color theory in great detail. Nevertheless, throughout the two narrated
demonstrations my color and compositional choices are described in conjunction
with each motif. The foundation for the approach to painting presented is
defined as "painterly naturalistic realism." With this style forms
are painted with soft edges, and colors tend to be muted and atmospheric,
reflecting the way in which we see the natural world that surrounds us. I mix my
colors both on the palette and directly on the painting surface. With the
"painterly naturalistic" sensibility a direct alla-prima,
wet-into-wet method is implemented, which is meant to be spontaneous and
expressive, rather than rigid and methodical. In my work I neutralize colors
through combining compliments and adding umbers. Black is rarely used to lower
the value of a color. The twelve painting phases presented are based on the
painting style I have developed over twenty years. In each of the included demonstrations,
the stages are clearly stated through subject heading text. Please do realize
though, that classical naturalist oil painting is never completely a linear
process, therefore there are instances where I will repeat a step that was
introduced earlier in the demonstration, or I may reverse the order of two steps.
One could essentially touch upon phases #2-#12 repeatedly at various stages of
a painting, until the relationships between all the elements appear
aesthetically pleasing to the eye. If you're interested in learning more about
the origin of my painting approach, please refer to the work of Lennart Anderson, who introduced me to classical
observational painting while I was earning my Master of Fine Arts Degree in the
early 1990’s at Brooklyn College. Lennart studied
painting with American artist, Edwin Dickinson while at the Art Students League
during the mid-twentieth century, and Edwin received his formal training from
American artists, William Merritt Chase and Charles Hawthorne.
To view more of my work, please visit these
web sites:
Demonstrations Included on Volumes #1-3 DVD
·
Ballet Slippers
·
Teacup & Saucer
·
Lemons
·
Pocket Watch
·
Radishes
·
Baseball
·
Eggs
·
Grapes and Creamers with Milk
·
Pocket Watch with Novel
1.
Basic Sketch & Major Value Relationships
Establish
the composition and major value relationships—including low key, middle value,
high key areas—through an undertone. After a basic sketch is completed, the
major shapes may be painted in a simplified manner with a large brush,
establishing the value relationships between the motif and the surrounding
space. The undertone used may vary from warm umber (ex. burnt umber) to cool
gray-blue. If the motif is predominately cool it may be helpful to use a cool
undertone, or warm undertone if the subject is cool. These combinations result
in opposing color interaction, which suggests movement on the painted surface.
During this initial stage a paper towel can be used to wipe away areas back to
the white of the canvas, and to model form through smearing with the towel a
transparent layer of paint over the surface. This is similar to the technique
used to rub a broad tone of charcoal on to a drawing surface. This procedure
may be completed several times before the composition and scale of the forms
are the way you would like them to be.
2.
Surrounding Space: Background &Foreground
Paint major
areas surrounding the motif. The value, intensity of color, and hue may be
varied from one side to the other to add visual interest and a sense of
movement. I typically contrast the subject both in value and in temperature
from the surrounding space, working predominately with complementary colors.
And use a larger-sized brush at this initial stage to simplify areas, and
implement either a modular or scumble stroke.
3.
Accents & Cast Shadows Opposite Light Source
This step
anchors the subject so that it doesn't appear as if it’s floating, and gives
the motif a sense of visual weight and volume. This may be painted with the
same undertone color that was used during step #1. It’s helpful to make the
value of the cast shadow similar to the value of
the shadow
of the central form, in addition to softening the edges of the cast shadow as
it diffuses outward away from the subject. It's important to closely observe
the relationship between the hard and soft edges of the cast shadow.
4.
Front Light of Form
The
temperature of the front light is dependent on the color of the subject and
type of light source. In all of the demonstrations included in this DVD
artificial light is used, therefore the front light appears warm. When natural
daylight is used to illuminate the motif the front light will typically appear
cool. Once again, a paper towel can be used to wipe away areas back to the
white of the surface, which will enable areas of clean color to be applied, and
not be muddled by an existing layer. This is especially important when working
with high key tints that must appear bright! When working with low-key colors
this situation is not as much of an issue.
5.
Shadow of Form
The shadow
of the form typically will be a low key, cool color. For example, in a painting
of a red apple the shadow side of the form may be painted with a violet, which
when mixed with the warm umber that is already underneath it will become
slightly warmer within a low-key value range.
6.
