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Richard Robinson's
Mastering Color
[Chapter 7]
Color Harmony
Oils
Large palette - larger than A3 size is
good. An A2 sized glass palette is ideal.
Brushes of any size.
Painting medium for oils like Liquin or
Chroma Archival Classic Medium.
Palette Knife.
Colors as recommended throughout the
lesson.
Acrylics
Large stay-wet palette - A3 or bigger is good.
Brushes of any size.
Retarding Medium to slow the drying of your
paints.
Water spray bottle for keeping your paints wet.
Palette Knife.
Colors as recommended throughout the
lesson.
Get these art supplies discounted online - click here:
http://www.livepaintinglessons.com/art_supplies.php
Harmony
Unity or Harmony is the one thing most artists strive
for in a painting - for everything to look like it belongs
there. Perhaps the trickiest part of achieving that unity
is getting all the color in a painting to look like it
belongs there. It's very common in beginner's
paintings to see a tree which is too green or a sky
which is too blue, or to see a whole range of colors
which just don't seem to play well together - like
naughty children they're all shouting for your
attention.
John Singer Sargent
The reasons many painters have trouble creating
pleasing color harmonies are firstly the confusingly
large number of colors we have to choose from and
secondly the problem of simply not knowing a good
system to build color harmony in a painting.
In addressing the second problem you'll see we are
also going to resolve the first problem. That's because
the best ways to achieve color harmony all appear to
involve reducing the range of colors in your painting.
As we'll see this makes sense because it is in fact how
nature reveals herself to us.
Beginners often have no coherent
plan for color harmony.
Copyright © 2010 Richard Robinson. All Rights Reserved.
www.livepaintinglessons.com
2
Richard Robinson's
Color Harmony
Mastering Color
[Chapter 7]
As Richard Schmid says, "there are no ugly color
combinations, only ugly feelings about them." Since
everyone's idea of color harmony is different I can't
tell you how to create the most pleasing color
harmonies for yourself, so what I will do is show you
the 2 best methods I have found so that you can
choose for yourself.
The methods I will show you are:
1. Limited Palette
(Limited Palette, Color schemes, Color Wheel Masking)
Richard Schmidt:
http://www.richardschmid.com
2. Unifying Light
There are 3 methods which come under the banner of
a 'limited palette'. The first is, oddly enough, 'limited
palette'. The second is 'color schemes' and the third is
'color wheel masking' or 'gamut masking'.
Limited Palette
'Limited palette' refers quite simply to reducing the
number of colors on your palette, which creates a
natural sort of color harmony in that all mixtures will
contain most or all of the colors on your palette, so all
your mixtures will be related to each other. A limited
palette will also force you out of your old color mixing
habits and present you with interesting new
challenges. For the outdoor painter a limited palette
is the obvious choice as it's so much less cumbersome
than travelling with a full spectrum of colors and the
simpler color choices suit the quick painting methods
required for outdoor work.
How you decide upon which colors to use is again a
purely personal choice but you may be interested to
know some of the limited palettes other painters have
used which you might like to try for yourself.
Anders Zorn:
Flake white, Yellow Ochre, Cad Red
Light and Ivory black.
You'll notice that he's got no blue in there at all. What
he has done is relies upon his predominantly warm
colors to make the grays made from his black and
white to appear blue. In this self portrait he's even
painted his palette in there as if to say 'see what I can
do with only two colors plus black and white? 'Many
Anders Zorn 1860-1920
http://www.anderszorn.org
Copyright © 2010 Richard Robinson. All Rights Reserved.
www.livepaintinglessons.com
3
Richard Robinson's
Color Harmony
Mastering Color
[Chapter 7]
Joaquin Sorolla:
Zink white, Yellow Ochre, Seville Red
Earth, Rose Madder, Ivory Black, Cassell Earth,
Ultramarine Blue.
Kevin Macpherson:
Titanium White, Cad Yellow Light,
Alizarin Crimson, Ultramarine Blue, Winsor Green.
Kevin MacPherson (b. 1956)
http://kevinmacpherson.com
Joaquin Sorolla y Bastida (1863 - 1923)
http://www.joaquin-sorolla-y-bastida.org
You might consider this his Sorolla's base
palette - he certainly used more colors than this
in many of his works. Notice the predominance
of warm colors.
