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Color Mixing & The Art of Tone Value & Scheme
From Tonia Davenport on CreateMixedMedia.com. Are you familiar with this book? Since it came out recently, I have personally been very inspired by this book by Swirly girl, Christine Mason Miller, and my sincere hope is that in the weeks to come, Desire to …
Did you know that good drawing and rendering skills will help give you a solid foundation in tone, otherwise known as value? Value is how light or darkness of a color. For example: If you took a black and white photograph …
White-on-white paintings are not necessarily without colorful hues. In fact, these paintings can reflect all colors and shimmer with vivid iridescence like the hypnotic color refractions thrown from a prism.
This is all well and good for night scenes, but what about daytime scenes? A compressed value scale is still important, but rather than weighting the scale to the dark end, weight it more to the middle. (We rarely see true darks in daytime.) When you start to paint, mix your lightest mixture first and make sure that all your other mixtures sit far enough away on the scale from that light-value mixture to create a real contrast.
Just as the manipulation of values can accentuate light, the juxtaposing of colors can dramatically increase the illusion of brilliance.The Impressionists were masters at creating a sense of light by using color cleverly. If you examine their paintings, you’ll see that the trick really comes down to the effective use of complements and near complements. Place a small light spot against a dark, complementary color field, such as light orange against deep blue, and the effect can be stunning (below).
Raise your hand and salute our troops…those who give up so much so to serve! Have you ever blubbered a heart wrenching “Goodbye” and then bubbled with excitement over a safe… “Welcome Home”? Today I’m honoring our soldier heroes by …
Who was the artist who painted with tea bags? What are some different tools for masking? How can you avoid making mud? Find all of your favorite articles and featured artists from the Watercolor Artist—and Watercolor Magic—archive with these handy downloadable indexes.
Who was that pastelist who paints en (extreme) plein air? What’s the best way to judge your own values? Whether it’s your favorite Pastel Pointers column or an artist’s feature from years’ past that you’re after, you can track down the issue in which it was published with these handy downloadable indexes.
By Michael Chesley Johnson We’re fortunate to have a record of what historic painters have used on their outdoor palettes. Below are the plein air palettes of Edgar Payne, Homer Winslow and Emile Gruppé. Edgar Payne (from Composition of Outdoor …