Restate Contour of Form & Primary Planes
There
exists a relationship between positive and negative space at this stage. The
form now may be restated to reflect the motif more accurately. When restating
forms the areas already painted in step #2 will be fused with the edges of the
subject through overlapping brushstrokes. Essentially, the tone that has been
established beforehand in the background is used to re-shape the contour of
primary form. Therefore, the quality of the edge must be considered. The edge
on the same side as the light source will be sharper, compared to the soft or
diffused edge, on the shadow side of the form.
7.
Secondary Planes
Begin to
model forms by painting secondary planes over top of primary planes. The area
where two large planar stokes meet is the area where the secondary planes
should be suggested. These are executed with a brush that is typically smaller
than the one used to block in the larger planes, and are what gives the form a
convincing illusion of volume.
8.
Suggest Details
The key
concept at this stage is "suggest." If details are overstated and not
subtly integrated the painting will look unnatural. Often time, details may be
suggested and then restated several times before they appear natural.
9.
Restate Cast Shadows & Accents
Restate
cast shadows and accents more specifically through suggesting both the cool and
warm areas that exist within the cast shadow. When restating these areas
closely observe the manner in which the edges change from hard to a softer edge
as the shadow extends outward from
the motif.
10.
Reflective Light
Suggest rim
light/reflective light (if it's present) along the edge of the shadow side of
the motif.
11.
Background Variation
Vary
background value and temperature to suggest light and movement. This is
completed in relation to the value and color of the motif. A scumble and modular brushstroke can be intermixed to add
visual interest through variation.
12.
Highlights
The areas
of the motif that are closest to the light source will appear the highest key.
These areas can be painted with a smaller brush with more of an impasto
application of paint, using pure white or Naples yellow. Highlights are meant
to be the finishing touches that enhance the volumetric illusion of the motif
and sense of light.
BASIC OIL PAINTING TERMS
Alla prima: A painting that is typically
completed in a single session where by wet paint is painted into wet paint.
Chroma:
Chroma refers to the purity or brightness of a color. The chroma of a color is relatively higher the less white or
gray it contains. Chroma can be described by the degree of saturation of a
color or the intensity of the color. Any pure tube color will have its chroma altered by the addition of any other color. The most
common method of reducing the chroma or “dulling” the
color is by adding its complement. Any two complements combined will neutralize
each other or reduce the chroma.
Chromatic
Neutral: When complimentary colors are mixed together they create neutral
colors based on chromatic, opposed to achromatic colors. Red mixed with green,
blue mixed with or orange, and yellow mixed with violet are basic chromatic
neutral combinations. Essentially, any hues that are located opposite each
other on the color wheel are defined as complimentary colors, and can
be combined as chromatic neutral.
Chromatic
Colors: Primary, Secondary and Tertiary
Contour:
The outer edge of forms that implies three dimensions, in contrast to
an outline, which is a boundary of two-dimensional, flat form. Also, it's a
type of line drawing that captures this three-dimensional outer edge, with its
fullness and recession of form.
Dynamic:
Giving an effect of movement, progression, and energy.
Form: A
three-dimensional object.
Form
Light: The area of the form that faces towards the light source.
Form
Shadow: The area of the form opposite side of the light source.
High
key: When the majority of the values in an artwork are lighter than middle
gray on the value scale.
Hue: The color
or pigment in its purest form.
Impasto:
A thick application of paint.
Intensity:
The strength or sharpness of a color.
Low
key: When the majority of the values in an artwork are darker than middle
gray on the value scale.
Middle
value: The value that is half way in between high and low key values.
Typically middle value is denoted as #5, and white is #10, and black is #0.
Modular
brushstroke: A wedge-type or geometric chiseled stroke that is created with a flat
bristle brush.
Motif:
(pronounced mo-teef) - A French term which
refers to: the subject matter or content of a work of art (e.g., a landscape
motif); also refers to a visual element used in a work of art, as in a
recurring motif.
Movement:
A principle of art and design concerned with creating a distinctive
structure that shows a feeling of action or a series of actions and guides a
viewer's eye through a work of art.
Negative
Space: The space that surrounds the subject.
Painterly:
An adjective used to describe a style of painting, which is based not
on linear or outline drawing, but rather patches or areas of color. In
painterly two-dimensional images, the edges of forms tend to merge into one
another, or into the background, rather than be separated
by outlines
or contours.
Planes
(or Spots): The sides or surfaces of a form.
