Color Theory Made Easy

Color Theory Made Masters’ Insides Secrets for Making Color Sing

Really Easy

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SandraSign up for Color Theory Angelo College at Color Pencil Painting by http://www.ColorTheoryMadeREALLYEASY.com Steve Miller

Sandra Color Angelo’s Theory Made Easy Credentials : MasterClassThis is a long1: Old Masters’ list of Color very Formulas impressive accomplishmentsBy Sandra Angelo © 2009, but Sandra’s Thesefavorite lessons successesmay not be reproduced are orYOURS! shared.

• Fellowship Award for Teaching Excellence  Rhode Island School of Design • Producer of 33 DVDs (many top awards and rave reviews) http://www.WashingtonPOSTReview.com

• Emmy Nomination • 1st Place Videographer Award, 1st Place Boston Bookseller Award, 1st Place WAVE Award, 1st Place Communicator Award, etc.

Award winning author: 72 courses, DVDs, 30+ magazine columns including her own column in Art Materials Today, Michaels Arts and Crafts, Arts and Crafts, The Decorative Painter, and contributing writer for American Artist Magazine, American Artist Magazine, Decorative Artist’s Workbook:

• Many national TV appearances including ABC, HGTV, Discovery Channel, TNN, CNN • Her students have gone on to exhibit in the Smithsonian, win top awards, get published, become full time artists, experience medical breakthroughs, psychological releases, radical life transformations • Keynote speaker, demonstrator and advisor for major manufacturers • Rave reviews and awards from top national critics • Executive Director - International Colored Pencil Symposium – Nine years • BA in Art, 180 graduate units with masters, MBA in Marketing, • 30+ years teaching experience

Peanut Butter Loves Becky by • Art work in corporate, private collections Sandra Angelo © 2018 worldwide Admired... worshiped... ok... ordered around by her three cats, Peanut Butter, Jelly and Toast. • Personal: Grew up in Africa, learned 5 languages, has lived in 4 countries, traveled in 40 countries & 45 states.

Page To view a list of Sandra’s published work in books, DVDS, magazines and TV appearances as well as a list of her awards, visit http://www. AboutSANDRA.com Want to become a Colored Pencil Master? Sign up at www.ColoredPencilCollege.com. Color Theory Made Easy MasterClass 1: Old Masters’ Color Formulas By Sandra Angelo © 2009 These lessons may not be reproduced or shared.

Table of Contents

Introduction to Color Theory Page 3

Moving from Bad to Better or Good to Great Page 7

Color is influenced by 5 factors Page 10

A Bit of Color History Page 15

Learning Color Rules Warm and Cool Colors Page 16

Terminology Page 19

Color Theory Vocabulary Page 23

Choosing Paints for Your Color Charts Page 24

Color Theory Supplies - Order Form Page 25

Photo by Sandra Angelo © Jan. 1, 2010

Page Sign up for Color Theory College at http://www.ColorTheoryMadeREALLYEASY.com

Level 102 MasterClasses

May not be reproduced in any Color Theory format.

Drawing and photographs are copyrighted by various artists where credited. All rights With Art Coach reserved. Sandra Mc Fall Angelo

No part of this book may be reproduced in any format including photocopying, or recording, or by any electronic or mechanical means including information storage and retrieval systems, except by a reviewer, who may quote brief passages in a review. MasterClass One Attention Teachers: This course is not to be shared or used in any classroom format. It is intended solely for the person who purchased this course at www.ColorTheoryCollege.com

Published by Discover Art Publications Discover Art with Sandra Angelo, Inc., Discover Art Publications 1(888)327-9278 Email: [email protected] http://.www.ColorTheoryMadeREALLYEasy.com ISBN: 978-1-887823-44-9 First Printing 2009 1. Painting 2. Art 3. Self Help 4. Art Therapy

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Want to become a Colored Pencil Master? Sign up at www.ColoredPencilCollege.com. Color Theory Made Easy MasterClass 1: Old Masters’ Color Formulas By Sandra Angelo © 2009 These lessons may not be reproduced or shared.

• Do you look with envy at the masters’ work and wonder how they did that? • Do you spend hours and hours trying to mix the right colors? • Can you darken a color without turning it into mud or lighten it without making it chalky? • Do you know how to make an object recede, how to dull a color that’s too bright? Figure 1.1 • Does your work pop off the wall and grab Or this one? all the awards at shows?

