A couple of weeks ago, I explained the basics of color theory in art, and challenged the readers to create a black and white drawing matching the values of the image. How did you do?
After all of these years, I still use this exercise before starting any painting. Not only is it good practice to learn form, but also determine the direction of light sources.
For Part 2 of color theory, I am going to talk about incorporating limited color into your work. Using a monochromatic (colors that have the same hue but vary in value) can be just as stunning with a limited palette. It’s the manipulation of values and contrast that make the subject “pop” and draw the observer into the piece.
In the following examples, I am showing how the use of value and a single hue can impact the mood, contrast and environment of a piece. This painting was created as part of an assignment from my college days, but the principles still apply today.
Example 1
In this first example, the image is showing extreme contrast of value with subtle relationship of chroma. Using gouache paints include black, white and green, I am demonstrating here how specific chroma (intensity of color) can influence the contrast. The green paint used is very dull; with little pigment, almost appearing gray.
Example 2
For the second example, the image is showing the opposite of example 1; here is extreme chroma using yellow pigment in its purest form with mostly white and a touch of black (under 5%).
Example 3
In the final example, I combined both high chroma with red and high contrast of value for a dramatic effect with the image.
The next question you may be asking is, how do I know what style to choose for my painting? This can be a complex answer depending on the subject, mood or even supplies that you have available. Typically, the main subject of the painting would have the highest contrast and chroma and objects in the background would decrease in intensity and contrast the further they move away.
This rule works for traditional 17th & 18th century landscapes, then comes along artists such as Vincent van Gogh that used high chroma throughout his landscapes: example “Cypresses” in 1889.
With any project, I recommend researching your color palette carefully and experimenting before investing too much time into the main artwork.
This week’s challenge is to create color cheatsheets in your medium of choice: watercolor, gouache, acrylics, oils - even colored pencils would work for this. Next, I suggest using canvas board or Bristol paper - something that is more sturdy than copier paper to hold up. Finally, start mixing! In the sample below, I used emerald green watercolor mixed with white, ivory black and Payne’s gray build a reference to compare chroma and value next to my subject references.
If you need some extra help, I recommend Color Mixing for Artists - this book has any and all variations of color mixes for watercolor, oils, and acrylics.
In the final segment of the introduction to color theory, I will be going over more color terminology and layering in more hue into your artwork.
References
John Lidzey, Jill Mirza, Nick Harris, Jeremy Galton. Color Mixing for Artists. 2002.
Jean Victor Berin. Classical Landscape with Figures. 1803. The Metropolitan Museum of Art. New York.
Vincent van Gogh. Cypresses. The Metropolitan Museum of Art. New York.