Primary
Colors: Red, Yellow and Blue
Primary
form: The most basic or largest structure of a form. For example, the
various planes of an apple make up its primary form.
Primary
Planes: These are the major planes of a form that make up its basic structure.
For example, the entire topside of an apple is regarded as a primary plane.
Reflected
Light / Rim light: The light that breaks around the edge of the form
that is opposite the light source.
Secondary
Colors: The colors that are created through mixing together the primary
colors.
Green=Blue+Yellow | Orange=Yellow+Red |
Violet=Red+Blue
Scumble brushstroke: A scrubbing
movement of the brush. Putting a layer of opaque oil paint over another layer
of a different color or tone, so that the lower layer is not completely obliterated,
giving an uneven, broken effect.
Secondary
Form: The smaller or less dominant forms that are connected or attached to a
primary form. For example, the various planes of the stem of an apple make up
its secondary form.
Secondary
Plane: These are the planes that exist within the primary planes that give a
form it's subtle indentations or bends. For example, the concaveness of a side
of an apple would be constructed through secondary planes, or the manner in
which the form of the apple extends
inward at
the stem is made up of secondary planes.
Shade:
A dark value of color.
Shape:
A flat two-dimensional figure.
Tertiary
(Intermediate Colors):
Colors
created through mixing primary and secondary colors together.
Red-Orange
(RO), Red-Violet (RV), Yellow-Orange (YO), Yellow-Green (YG), Blue-Green (BG),
Blue-Violet (BV)
Texture:
The way an object looks or feels.
Tint: White
added to a color.
Tone: A color mixed with gray, which neutralizes the
color and makes it appear less saturated. A pure color is referred to as high
in chroma. A color mixed with a small amount of gray
is defined as
medium in chroma, and is considered as low in chroma
when a large amount of gray is mixed with a color. The term chroma and saturation both refer
to a colors relative purity or intensity. High saturated
colors are
pure, bright and intense, and low saturated colors appear duller, subtle, and
muted.
Undertone:
A layer of color or tone applied to the painting surface before the
painting itself is begun, to establish the general compositional masses, the
lights and darks (values) in the composition, or as a color to affect/mix with
subsequent layers of color. Under painting
is
generally a thin, semi-opaque layer of paint.
Value:
The darkness or lightness of a surface.
Value
Mapping: A preliminary plan for addressing those areas (or spots) of light,
dark and middle values.
Volumetric:
A quality of two-dimensional images characterized by a sense of three
dimensions, solidity, volume, as contrasted with atmospheric, which is
characterized more by a sense of space, or airiness, than with volume.
Volumetric is generally more characteristic of representational or traditional
art, than with modern or contemporary art, which is generally less concerned
with the depiction of three dimensions in objects and space.
CONCEPTS TO FURTHER CONSIDER
Integrating
Forms Into Space to Avoid
Isolation and
Creating an Atmospheric Space
Soften or diffuse edges on shadow
side with palate knife, blunt end of paintbrush, finger or paper towel. The
edges on the shadow side (or in a shadow) are typically less defined and soft.
It is also a good practice to vary the sharpness of the edge where the light is
striking, too. Identify during the early stages of painting the sharpest
expanses of a continuous edge. Typically they are the edges closet to the light
source. Paint through edges of established forms to integrate the background tonality
with the primary form. The tones from positive and negative space will blend
together. Remove paint on the shadow side (or in the shadows) with the palette
knife in order to soften or diffuse the paint, and return to the texture of the
canvas grain.
OBSERVERING
PRIMARY FORMS AS LARGE SPOTS OF COLOR
Squinting enables one to observe the
essence of the form, which is the most basic relationship of form in space. Spend
time studying the subject before you, observing the basic relationships of
light against dark and light against shadow. Paint the primary forms as large spots
of color and value first. Consider the major relationships between the colors
and values of the primary forms. Don’t begin with the details and secondary forms.
During the process of painting the primary forms, details will often be naturally
suggested through the movement and character of your brushstrokes.
Identify the darkest and lightest
value of your subject during the initial stages, and paint this relationship.
This will provide you a solid foundation to work from. Always think and observe
in terms of “general to specific.” Study the overall ambiance and mood of the
motif prior to the specific temperature and edge quality of a cast shadow. Do
not attempt to blend secondary planes of forms together during the beginning
stages of a painting. Instead, superimpose brushstrokes on top of one another.
This approach will enable the color or tone to retain its original value, and
not be altered, and also lend itself to a more vibrant and expressive painting.