This Home Study Course will divulge the inside secrets that answer these and other puzzling questions. I will pull back the curtain and reveal inside color formulas used by the masters for centuries. After this course, you will find yourself easily choosing the correct hues and staring in amazement at colors that literally sing!

Figure 1.2 Struggles will end and color mixing will become a pleasure. Both sunsets are composed of hues from different color families. However, the path to this color mastery requires several things: The secrets for these color formulas will be revealed in this Home 1) Grasp color terminology Study Course as we 2) Understand foundational principles divulge color recipes 3) Practice until color mixtures become used by the Old embedded in your brain. 5 Masters for centuries.

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One word of caution; this is not an overnight process. While you only used 12 values in your drawing course, in color theory there are over 3 million colors. Your That might seem daunting. imagination Like every new subject, the learning curve is your preview is steep at first. However, if you do these of life's coming exercises in order and methodically plod through my lessons, light bulbs will begin attractions. to go off in your head and you’ll find color mixing gradually becomes easier and easier. Once you conqueror color, your art life will take quantum leaps forward. You’ll be dazzled and proud of the results! ~Albert Einstein

Remember: • When a subject is unfamiliar you might only understand about 10% of what you read. Don’t be surprised if these lessons are confusing at first. You are learning a whole new language. (For your convenience I have inserted a vocabulary list on page 25.)

• You will understand 30% of what you see demonstrated so it’s a good idea to watch my DVD called Color Theory Made Really Easy so you can see me demonstrate the various methods described in this course.

• The magic bullet is practice. You will remember 80% of what you practice, so

after you read these workbooks and

6 watch my DVD demos, jump in and practice, practice, practice! Page Want to become a Colored Pencil Master? Sign up at www.ColoredPencilCollege.com. Color Theory Made Easy MasterClass 1: Old Masters’ Color Formulas By Sandra Angelo © 2009 These lessons may not be reproduced or shared.

In researching this course, I picked up BEFORE books by major publishers thinking, “Maybe I don’t need to write this course. I can just refer my students to a good book.”

After hours of wading through the complex jargon and tedious explanations, my head began to spin. There were no pragmatic solutions, simply convoluted scientific systems. One thing I’ve Figure 1.3 This student discovered in the Fine Art world is that could draw pretty well, people like to pontificate. Using but she was clueless about how to use color intellectual jargon makes them sound effectively. Like most important but listening to art speak wears amateurs, she was using only one color for the the brain out. hair, the clothing, the skin etc. I thought to myself, “My students don’t need to know about physics and science. Below, you’ll see the same piece and here she They don’t want to strain their brains knew what colors to use trying to figure out how all this complex and how to layer. This is what she accomplished terminology relates to their art. They just by taking Color Theory. want someone to cut to the chase and tell them how to mix the color of their granddaughter’s skin, or how to mix the AFTER hues in Fluffy’s fur.”

I specialize in simple.

I have fancy credentials, college degrees and impressive awards out the yin yang, but using all those tiresome, convoluted words would just exhaust you. So, I Figure 1.4 At the Beach decided to design a roadmap…a super by Doris Martin ©2000 simple, easy, effortless, and uncomplicated, stress free, step-by-step daily system that you can follow. No need

to go find your own references or make up 7

your own exercises. It’s all here. Page

Note:

Chill Out

We live in a hyperactive culture Complete the daily assignments, spending where there are constant 30 minutes per day (or more if you have demands on our time, and we are bombarded with options. the time) and within a few weeks you will There is a huge need for daily have made quantum leaps in your art. decompression and “getting away from it all” even if it’s just The extensive exercises included in this briefly. course will provide you with practice that Dr. Daniel Amen (a specialist cements these theories in your brain. in brain research) in his book titled, Change Your Brain, Change Your Life states that Repetition is the key to our body needs to go into a sustained knowledge. state of neutral for at least 30 minutes per day for our basal glands to stabilize. As you repeat these exercises, the color

database in your brain will increase until Art allows you to disappear dynamic color choices become second from the world and rest your brain, even if you only take 30 nature. Soon you’ll intuitively compose art minutes. that could walk away with expensive

commissions and top awards… or at the The key is to give your mind a very least, finally look down at work that rest DAILY so that stress doesn’t accumulate. Research satisfies you. from Stanford University reveals that 75% of disease is First though let’s look at a few examples stress related. of the improvement you can expect when

Therefore, I broke your lessons you rub shoulders with the Masters. I into bite size chunks so that demystified the Old Masters’ formulas even a busy person can squeeze and brought the language down to the this pleasure into a crowded level of a rank beginner so that absolutely schedule. Try to practice at least 30 minutes daily. anyone can succeed.

