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Color Book Unformatted New & Revised - Includes Genesis Heat Set Oils 1 PREFACE There seems to be a mystique about mixing colors. The novice painter procrastinates or delgates this responsibility to a paint manufacturer bu tultimately the day arrives when the painter wants to take control of the palette colours. This can happen only when the painter takes the responsi- bility to learn to mix colour. Mixing colour is very exciting. The knowledge of how to control and create colour is the ultimate in creativity. It is not difficult to master, but it will take time, patience, practice, but most of all desire. The intent of this book is to provide a guide to mixing colour. It is my hope that it will be useful regardless of whether the preferred medium is oil, alkyd, acrylic, watercolour, pastel, pencil or coloured ink. Colour theory applies to all media. All that differs is technique. Colour is so closely interwoven with the other four basic elements of art that it would be impossible to discuss colour without examining its rela- tionship to line, form, texture and space. The importance of colour to har- mony and composition are also inseparable, as are chemistry and tem- perature. Please understand that colour reproduction of a paint mixture in printed form is almost always inaccurate. Every effort has been made to provide the highest quality of photography, colour separations and printing. How- ever, it is not possible to duplicate the myriad nuances of paint with only five colours of printer’s ink. Furthermore, oil reflects the light differently than acrylic. Pencil and watercolour have their own individual properties. Therefore it may be difficult, if not impossible, to accurately match the colour samples. Use these only as a guideline. The eye must be trained to analyze colour. The brain must be trained in the proper use of colour. Brands of paint also make a difference. Use the brand that is readily available, but do use the best grade of paint in that brand. Inferior pigment and inferior chemistry will never produce luminosity. Above the entrance to The Boston Children’s Museum hangs a quota- tion which reads: I hear, and I forget I see, and I remember I do, and I understand Mixing colour can only be learned and understood by doing, by actually mixing the colour. 2 “I am really enthralled by these laws and theories of colours. Ah, if only they had taught us about them when we were young!” Vincent van Gogh (1853-90) Learning to see colour Scientifically, colour is energy measured by wave lengths, amplitudes and velocity. All colour originates from light rays and the eye sees that which is not absorbed by the receiver of the light. This is oversimplification, and the subject is expanded upon in the text where it is relevant. The usage of colour, in the concept of this study, lies beyond the realm of physics. If more information is desired, there are many technical manuals that an- swer the scientific aspect of colour. To the layman colour is light, an emotional experience, associated with personal perceptions and backgrounds. All colour is optical. Each person perceives colour differently. Each person brings different experiences and reactions to colour. These carry a strong influence which affect the usage and understanding of colour application. The first colour that an infant sees is red. The eye of the infant then slowly perceives other colours but shows a preference for the brightest ones. Gradually, the maturing eye is aware of the many differences in colour. This evolves naturally but the influence of teachers, personal pref- erence, personal abilities cannot be denied. Atmosphere will influence how colour is perceived. On a clear sunny day, the colours will appear more intense than when viewed under an over- cast sky, through a fog, or in the dim moonlight. Favorite colours will be more easily managed than colours to which there is an aversion. Colours associated with happy occasions or special events in one’s life differ from one individual to another. In order to successfully see colours, in essence to judge them clinically, past histories and personal preferences cannot be ignored, but must be set aside. Colour is independent only when it is the solitary colour being used. Colour has relationships to each element in a design or composition. The visual perception is influenced by surrounding factors, the intensity and path of light, atmospheric conditions, and emotional factors. The eye must be trained to identify the basic parent colour, then ma- nipulate that colour to be compatible with all of these factors. Toaccomplish The black and white study/exercise charts in this book may be photocopied for the personal use of the purchaser. Any other duplication of any material, whether in black and