BRUSHWORK
Paint the
primary forms as large spots with a big brush, which will assist you in
simplifying form and getting to the essence of the motif early on in the
painting. If the composition doesn’t feel right to you during the initial
stages of the painting, wipe away the sketch back to the undertone, and begin a
new idea.
Do not
paint in the same direction as the form. Instead, paint in a direction that is
against the form, using perpendicular brushstrokes. This will suggest more
surface tension and movement, and enhance the volumetric illusion of the motif.
Experiment with varying the direction and scale of your brushstrokes to suggest
movement, evoke emotion, and to enable discovery within
the painted
surface.
“Study the edges of forms and notice
how
they are greatly varied from hard to soft,
to invisible.”
Fig 6”x 6” Oil on canvas 2007 Hall Groat
II
OIL PAINTING SPECIFICS
The demonstrations were all painted
on wooden panel or canvas that was first primed with three coats of acrylic gesso,
and then sanded to offer a smooth surface. I only use high-grade, professional
acrylic gesso, which provides a stable painting surface. I’ve been using Winsor
and Newton professional grade oil paints for several years,
however do enjoy experimenting and comparing it to other brands on the market. Gamblin Artists Colors and Grumbacher
both manufacture outstanding oil paint. Experiment with various brands
to determine which work best for you! I paint with both Sable brushes and Flat
and Filbert bristle brushes. If you would like to learn more about the canvas
stretching and sizing process, in addition to oil paint and paint brush
specifics, please refer to DVD Volume IV, Oil PaintingTools, Practices and Principles. In this
DVD I present methodologies for arranging oil paint on the palette, the
technique I use for preparing stretched canvas, color theory, design theory and
how to specifically mix the oil paint to create a variety of hues.
PANEL DIMENSIONS
Ballet Slippers 8”x8”
Teacup & Saucer 6”x6”
Lemons 8”x8”
Pocket Watch 8”x8”
Radishes 8”x8”
SUGGESTED COLORS AND BRUSHES
OIL PAINT COLORS
Titanium
White 200 ml
Ivory
Black or Lamp Black 37 ml
Ultramarine
Blue 37 ml
Lemon Yellow Light 37ml
Cadmium
Red Medium 37ml
Alizarin
Crimson 37ml
Yellow Ochre 37 ml
Cadmium
Orange 37 ml
Burnt
Umber 37ml
BRUSHES
Flat/Filbert
Bristle/Sable Brush Size #2,
Flat/Filbert
Bristle/Sable Brush Size #5 or #6
Flat/Filbert
Bristle/Sable Brush Size #10, #11 or #12
DEMONSTRATIONS INCLUDED IN VOLUME #4
1. Value: An Important Painting Element
2. Color Wheel
3. Elements of Art & Principles of Design
4. Oil Paint, Brushes, Palette and Tools
5. Arranging Palette & Mixing Oil Paint
6. Stretching and Sizing Canvas
7. Mixing the Colors on the Color Wheel
“Naturalist oil painting is merely a
bunch of
abstract brush marks that carry your
eyes back into space.”
Peach 8”x8” Oil on canvas 2007 Hall
Groat II
_____________________________________________
Value: An
Important Painting Element
“The darkness or lightness of a surface”
_______________________________________________
Color Wheel
Primary
Colors: Red, Yellow and Blue
Secondary
Colors: The colors that are created through mixing
together
the primary colors.
Green=Blue+Yellow | Orange=Yellow+Red |
Violet=Red+Blue
Tertiary
(Intermediate Colors) examples:
The colors
created through mixing primary and secondary colors
together.
Red-Orange
(RO), Red-Violet (RV), Yellow-Orange (YO), Yellow-
Green (YG),
Blue-Green (BG), Blue-Violet (BV)
ELEMENTS OF ART & PRINCIPLES OF DESIGN
The point is simplest
element in an artwork, and when grouped together in a row may suggest lines
that can be used to create both shapes and forms. Points when combine may also place
emphasis on particular parts of a composition. The contours of the eggs and
teacup seen within this DVD were formed through a series of interconnected
points that formed implied lines, or the edges of the forms.
A line can be
thought of as points so close together that they lose their individual identity
and form a new entity, as in characteristic contour lines of the eggs and
teacup. Since lines can
be
straight, curved, or irregularly shaped, one may also think of a line as the
track of a point in motion. Lines, similar to points, may direct attention to a
specific location in a visual image.