8 Put away your P.H.D.

Page Let’s get simple. Want to become a Colored Pencil Master? Sign up at www.ColoredPencilCollege.com. Color Theory Made Easy MasterClass 1: Old Masters’ Color Formulas By Sandra Angelo © 2009 These lessons may not be reproduced or shared.

Moving from Before Bad to Better or Good to Great

Frequently I am called upon to judge art shows, so I see a lot of good and bad art. Figure 1.5-1.8 Orville Thompson was forced Without exception, the novice with awful into early retirement due art has failed to master the foundations: to damage to the left brain. Wanting to cultivate his right brain, 1) Learning to draw Orville made his way 2) Learning to mix color through my entire system and progressed from 3) Mastering methods pitiful to powerful art. After While their ideas are creative and exciting, their art hurts the eye like a sour note stings the ear, simply because the novice has not taken time to master the basics.

The good news?

Orville drew his You don’t need years and years of training grandson Andrew to become proficient at art. All that is © 1990 required is accurate knowledge and diligent practice - the right kind of practice. Of course, rehearsing the wrong techniques over and over won’t generate improvement. Instead, you must uncover ancient proven systems developed over Orville drew his centuries. daughter Suzanne © 1990 You’ll be shocked at the rapid progress you make when you use the Old Masters’

systems. Why reinvent the wheel when

By Sandra Angelo ME TOO! BEFORE: My Correction After studying I used three pencils with top masters, for the flesh tones in I went from good Figure 1.9.

to great! For the face in Figure 1.10 I used 26 My early art shows colors, because after studying with the a lack of knowledge masters I understood about technique, the depth of color in paper and color. the multifarious tones of flesh.

While my drawing Unlike other skills were okay, Masters, I reveal my struggles and tell the Figure1.9 was truth about the extremely amateur. process. All masters grapple with failure. I was using a What makes you a master is that you formulaic approach Figure 1.9 Baby Beauty Contest keep at it till you get to color: flesh by Sandra Angelo ©1997 it right. pencils for skin AFTER: By Sandra Angelo However, to pretend tones, brown you have perpetual pencils for hair, etc. success is a There is no sense of misrepresentation of the process of depth in my work becoming an artist. because I didn’t know how to use I hope you value my transparency and color. realize that your mistakes don’t need I spent years trying to hold you back different papers, from success.

methods and colors, As a national but made little magazine columnist, progress. Then I every artist I interviewed had decided to study pieces of art that just with the masters didn’t turn out. The and suddenly my smart ones don’t Figure 1.10 Whiskers on Kisses by display those in a work took quantum Sandra Angelo ©1998 gallery, but you need leaps! to know they exist. 10

Page Want to become a Colored Pencil Master? Sign up at www.ColoredPencilCollege.com. Color Theory Made Easy MasterClass 1: Old Masters’ Color Formulas By Sandra Angelo © 2009 These lessons may not be reproduced or shared. What Separates Good

from Great?

What distinguishes masterful art from Figure 1.11 Under the ho hum trite work? Amateurs use colors Awning by Joaquín Sorolla straight out of the tube, but masters Compare this early virtually sculpt with color by using a wide student piece (Figure 1.12) to Sorolla’s work in range of multifarious tones. Figure 1. 11 and 1.13. The student’s drawing Joaquín Sorolla y Bastida’s imaginative skills are strong but since she doesn’t understand and highly original use of color involves color. She uses bland the juxtaposition of colors that one would tones, not even bothering to mix hues but rather think might clash, but which come simply drawing brown together to form a harmonious whole. with a brown pencil, blue with a blue pencil, white with a white pencil, etc. Notice that he never treats white as white, but rather chooses the reflective colors to bathe the shadows in an explosion of rich dynamic color. An amateur would use a tube of gray paint for the shadows in a white object, rendering it dull and lifeless.

Figure 1.12 Amateur student art

Compare her work with Sorolla’s. He injects every object with multifarious tones that enliven the subjects and give them an energy that goes way beyond what he is viewing, elevating the scene to a symphony of color. Figure 1.13 Sewing the Sail by Joaquín Sorolla

Turn the page and let’s understand how 11

Masters view color. Page

Color is 1. Local color—the actual influenced by color of an object 5 factors 2. Light—as light changes, color

changes. This is why there are no Color is hugely affected ‘formulas’ for colors like skin, blue by light. These photos eyes, blond hair, etc. Each day, at were taken every 60 seconds at dusk and yet different times of the day, those the colors shift colors will look completely different. dramatically!

