1. Color Theory

2. COLOR Color theory is a science as well as an art. It was mathematician Sir Isaac Newton who developed the first scientific experiments relating color and light when he put white light through a prism. The prism broke up white light into the familiar rainbow of hues. Color from light combines and forms new visual sensations based on what is called the additive system. Light in itself creates additive color. Video artists, theatrical set designers, and Website artists primarily work with additive color. Red, green, and blue are the primary colors in this system. When these colors are combined as beams of light, white light results. Subtractive color is created when light is reflected off a surface. Pigment colors are created through such reflected light. As with the actual red apple, a painted red apple appears when the red wavelengths of light are reflected while the other colors are absorbed. The subtractive primaries are cyan blue, magenta red, and yellow. When mixed, they produce a type of black. Painters, printmakers, and illustrators use subtractive color in various forms, including acrylics, pastels, and inks.

3. HUE The hue of a color is determined by its wavelength. Physicists, painters, and philosophers have devised numberous systems to organize hues. Johannes Itten's 12-step color wheel and the Albert Munsell color system are the familiar examples. The Itten model has the advantage of simplicity and clarity. Red, blue, and yellow primary colors are in the center. These colors can be mixed to produce virtually all other colors. The secondary colors of green, orange, and violet follow. A circular spectrum of tertiary colors completes the wheel.

4. Audrey Flack, Wheel of Fortune, 1977-78. Oil over acrylic on canvas, 8 X 8 ft. Robert Lazuka, Inside Out, 1995 19x 25 inches Artists use a wide range of hues to capture the richness of reality. In Wheel of fortune, Audrey Flack used a full spectrum of hues to define various objects in relentless detail. A limited number of hues can be equally effective. By limiting his palette, Robert Lazuka created an image with hypnotic power

5. VALUE In color theory, value refers to the relative lightness or darkness of a color. By removing hue from the equation, we can create a simple value scale that shifts from white to black through a series of grays. When white is added to a hue, the resulting tint will be lighter in value. The addition of black produces a darker shade. The addition of both white and black creates a tone.

6. As with hue, a narrow range of values can be as effective as a wide range. Nicora Gangi's light and dark values transform simple still lifes into theatrical drama. The limited range of values in David Hockney's Mist is equally effective. The gray-green palm trees dissolve into the peach-colored fog a quietly as a whisper. David Hockney, Mist, 1973. From The Weather Series. Lithograph, 37 X 32 in.

7. Color is a dominant force in some paintings, while value is the dominant force in others. Henri Matisse's Green Stripe is defined by color, whereas value defines Romaine Brook's Self-Portrait. Romaine Brooks, Self-Portrait, 1923. Oil on canvas. 46 1/2 X 26 7/8 in. Henri Matisse, Green Stripe (Madame Matisse), 1905. Oil on canvas, 16 X 12 3/4 in.

8. COLOR SCHEMES Monochromatic Variations on a single hue are used in a monochromatic system. A range of values is often used to help increase the illusion of space. The advantage of this system is a high level of unity: all the colors are strongly related. Boredom, due to lack of variety, is a potential disadvantage. In Tracer-Side Order, Guy Goodwin used a variety of textures, patterns, and words to add interest to a fairly monochromatic painting. Guy Goodwin Tracers-Side Order, 1999 Resin, polyurethane, ink on polycarbonate, 51 X 54 X 4 in.

9. Analogous Adjacent colors in the spectrum are used in an analogous color scheme. As with monochromatic harmony, a high degree of unity is ensured, but the wider range of hues offers greater variety and interest. In Houses in Provence, Paul Cezanne used analogous colors to create a highly unified landscape.

10. Complementary The palette expands in a complementary system. Complementary colors are opposites. In Henri Toulouse-Lautrec's A Corner of the Moulin de la Galette, the adjacent reds and greens are highly animated, while the browns they created when mixed add coloristic unity. Split Complementary An even wider range of possibilities is offered by the split complementary system. Rather than pair colorsthat are in opposite positions on the color wheel, the artist completes the scheme using the two colors on either side of one of the complements. Georgia O'Keeffe's Jack in the Pulpit No.V is dominated by rich greenand violets, with accents of yellow at the top of and a line of scarlet down the center of the composition.

11. Triadic The triadic system pushes the choices even farther apart so they are now located in a triangular position, equally spaced around the wheel. This scheme is often used when variety and a strong impact are essential.

12. Color Logic

14. The nature of our visual system allows us to sometimes see "after-images" which appear once the original stimuli are removed. In the following demonstration, you will see that the colors in after-images are usually the opposite (complementary) colors of the original. Instructions: Stare at the black spot in the center of the four colored squares for about 30 seconds. Then scroll down and move your gaze to the black spot in the uniform white area. Note the colors of the afterimages relative to the colors of the original stimuli. Did they appear different?

18. Stare at the blue dots while you count slowly to 30. Then close your eyes and tilt your head back. A circle of light will slowly appear. Keep looking at it. What do you see?