A shape is formed
when a line encloses an area. Shapes may vary endlessly—as infinite geometric
and irregular shape configurations—and may suggest physical form and direct eye
movement.
Simple
shapes are remembered and understood more easily than complex shapes, similar
to the simple characteristics of the included teacup and egg shapes. Shapes define
figure and ground relationships, and are contrasted through value, texture, and
color.
Value is the
relative degree of lightness and darkness of a design element. Line, color, texture,
and shape all need value contrast in order to be seen. Value is used to
describe objects, shapes, and space. A variety of values were used to realize a
sense of volume and depth with the eggs and teacup paintings.
Texture
is defined as the surface characteristics of a material that can be
experienced through the sense of touch or the illusion of a particular tactile
surface. Within the chapter of this
DVD
entitled, Stretching and Sizing Canvas, the surface of cotton canvas
seen is quite rough in texture, both visually and to the touch. Then, the acrylic
gesso is applied and sanded with rough sandpaper to make the canvas smooth!
Color is the part
of light that is reflected by the object we see.
Space is the
illusion of objects having a sense of depth on the two-dimensional surface.
Both linear and atmospheric perspective are used to suggest the illusion of
depth. Within many of the paintings I create, as the forms receded back into
space, they become soft and diffused in nature, which is defined as atmospheric
perspective.
PRIMARY PRINCIPLES
Unity refers to
an overall sense of completeness in a work of art through the use of art
elements, which include shape, space, point, line, color, value and texture.
It’s the relationship among the elements of the piece that helps all these
pieces work together as one. It gives an artwork a sense of order that heightens
the viewer’s understanding and appreciation of the piece. In the teacup and
eggs painting referred to within the DVD in the section entitled, Value:
An Important Painting
Element, I focused
on varying the value, texture, and scale of the forms to balance all of the
elements and unify the piece.
Harmony
is ultimately achieved in a painting when all parts of the artwork relate
to, and complement one other, pulling the elements together in a visually
pleasing manner. In the teacup
and eggs
piece I varied the scale, proximity of the forms, and proportion of the
negative space in a way that evoked a feeling of visual harmony.
Variety
enables contrast to unity and harmony through presenting in diverse
and visually engaging manners the art elements. For example, the size and
relationships of shapes and forms can be contrasted, in addition to the
particular textures, colors and values of these shapes and forms. In the teacup
and egg painting I naturally varied the value, in addition to rhythmically contrasting
different sizes and shapes of paint strokes.
Hierarchy
refers to the manner in which the viewer’s eyes are lead throughout an
artwork from the most important area to the elements which are less important.
The area in an artwork that the viewer is supposed to look at first is often
defined as the focal-point, center of interest, or main emphasis. With respect to
the teacup and eggs one views the teacup first since it’s centrally positioned
and the largest in scale.
SUPORT PRINCIPLES
Scale refers to
the size of a shape or form in relation to other shapes and forms. The two eggs
are smaller in size compared to the teacup!
Balancing
the visual weight of the two eggs and teacup gives the piece a psychological
sense of equilibrium. There exist several types of balances within
compositions, including symmetrical, asymmetrical, and radial symmetry. When a
composition appears to be visually dominant or too heavy on one side, elements
on the other side must be varied to counterbalance the artwork. The teacup and
eggs piece is asymmetrically balanced since one side is different from the
other, however the two eggs counterbalance the visual weight of the central
teacup form.
Rhythm
is the result of repetition which leads one’s eyes throughout a
composition so that the piece does not appear static. With the teacup and eggs
the value and texture was uniquely
varied to
move the viewer’s eyes rhythmically throughout the work.
Proportion
is the comparative relationship between two or more elements in a
composition with respect to size, color, negative space, etc. That is, the size
of one element in a composition
compared to
the size of another related element. A good sense of proportion adds harmony,
symmetry, and balance between all the elements in the eggs and teacup painting.
In this piece visual
interest
was added to the composition by varying the proportions between foreground,
background areas, and the amount of negative space allotted to the right and
left sides of the three forms.
Repetition
is one of the simplest concepts in design to understand, and is when a
line, shape, color, form, texture, or value is repeated in different parts of a
composition. In the teacup and eggs piece value and texture were repeated to
achieve a visually harmonious and unified artwork. Although with each element that
was repeated its proximity was carefully considered in the composition,
referring to where it was placed, as in the foreground, background, middle
ground, or above, below, to the left or the right side.