So instead of searching for formulaic solutions for particular subjects, simply learn color mixing principles and you’ll be able to duplicate what Figure 1.14 6:20 p.m. you see, regardless of how the light is changing throughout the day.

Note: Light is different during various seasons. Monet paid a Figure 1.15 6:21 p.m. farmer to leave his haystacks up all winter so that he could study how different those colors would be in that season.

Figure 1.16 6:22 p.m. Monet also rented a room right across from the Rouen Cathedral where he painted the cathedral at different times of the day to show how very different the same object can look in different light.

12 Figure 1.17 6:23 p.m.

Beginners are always asking me for my formula for flesh, blond hair or green leaves, etc. How can you give a formula when the colors would change dramatically based on light, reflections and your drawing surface?

I always reply, “I don’t have a formula for flesh, but I do have a formula for mixing Figure 1.18 - Taken at 5:30 a.m. color. Learn the Masters’ color mixing principles and you can deal with any object in front of you.”

Assignment:

Just for fun, take a photo of something outside your Figure 1.19 - Taken at 6:00 a.m. window at three different times of the day; dawn, mid day and dusk. Observe how the colors change. Email me your results at [email protected] .

Figures 1.18 -1.20 Like Monet, I photographed the view from my office at various times of the

day to see how the colors change with the light.

Figure 1.20 – Taken at 11:39 a.m. Page

3. Reflections—adjacent colors, mirrors, metal surfaces, satin, and even non-reflective objects like skin can change color based on the objects around it. I’m sure you have noticed this when you change clothes. Your face looks different

each day based on your outfit.

Whenever you paint or draw a face, look at the neck and see how the Figure 1.21 As you can see, the colors of the glasses are influenced by the objects shirt color reflects under the chin. that surround them. The reflected colors By enfolding the colors of objects define the hues you would use for the that surround the subject into your glasses. If you moved to another side of the table, the colors would change. work, you can amplify the color harmony and add a dynamic energy! Everwear by David Dooley ©1991

Figure 1.22 and 1.23 Even the human face can have reflections as in this photo of Becky. Orange is reflecting into her face & hair.

4 Figure 1.24 Water reflections are two shades duller

1 14 than the object on land. Use the compliment to dull

your colors. Sailboat by David Dooley ©2000 Page Page Want to become a Colored Pencil Master? Sign up at www.ColoredPencilCollege.com. Color Theory Made Easy MasterClass 1: Old Masters’ Color Formulas By Sandra Angelo © 2009 These lessons may not be reproduced or shared.

4. Background — When you are working with a transparent medium like colored pencil, watercolor, airbrush, the color of your paper will heavily influence your outcome. Some people like to create color charts (using

all your colored pencils) on all the various papers that you think they might use. This way they can refer to their charts to make sure colors will turn out well on that particular color of paper. Others simply test the colors on Figure 1.25 David Dooley used a the back of the paper before starting a black surface for this drawing to create a strong contrast between the project. subject and the ground. The contrasts make this piece dramatic.

Figure 1.26 This student used a tan paper because the background sped up the drawing process. When you choose a paper that is the same color as the predominant hue in your subject, you cut your drawing time by about 70%. Figure 1.27 Koi by David Dooley ©2000

Dark paper can provide a strong sense of

drama if you use bright colors. David Dooley drew this water scene on indigo blue and used complimentary colors orange and blue to add a sense of drama.

dark colors are light, bright values - colors 15

that have white mixed into the hue. Page

5. Relative Value & Intensity

Background hues can have a huge impact on your colors.

For example, orange looks very bright when imposed on a bright blue background while the same orange looks dull when placed on a yellow orange background.

Colors and backgrounds need to be selected carefully to dictate mood and create distance.

Figure 1.28 Some colors even vibrate when placed on a background that is the exact compliment.

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A Bit of Color History

In the olden days, artists had to mix their paints with linseed oil and a pigment powder. Because these powders would blow away in the wind, artists did not

Figure 1.29 Claude paint outdoors. Monet Painting by the Edge of a Wood by John However, the minute the paint tube was Singer Sergeant, 1885 invented, artists escaped their studios and flocked outdoors. The French termed this en plein air an expression which means in the open air.