white or colour, by any means whatsoever, (this includes photocopy and photography) is in violation of copyright laws. © 1986-2008 Kingslan Publications 4670 Hickory St Omaha NE 68114 3 this task, the colour must be judged first by its colour family, then whether it is light or dark, and ultimately whether it is bright or dull. The matter of manipulation to this end begins with understanding the logical process of problem solving, which is founded upon learning the basics of art theory and application. There are those who are blessed with a natural intuition who can feel the correctness of a colour. However, that intuition can be enhanced by knowl- edge, just as a musician who has perfect pitch finds that his performance is elevated by the study and practice of musical concepts and theories. Most of us do not have that natural intuition but must struggle through the learning process by first learning the names of the notes, then the scales in order to play a musical chord. One individual may prefer to learn country music, others direct their energies toward the classics, or possibly contemporary jazz. It’s all music from the same scale of notes. Many progress to creating original works, but only after a long period of dupli- cating the works of those they admire. As in music, there is order and logic in the world of art, colour and design. There are guidelines and basic formulae that produce that order. A period of study is required in order to learn the application of these guide- lines. The artist will progress to creating original work if there is suffi- cient desire, dedication, and determination. We will approach this study of colour mixing from a casual, but aca- demic viewpoint. It doesn’t matter if you perceive yourself as a folk artist, a decorative artist, a fine artist or a hobby and craft painter, the process for learning to mix paint is founded on the same time honored and proven principles. At first glance, the task may seem to be gigantic. You can eat an el- ephant if you take it one bite at a time. Digest that small amount then go back for more. The definitive word is digest. Give yourself time to absorb and use each concept a small amount at a time. It is impossible to learn how to mix colour without actually doing it. The one thing I cannot teach is experience. Please assemble the following materials: Palette pad Slim, flexible palette knife Fine Permanent Marker Brushes Brush cleaner suitable to your medium 4 Conversion Chart Archival Oils Winsor & Newton Oils Genesis Heat Set Oil DecoArt Soft Titanium White Titanium White White Soft White Cadmium Yellow Mid Cadmium Yellow Pale Genesis Yellow Cad Yellow Cadmium Scarlet Bright Red Genesis Red Cad Red Permanent Alizarine Alizarin Crimson Quinacridone Crimson Alizarin Crimson Ultramarine Blue Ultramarine Blue Ultramarine Blue Ultramarine Blue Burnt Umber + R Burnt Umber Burnt Umber Burnt Umber Raw Sienna Raw Sienna Raw Sienna Raw Sienna Mars Black Ivory Black Carbon Black Ebony Black 5 “Forget where it is you have been and concentrate on where you are going.” Anonymous Learning the vocabulary It is difficult to understand any instructions if the vocabulary is foreign. In this text I have used academic terms. It is my hope that this will enable the artist to study other manuals with better understanding. A bibliogra- phy of reference books is given. These were my major reference books, but my twenty years of experience in teaching colour theory has been my primary source of learning. Part of the vocabulary terms that will guide the reader to better understanding is defined below. Please refer to the Glossary for an additional index. Binder: Refers to the vehicle which locks the pigments together to form paint. In oil it is usually refined linseed, poppy or safflower oil. Alkyd’s binder is a combination of alcohol and acid. Gum arabic is the water- colour vehicle. Polymers unite the pigments of acrylic and acrylic/ gouache. Egg yolk is used in egg tempera. Extender: Refers to an ingredient thatwill make the paint flow or be- come more transparent. Winsor & Newton Blending & Glazing Medium is my extender of choice. Many artists who work in oils or alkyds mix an extender of stand oil, damar varnish and turp. Watercolour and acrylics are both extended through the use of water. The latter frequently uses a polymer emulsion as well. Medium: Refers to the type of paint used, such as oil, alkyd, acrylic, watercolour, gouache, tempera, etc. The plural of medium is media. Palette: Can be the surface onwhich the colours are arranged and mixed, or the colours used to mix other colours. For the purposes of these exer- cises the palette that I use is given on the previous page. Pigment: The dry powdered colouring agent that is added to give paint its colour.
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