CLASSICAL COLOR SCHEMES & HARMONIES
VOLUME #5
Thank you
for purchasing my fifth instructional DVD on traditional color schemes and
harmonies. I hope that you find the demonstrations beneficial to your
development as an artist, or the education of your art student’s, if you’re an
art teacher and plan on implementing it into your curriculum. The included DVD
was created in Apple IMovie and is organized according to chapters; therefore
upon loading the DVD, one can choose which demonstration to begin with.
Although I recommend that you first view my the introduction, and then the
demonstration that presents monochromatic harmony. In this first demonstration
I present images of the actual California Bartlett Pears that I paint! It can
be viewed either on your computer or on your television. The six fully narrated
demonstrations are presented as solid models for the concepts presented in this
guide. The glossary and charts found at the conclusion of the manual are to
assist you in understanding terms that you may not be familiar with. All of the
demonstrations focus on the fundamental concepts that are essential for
creating a traditional naturalist painting in a variety of color schemes and
harmonies, based on my experience. The focus within all the demonstrations is
on the conceptual process for creating six unique color schemes and harmonies.
Included in this instructional guide is also a brief synopsis of the twelve
fundamental phases I progress through when painting, which are presented in
great depth in volume # I, II and III DVD if you’re interested in learning more
about them.
A color scheme is essentially a
pre-planned combination of colors that when used together correctly, result in
a visually appealing, unified, and harmonious work of art. The color schemes
and harmonies presented include: Monochromatic, Analogous, Complementary, Cool/Warm,
Triadic and Tetrad. Each of these color schemes involves unique
color combinations that are discussed in great depth
within the
included DVD.
____________________________
“Allow your colors to move throughout
the
painting into all forms, which will
assist in
creating a sense of harmony and unity”
________________________________
McDonald’s Lunch 10”x 8” Oil on canvas
2007 Hall Groat II
DEMONSTRATIONS INCLUDED ON VOLUME #5 DVD
California Bartlett Pear Painted In
Six Unique
Color Schemes & Harmonies
COLOR SCHEMES & HARMONIES OUTLINE
All six of these classical color
schemes and harmonies may include tones, tints and shades of each color that is
implemented. With the complementary color scheme chromatic neutrals can also be
used to alter both saturation and value. The term “hue” refers to a color. Hues
may be primary, secondary, or tertiary colors. Please refer to the glossary at
the end of this guide for terms that you’re not familiar with.
DESCRIPTIONS OF COLOR HARMONIES
Six Painting Demonstrations of the
California Bartlett Pear
Demonstration #1
MONOCHROMATIC HARMONY
A monochromatic color scheme is
defined as a simple harmony and is built upon a single color, which may be made
to appear darker, lighter, and less intense through the addition of black,
white, and gray. When implementing this color scheme any of the twelve
colors—primary, secondary, or tertiary colors—found on the color wheel can be
used, and then varied through different combinations of tints, tones, and
shades. In this first demonstration I use the secondary color green and work to
create visual contrast and a sense of sculptural weight in the pear through
using a variety of tints, shades, and tones. With this color scheme it’s very
easy to create a feeling of color unity since only a single color is
implemented, however it’s essential to vary the degree of value and saturation
to add contrast and visual interest.
Demonstration #2
ANALOGOUS HARMONY
An analogous color scheme is defined
as a simple harmony and is built upon two or three colors that are adjacent to
one another on the color wheel. For example, working with a violet,
blue-violet, and blue, or a red, red-violet, red, or orange and yellow-orange
are all analogous in nature. Similar to the monochromatic harmony, colors may
be made to appear darker, lighter, and less vibrant through the addition of
black, white, and gray. When implementing this color scheme any of the twelve
colors—primary, secondary, or tertiary colors—located on the color wheel may be
used and grouped together as color families. In this second demonstration I
combine the secondary color green with the tertiary colors, yellow-green and
blue green, and strive to realize in the painting a feeling of visual contrast,
interest, and atmospheric space through the use of a variety of tints, shades,
and tones. With this simple color harmony it’s quite easy, as it was with the
monochromatic scheme, to create a sense of visual unity and color balance.