Formerly locked in dark studios, their palette had been consistent because lighting could be controlled. A conventional art palette was adopted and those who scorned tradition were excluded from the most prestigious Parisian Salon Art Shows.

However, once artists ventured into the fields, they noticed that colors, shadows and objects were changing constantly. To capture the scene quickly they began to abbreviate their strokes.

The Parisian Salon critics scorned these quick painterly sketches. A reviewer who attended one of Monet’s plein air exhibits turned up his nose at Monet’s painting Sunrise and labeled it just an impression

Figure 1.30 Sunrise by of a sunrise rather than a painting. The Claude Monet, 1872 title Impressionist was born.

17 Page

Some Impressionists were fascinated by plein air painting and the way light changed colors. They actually painted the same subjects over and over and over at

Figure 1.31 Wheat stacks: different times of the day, and under End of Summer by various weather conditions. Claude Monet around 1891 For example, Monet would carry several canvases and paint on one from 8-10 in the morning, another from 10-12, yet another from noon-2, and a different

canvas from 2-4. Figure 1:32 Morning Snow Effect by Claude Monet around 1891 Let’s revisit what we stated on page 12. Monet in particular was fascinated with the way light influenced color. He rented a room overlooking the Rouen Cathedral so he could paint the church in different lights at various times of day.

Noticing that light varies from season to season, Monet even paid a farmer to leave his haystacks up during the winter just so he could paint them in the unique light that is present during the winter season.

Cool Red Learning Color Rules

Warm and Cool Colors

While all colors can be created with both

Warm Red warm and cool temperatures, traditionally warm and cool tones cluster together on the same side of the color wheel. Colors

that are considered warm include yellow, orange and red. Cool colors are blue, 18 green and violet.

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While most reds are warm, there are cool reds, such as fuchsia. There are also warm versions of blue, green and violet. For example, turquoise is a warm version of blue. Figure 1.33 Because of the light, all the colors in this photo are warm. Here’s how you determine if a color is cool or warm; warm colors have a yellow undertone. Cool colors have a bluish cast.

Warm Green Cool Green

Figure 1.34 The colors in this photo are very similar to the hues in Figure 1. 33, (top) but It is generally best to because this picture was Rule 1 keep all the colors in taken at a different time of day, the light turns all your composition in the colors in Figure 1.34 into cool colors. either the warm or cool family. For example, the light These aren’t the colors we normally associate with a source will influence all hues, turning cool color palette, but you even cool colors into warm hues. Be need to know that all faithful to the colors in nature, don’t make colors can be labeled warm or cool, depending things up. on the palette you use to mix the colors. Even your blacks, browns and grays This palette in this photo should be warm or cool. If you violate the can be created with red orange, blue and white. color temperature, you may throw off the lighting, making it look like each object has a different light source.

For example, interior scenes generally have a warm glow because they are bathed in incandescent light, which has a

yellow cast. In most outdoor scenes, there

are undertones of various violets mixed 19

into every color, making many colors cool. Page

Late in the day, at Warm colors come Rule 2 sunset, the forward and cool outdoors often colors recede. basks in a very Purposeful manipulation of warm glow. color helps create the illusion of distance.

If you learn to reproduce colors exactly the way you see them in nature, you won’t have to worry about color temperature. Nature creates wonderful color

Figure 1.35 The sides of combinations. these buildings are warm because they are being bathed by the early By the time you master color mixing, you sunrise. The other sides will have developed an intuitive sense of of the building are cool color and will know when to break the because they are in shadow. rules.

Your eye is drawn to the warm colors and the cool colors recede.

The eye is drawn to the boats because the

colors are warm. The building behind the 20 boats is cool in terms of color temperature

(blue undertones), so the building recedes. Page

Terminology

A color can be described in terms of the

hue or its relative value and intensity. The words color, hue and chroma can be used interchangeably.

Primary Note Colors

Figure 1.37 : In Fine Art, there are In Fine Art, the three Because repetition three primary colors: primary colors are red, yellow and blue. reinforces learning, red, yellow and blue. you will see me restating the same These are pure pigments which cannot be principles several mixed from any other color. All art different ways. pigments are made by combining these three hues in various proportions. If you have never studied Color Theory before, when you first • The presence of all three hues read through this creates black. course you may not understand it. Don’t • The absence of all these colors is worry. As you practice white. the extensive array of in-depth exercises, The rules for color theory vary depending these concepts will gradually find a on the discipline. For example, in permanent place in Physics, black is the absence of all color your memory. and white is the presence of all color.