Richard Robinson:
Titanium White, Cad Yellow Light,
Cad Red Mid, Ultramarine Blue, Burnt Sienna.
Richard Robinson (b. 1975)
http://www.newzealandartist.com
Copyright © 2010 Richard Robinson. All Rights Reserved.
www.livepaintinglessons.com
4
Richard Robinson's
Color Harmony
Mastering Color
[Chapter 7]
art schools recommend starting out with just earth
colors like burnt sienna or raw umber + white, and
once the student has gained a good grasp of form
and value they are allowed to add ultramarine blue
to their palette so that they can begin to grapple
with the concept of warm and cool colors. The next
step would be to add a yellow and red of some
description. It's a great practice to start simple - too
often people dive in at the deep end and get lost
and frustrated. Starting simple or going back to
basics gives you a solid foundation to build on.
form and value
warm and cool
primary palette
Here are 2 paintings made with just Ultramarine
Blue, Burnt Sienna and Yellow Ochre.
Harmonic Color Schemes
Most color harmony schemes today are derived from
Michel Chevreul's declaration in 1855 of the
following harmonies: Analogous, Complementary,
Split Complementary, Triadic, and Monochromatic.
The basic application of these harmonies would be
to choose the tube colors closest to those in a
particular harmony and use only those paints on
your palette. For instance if I chose a
complementary color scheme of blue and orange I
might choose Ultramarine Blue and Cadmium
Orange as my palette colors. This color wheel is not
showing all the other possible values and chroma's
of blue and orange though, so I may wish to include
some of those. Dark orange for instance is brown, so
I could add something like Burnt Sienna to my
palette. I could also mix a lower chroma blue for
instance and add it to my palette, but I wouldn't
really need to because just adding orange to my
blue will lower it's chroma anyway, so I can mix that
Analogous
Complementary
Monochromatic
Triadic
Split-Complementary
Copyright © 2010 Richard Robinson. All Rights Reserved.
www.livepaintinglessons.com
5
Richard Robinson's
Color Harmony
Mastering Color
[Chapter 7]
as I need it. Of course you don't need to adhere rigidly to a color scheme - you can add little accents of
different colors through the painting, and so long as they do not compete with the main colors for
attention, you're not really changing the color scheme.
Personally I've found it difficult to use these traditional harmonic color schemes because for one they
only show me one aspect of a color - they miss out value and chroma, and two, they are a little
restrictive. What if I like a color combination that's not included in the color schemes? Does it mean it's
ugly? No, it just means there isn't a color scheme for it. So what would be a good way to define your
own color schemes?
I was very happy to find the answer to that question from James Gurney - American painter and author,
and creator of the fantastic Dinotopia books.
http://www.jamesgurney.com
Color Wheel Masking
Here's how it works: take your standard color wheel
and mix each color down to a neutral gray in several
steps (doesn't matter how many steps). The easiest way
to do this is to mix a mid gray with black and white and
add this increasingly to your color till it reaches pure
gray. Now we've got a color wheel which shows us 2
aspects of a color - hue and chroma.
Next choose a predominant color for your painting. It
might be the color that covers the most area in your
scene or the color with the highest chroma or most
impact. From there draw a shape on your color wheel
which encloses this and any other colors you like.
Within that area or 'mask' is the color pool or 'gamut'
you can choose from to make your image. Around the
outside you can see the colors which have been
excluded from the gamut.
DOMINANT HUE
Secondary
Secondary
I've included a printable color wheel in these notes and
some sample masks for you to cut out and play around
with. I've also built an interactive version which you can
use on the web at this address:
http://www.livepaintinglessons.com/gamutmask.php
SUB PRIMARY
SUB PRIMARY
Secondary
I wanted to play around with this idea so here's what I
did... First of all I wanted to try out two different limited
palettes without using the color wheel masking system.
Here are the results:
Copyright © 2010 Richard Robinson. All Rights Reserved.
www.livepaintinglessons.com
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Inne pliki z tego folderu:
MasteringColor_01_ColorTheory.mov
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MasteringColor_02_SeeingColor.mov
(49942 KB)
MasteringColor_03_DescribingColor.mov
(89958 KB)
MasteringColor_04_Value.mov
(128923 KB)
MasteringColor_05_MixingColor.mov
(282690 KB)
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