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103-02 How Do I Choose & Match Color?

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103-02 How Do I Choose & Match Color? Apprentice every effort was made to insure the accuracy of the information contained in this lesson © JANIE GILDOW Apprentice APPRENTICE LESSON 103-02 ©© JANIE JANIE GILDOW GILDOW Apprentice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© JANIE GILDOW Apprentice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© JANIE GILDOW Apprentice FOR THIS LESSON White acid-free drawing paper (choose one): FABRIANO Artistico HP 140# FROM JANIE STRATHMORE 300 Series Bristol (smooth surface) Color evaluation can be STRATHMORE 300 Series Bristol (regular surface) one of your most RISING Stonehenge daunting challenges. Good quality colored pencils in one or more of these brands: It de!nitely requires a knowledge of the color PRISMACOLOR Premier wheel, but like anything CARAN D’ACHE Pablo else, expertise and FABER-CASTELL Polychromos mastery grow with Eraser practice. Pencil sharpener Optional supplies: dust brush, pliable lifter, pencil extenders, Go for it! hand rest, matte finish removable tape, battery eraser, erasing shield (for a more complete illustrated list of tools and equipment, see Lesson 101-1) © JANIE GILDOW Apprentice It’s frustrating to say the least, when you just can’t seem to tell what colors to combine--and the order in which to combine them--let alone choose the correct colors in the first place! My students tell me the most difficult thing for them to do is to choose and match color. It’s always been instinctive for me, but it sure isn’t for everyone, so in this lesson I’ll do my best to communicate to you my thought process as I choose and match color; I’ll provide exercises that will help you begin to evaluate color and in addition will provide you with yet another reference tool, and I’ll explain and describe everything I possibly can. You’ll find that the more you work with color, the better you will understand it and the easier it will become for you to analyze and recreate it. So first let’s take a close look at the characteristics of color--and then begin with some simple evaluations. © JANIE GILDOW Apprentice Color has three attributes or characteristics. (Each color can be described three ways) 1. HUE - the name of the color BLUE 2. VALUE - the lightness or darkness of the color LIGHT BLUE / DARK BLUE 3. INTENSITY - the pureness or saturation of the color DULL BLUE / GREYBLUE © JANIE GILDOW Apprentice A pure or saturated color is clear and bright. If it’s found on the traditional color wheel, it’s pure. A color that is light in value may be pure (like yellow)--but can also be less than pure (like pink- -which is red with white added to it). A color that is light in value is said to be a high value color. A color that is dull either contains one of the achromatics (black, white, grey) or contains some of its own complement or its near complement. Again, this color may be dark or light, but it is also dull and unsaturated. These colors are not found on the traditional color wheel. You need to be able to isolate and identify each one of those three qualities in every color you evaluate. For more complete information on color, see Lesson 103-01 Color Basics and/or Lesson 203-01 Advanced Color. © JANIE GILDOW Apprentice YELLOW* VIOLET* PINK** GRAY GREEN** GRAY BLUE** VALUE high low high low high LIGHTNESS/DARKNESS the color is the color is the color is the color is the color is light, so its dark, so its light, so its dark, so its light, so its value is value is value is value is value is high low high low high INTENSITY high high low low low SATURATION the color is the color is the color is the color is the color is bright and bright and diluted dull and is dull and is pure, so its pure, so its with white, diluted diluted saturation saturation so its with gray, with gray, is high is high saturation so its so its is low saturation saturation is low is low *FOUND ON THE COLOR WHEEL **NOT FOUND ON THE COLOR WHEEL © JANIE GILDOW Apprentice We see color because there is light. And when there is a light source, it creates shadows. Color becomes lighter nearer the light source and darkens away from it. Consequently, three-dimensional objects change color value. It is those changes that you first need to understand and learn to evaluate--and then finally to reproduce. When there is no evident light Changes in color value source, there is no change in indicate the existence of a color value; the shape looks light source--and give us a flat and two-dimensional. clue that the object is 3- dimensional. © JANIE GILDOW Apprentice The general color of this circle is green. So we say that green is the LOCAL COLOR of the circle. But when an object is one color value all over, it looks flat. When it is affected by a light source, the color (LOCAL COLOR) of a curved object changes from an all-over same value to a lighter value (COLOR HIGHLIGHT) nearest the light source and to a darker value HIGHLIGHT (FORM SHADOW) farther from the light source. This circle is still “green,” but now LOCAL COLOR the value of the green has changed from one part of the circle to another. FORM SHADOW © JANIE GILDOW Apprentice Your challenge, then, is to evaluate objects with regard to their hue, value & intensity, and your first task is to determine the LOCAL COLOR of whatever object you plan to match. (In this case, the local color of the sphere is green.) That local color will need to be both lightened (COLOR HIGHLIGHT) and darkened (FORM SHADOW) and the resulting colors will need to look as though they were derived from that initial (or “root”) color--in this case: green (not yellow-green or blue-green). If you were painting the circle, it would be easy: mix the darkest green (FORM SHADOW), add water/solvent for the middle value (LOCAL COLOR) and add more water/solvent to create the light green (COLOR HIGHLIGHT). However, the real challenge occurs as a result of the choices the colored pencil manufacturers give you. They don’t make three different values of the same “root” color very often--and even if they did, the names they gave the colors wouldn’t give you a clue as to whether or not they were related: True Green, Grass Green, Juniper Green, Empire Green, Spruce Green, etc. © JANIE GILDOW Apprentice The three Prismacolor grays (Warm, Cool, and French) are available in percents, but none of the other colors are. Caran d’Ache Luminance is available in a set of 76 lightfast pencils that includes eight colors: Olive Brown, Raw Umber, Burnt Ochre, Burnt Sienna, Brown Ochre, Sepia, French Grey, and Payne’s Grey in percents: 10%, 50%, 100%. So…back to our evaluation. Our problem, then, is the fact that we must layer colors to mix them, so normally the local color will consist of more than one color. Our task is to create a lighter version of the local color mix to indicate the changes in value due to the light source-- and then to create a darker version of the local color mix to represent the form shadow.
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