Oct 26 - CaL 8+4: Visual Perception
Colors can appear different, even monochromatic (if viewed at under less than a full moon) under moonlight. Blue-green hues appear lighter in tone in dim conditions. (Purkinje shift.) Red roses look black under moonlight.
To create a sense of depth, keep focus in mind. Objects not in focus appear softer and more blurry, like in wildlife photos.
Goethe's color wheel:
plus/warm colors represent light, brightness, force, warmth, and closeness.
yellow+red+purple = feelings of radiance, power, and nobility
Blue: deprivation, shadow, darkness, weakness, coldness, distance
colors on the cold/minus side evoke feelings of dread, yearning, and weakness.
when we look at a scene, we don't see the colors objectively. instead we construct a subjective interpretation of those colors based on context cues.
to isolate colors, look through a hole in a half-closed fist, or hold up two fingers spread slightly apart
1. Simultaneous contrast: the hue, saturation, or brightness of a background color can induce opposite qualities in an object sitting in front of it.
2. Successive contrast: looking at one color changes the next color we see.
3. Chromatic adaptation: our visual system, like the white balance of a camera, becomes accustomed to a given color of illumination. When the illumination changes in color temperature, the sensitivity of color receptors changes in relative proportion, resulting in balanced impression of color and light levels.
4. Color consistency: thanks to chromatic adaptation and our experience of known objects, local colors appear consistent, regardless of lighting circumstances that may actually change their gue, value, or saturation.
5. Size of the object: the smaller a colored object becomes, the less distinct the color appears to be.
Color associations:
Red: blood, base passions, anger, power
Orange: warmth, appetite, energy
Yellow: energy of the sun
Green/blue/indigo/violet: farther towards states of serenity
Chroma: perceived strength of a surface color (saturation = color purity of light)
Adjusted color wheel! YRMBCG! a more evenly spaced and useful color wheel. (also called "Yurmby". it's kind of a cute name.)
Local color: the color of the surface of an object as it appears close up in white light. If you held up a matching paint swatch right against it, that swatch would be the local color. But the color you actually mix to paint with will usually be different.
Grays are an artist's best friend. More paintings fail because of too much intense color rather than too much gray.
Grays can provide a setting for bright color accents.
Green!
1. You can banish green pigments from the palette and mix them from various blues and yellows. the resulting mixtures will be weaker and more varied, both qualities that you want.
2. Avoid monotony. Vary your mixtures of greens at both the small scale (leaf to leaf) and the large scale (tree to tree).
3. Mix up a supply of pink or reddish gray on your palette and weave it in and out of the greens. Painter Stapleton Kearns calls this method "smuggling reds."
4. Prime the canvas with pinks or reds, so that they show through here and there to enliven the greens.
To create a sense of depth, keep focus in mind. Objects not in focus appear softer and more blurry, like in wildlife photos.
Goethe's color wheel:
plus/warm colors represent light, brightness, force, warmth, and closeness.
yellow+red+purple = feelings of radiance, power, and nobility
Blue: deprivation, shadow, darkness, weakness, coldness, distance
colors on the cold/minus side evoke feelings of dread, yearning, and weakness.
when we look at a scene, we don't see the colors objectively. instead we construct a subjective interpretation of those colors based on context cues.
to isolate colors, look through a hole in a half-closed fist, or hold up two fingers spread slightly apart
1. Simultaneous contrast: the hue, saturation, or brightness of a background color can induce opposite qualities in an object sitting in front of it.
2. Successive contrast: looking at one color changes the next color we see.
3. Chromatic adaptation: our visual system, like the white balance of a camera, becomes accustomed to a given color of illumination. When the illumination changes in color temperature, the sensitivity of color receptors changes in relative proportion, resulting in balanced impression of color and light levels.
4. Color consistency: thanks to chromatic adaptation and our experience of known objects, local colors appear consistent, regardless of lighting circumstances that may actually change their gue, value, or saturation.
5. Size of the object: the smaller a colored object becomes, the less distinct the color appears to be.
Color associations:
Red: blood, base passions, anger, power
Orange: warmth, appetite, energy
Yellow: energy of the sun
Green/blue/indigo/violet: farther towards states of serenity
Chroma: perceived strength of a surface color (saturation = color purity of light)
Adjusted color wheel! YRMBCG! a more evenly spaced and useful color wheel. (also called "Yurmby". it's kind of a cute name.)
Local color: the color of the surface of an object as it appears close up in white light. If you held up a matching paint swatch right against it, that swatch would be the local color. But the color you actually mix to paint with will usually be different.
Grays are an artist's best friend. More paintings fail because of too much intense color rather than too much gray.
Grays can provide a setting for bright color accents.
Green!
1. You can banish green pigments from the palette and mix them from various blues and yellows. the resulting mixtures will be weaker and more varied, both qualities that you want.
2. Avoid monotony. Vary your mixtures of greens at both the small scale (leaf to leaf) and the large scale (tree to tree).
3. Mix up a supply of pink or reddish gray on your palette and weave it in and out of the greens. Painter Stapleton Kearns calls this method "smuggling reds."
4. Prime the canvas with pinks or reds, so that they show through here and there to enliven the greens.
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