Demonstration #3
COMPLIMENTARY HARMONY
A complimentary color scheme is
defined as a contrasting harmony and is built upon two colors that are located
directly across from one another on the color wheel, and may involve primary,
secondary, or intermediate (tertiary) colors. The most basic complimentary
combinations involve green and red, blue and orange, and yellow mixed with
violet. Similar to the monochromatic and analogous harmonies, colors may be
made to appear darker, lighter, and subdued through the addition of black,
white, and gray. Although, what makes this particular color scheme unique is
the option for mixing complementary colors together to make chromatic neutrals.
Don’t get this confused with the cool achromatic neutral that is created by
mixing black and white together! In the third demonstration I combine the
complementary, opposing colors, red and green, and work towards moving the two
colors throughout the piece in different values and intensities. Throughout the
negative space I integrated small modular brushstrokes of tinted green over top
the underlying field of red, which adds to the sense of rhythmic movement
through color vibration. Complementary colors placed side by side appear to
shimmer and intensify one another. Try this and you will see! Additionally, I
used tints to introduce a few high-key areas, however did not make use of tones
or shades. Instead, the red was intermixed with the green in different
proportions to create a variety of chromatic neutral, which resulted in low-key
values in the shadows of the pear form. Don't forget, saturation or chroma is measured in terms of high, medium, and low
saturation. I used all of these in this painting! Complementary color harmonies
command a great deal of attention, and tend to “strike the view’s eyes” and
pull one in through the interaction of vibrating complementary colors.
Demonstration #4
COOL/WARM HARMONY
A cool/warm harmony is a four-color
scheme involving opposing colors. It’s based on a single pair of neighboring
warm colors and a single pair of neighboring cool colors. This color scheme
offers a tremendous amount of flexibility and opportunity for inventiveness due
to the large variety of combinations available for uniquely partnering
neighboring colors together. For example, yellow-orange and orange could be
combined with red-violet and violet as pure hues, tones, tints, or shades.
Another possibility, would be integrating yellow- green and green with
yellow-orange and orange as pure hues, tones, tints, or shades. In the fourth
demonstration I experimented with juxtaposing a yellow- green and yellow with a
blue and blue-violet. As in several of the former demonstrations, I added visual
contrast through mixing diverse tones, tines, and shades. Although, I did not
intermix the base colors together to lower both color’s saturation. If warm and
cool complementary colors were actually mixed together the color scheme would
be considered a double complementary harmony, 0pposed to a cool/warm harmony.
In a cool/warm harmony chromatic neutrals are not supposed to be used!
Demonstration #5
TRIADIC HARMONY
A triadic color scheme involves
three colors that are equally space around the color wheel in a triangular
formation, and considered to be a balanced harmony. It’s often described as a
color chord or color notes, and associated with musical notes or chords. There
are four distinct triadic harmonies that include red, yellow and blue, and a secondary
triad consisting of violet, orange and green. There also exist two unique
tertiary combinations involving red-orange, yellow-green, blue-violet; and
red-violet, yellow-orange, and blue-green. In this color scheme colors are not
intermixed to form chromatic neutrals. Instead colors are isolated within the
composition and presented as varied tones, tints, and shades. In the fifth
demonstration I opted to implement a tertiary triad consisting of red-orange,
yellow-green, and blue violet, and introduced subtle variation through tones,
tints, and shades.
Demonstration #6
TETRAD HARMONY
A tetrad color scheme involves four
colors that are equally space around the color wheel in rectangular and square
formations. Tetrad is also defined as balanced harmony or color chord. The
three tetrad harmonies that can be created through interconnecting four colors
by a square are: yellow, violet, red-orange, blue-green; yellow-orange,
blue-violet, red, green; or orange, blue, red-violet, yellow-green. The three
color combinations that may be created through a rectangle are: yellow-green,
red-violet, yellow-orange, blue-violet; yellow, violet, blue, orange; or green,
red, yellow, violet. Similar to the triad, colors are not intermixed to form
chromatic neutrals, rather colors are varied within separate areas as tones,
tints, and shades. In the final demonstration I opted to implement a tetrad
consisting of yellow, violet, blue, and orange, and once again added variation
through varying the saturation of the colors.
FOR YOUR REVIEW!
Fundamental Phases of Painting
1.
Basic Sketch & Major Value Relationships
2.
Surrounding Space: Background & Foreground
3.
Accents & Cast Shadows Opposite Light Source
4.
Front Light of Form
5.
Shadow of Form
6.
Restate Contour of Form & Primary Planes
7.
Secondary Planes
8.
Suggest Details
9.
Restate Cast Shadows & Accents
10.
Reflective Light
11.
Background Variation
12.
Highlights