1. COLOR

2. R O Y G B V

3. informal definitions HUE – a particular gradation of color. It is another word for color.

4. PRIMARY & secondary RED BLUE YELLOW PURPLE GREEN ORANGE

5. Primary : Red, Yellow, Blue. All Colors come from these three colors. Plus black and white. Secondary: These colors are made by mixing two primary colors.

6. COLOR WHEEL HUE

7. R o y G B (i)V Red Orange Yellow Green Blue ( Indigo- which is an unseen color in the spectrum. It is a type of Blue-Violet) Violet ( purple)

8. R O Y G B V

9. Paul Cézanne, Still Life with Green Melon, 1902-06 BW

10. Paul Cézanne, Still Life with Green Melon, 1902-06 CO

11. Monochromatic - using only one color

12. Picasso, Guernica, 1937

13. Mark Tansey, The Bricoleur’s Daughter, 1987

14. Gunther Gerzso Southern

15. Michaelangelo Sistene Chapel detail (medallion)

16. Monochromatic medallion

17. Barnett Newman, Yellow Painting, 1949

18. Gunther Gerzso Opposite

19. Mark Rothko, untitled, 1968

20. Complementary Colors  opposites on the color wheel When Complementary colors are mixed together they make brown.  unsettling, hard to look at, but they go together

21. Church, Frederic Edwin Rainy Season in the Tropics 1866, Oil on canvas, 56 1/4 x 84 3/16 in. The Fine Arts Museums of San Francisco

22. Robert Delaunay, Circular Forms, c. 1912

23. Gunther Gerzso Personaje

25. Barnett Newman, Dionysius, 1944, 67x49in. Complementary colors Analagous colors

26. Matisse, Seated Riffian, 1912-13 Complementary colors Analagous colors

27. Monet, Impression: Sunrise, 1872

29. Analogous Colors neighbors on the color wheel

30. Van Gogh, Sunflowers, 1888

31. BUT WHAT ABOUT BLACK AND WHITE? Black makes a color darker- a shade White makes a color lighter- a tint Black and White are Non colors- they modify a color. Black and White can create value in colors. Black and white make gray so mixing both with a color will gray down a color.

32. Where does color come from? A ray of light is the source of all color. Without light, color does not exist. Light is broken down into colors of the spectrum. You can often see a variety of colors in a bright beam when you look at something like a rainbow.

33. Pigments Pigments are substances that can be ground into fine powder and used for adding color to dyes and paints. Pigments were originally derives from animal, mineral, and vegetable sources. Examples: –Purple from shellfish –Red dye from the dried bodies of scale insects To create our own color wheel, we will be mixing different pigments together to create all the colors in the color wheel.

34. History of Color Colors are often symbolic. Let’s talk about what role color has played in different times in history.

35. In China… Yellow has religious significance and is still the Imperial color today!

36. In Greece and Rome… Red was believed to have protective powers. Purple was restricted to use by nobility.

37. The Egyptians Adorned walls of tombs and temples with brilliant colors of blue, tangerine, and green.

38. In the Italian Renaissance… Colors were vibrant reds, greens, golds and blues.

39. In the Rococo period… Tastes became very feminine, colors became less vibrant.

40. In 18 th Century England… There was great elegance. Colors were rich, showing a strong Chinese influence in the use of red and gold.

41. VALUE TINT – adding white to a hue, or a hue to white SHADE – adding black to a hue or vice versa

42. A shade Color plus black Clue: It’s darker in the shade- we shade with a pencil to put in the darker parts on a white paper. Navy blue is a shade of blue Maroon is a shade of ___

43. A Tint Color plus white Pink is a tint of red Lavender is a tint of violet

44. And what about brown? Various browns are made by mixing all three primary colors together. Red, Blue and Yellow make brown. Mixing complements together will also work because you are basically mixing all three primaries with those two colors. Orange (R,Y) mixed with Blue will make a brown. Black and white can modify your browns to make them lighter or darker.

45. Robert Delaunay, Circular Forms, c. 1912 a very aware use of contrasts of complementary & analogous colors AND shades and tints

46. Franz Marc, Fighting Forms SATURATION – brilliance or depth of color

47. LUMINENCELUMINENCE LUMINENCELUMINENCE LUMINENCE LUMINENCELUMINENCE

48. Monet, Impression: Sunrise, 1872

50. Ellsworth Kelly Red, Yellow, Blue I, 1963 a/c, 3 joined panels, 90" x 90" overall

52. Raphael, Madonna dell Granduca, c.1505 33x22in

56. Triadic Color Schemes NOT JUST ANY 3 COLORS

57. Raphael, School of Athens, 1511

58. Ellsworth Kelly Red, Yellow, Blue I, 1963 a/c, 3 joined panels, 90" x 90" overall

59. Raphael, Madonna dell Granduca, c.1505 33x22in

61. Also note countershading

62. COLOR CONCLUSION Color can be an important part of an artwork’s impact – notice it! Color can be optimized & analyzed for greatest effect Timbre in music is considered to be analogous to color in painting; some kinds of harmony and scales are also considered to be analogous to color in painting. They are DIFFERENT – try not to confuse them.

63. Color Wheel Project

64. Students will design a Color wheel Criteria Students will use an original design Students will use the original color, 2 shades and 2 tints The color wheel will be put in the correct order The each color on the color wheel will show its complementary color.

65. Examples