The rules also change in four-color printing. There they use a mixture of four colors to create all hues: magenta, yellow cyan and black. Keep in mind that the focus in this Home Study Course is color

theory as it applies to fine art pigments

only. 21

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When two primary colors are combined in equal amounts, a secondary color is formed. These secondary colors are orange, violet and green.

As you can see from the color wheel in Figure 1.38 below when you mix yellow and red, you obtain orange. When you combine red and blue, you create violet. Yellow and blue make green.

Secondary Color: Secondary Color: Orange Green Made with Made with red and yellow blue and yellow

Figure 1.38 This color wheel contains Secondary Color: the 3 primary colors and the Violet 3 secondary colors. Made with blue and red

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Tertiary Colors

When you mix adjoining primary and secondary colors, a tertiary color is formed.

Blue and green are next to each other on the color wheel. When you mix those two In Figure 1.39 you will you create blue green, a tertiary color. find 3 primary colors, 3 secondary colors and the 6 tertiary colors. Other tertiary colors are red orange, yellow orange, yellow green, blue violet and red violet. Primary, secondary and tertiary colors are pure hues.

Tertiary Color: Tertiary Color: Yellow Green Yellow Orange Made with Made with yellow and green. yellow and orange.

Tertiary Color: Tertiary Color:

Blue Green Red Orange Figure 1.39 Made with Made with blue and green. red and orange.

Tertiary Color: Tertiary Color:

Blue Violet Red Violet Made with Made with 23 blue and violet. red and violet.

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Value by definition, simply means the lightness or darkness of a color. To lighten a color’s value, simply add white. A pure value contains only a primary, secondary or tertiary color mixed with white. For example, if you want pure value of red, add white. This will give you pink, a light value of red.

Intensities

Colors that are directly opposite each other on the color wheel are called complementary colors.

In Figure 1.40 you can see that red is the opposite of green,

orange is the compliment of blue, blue green is the opposite

of red orange, etc. 24

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Complimentary Color: A color that is Color directly opposite on the color wheel. (Compliments are used to dull and darken a color.) Theory Dull Values: Mix any primary, secondary or Vocabulary tertiary color with their compliment and white to get a dull value. (Also known as a value of an intensity.)

Hue: The natural color of an object.

Intensity: A color which has been dulled by its compliment.

Primary Color: 3 colors (red, yellow and blue) that are combined in various proportions to mix all other hues.

Pure Values: Mix any primary, secondary or tertiary color with white and you get a pure value.

Secondary Color: Mix two primary colors in equal amounts and you’ll get a secondary color.

Tertiary Color: When you mix a primary color and secondary color that are adjacent on the color wheel you get a tertiary color. For example, Red and Orange are next to each other on a color wheel. When you mix them, you get the tertiary color Red Orange.

Value: The lightness or darkness of a color.

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Choosing the Masters’ Paints

for Your Color Theory Charts

Even if you are ultimately going to work in other media such as colored pencil, watercolor, etc., in Color Theory Part One, we practice our color charts with paint, simply because it’s 90% faster. Once you’ve learned the basics about color mixing with paint, you will be ready to apply this new knowledge to colored Figure 1.41 Lighting in your ho me is designed for pencil or any other medium. relaxation so it seldom has enough light for close work. To create these charts, I use acrylic paint

You need accurate lighting because it is water soluble, easy to clean, to create art. When you are non-toxic and relatively inexpensive. We working with color, use a light that produces exact have to use an opaque medium, not colors, day or night. transparent otherwise the ground where you are applying your pigments will This portable lamp (Figure 1.41) can travel influence the color you are mixing. with you from room to room providing consistent lighting both day and night. VIP: It’s critical to use the right paints otherwise you will not discover the Old

To save you the agony of Masters’ formulas. Since most of you are using the wrong colors, I not going to be painters, I know you don’t provide links to the Old want to spend a lot of money on paint. So, Masters’ Palette, where you I did a lot of research to find low cost can buy at SALE prices. paints in the exact colors that you need. Buy Everything you need: Click here I provide you with links to the paints and or paste this URL other materials the Masters use. in your browser: Note: If you don’t use the same paint www.SandrasFavoriteStuff.com colors the Masters use, you won’t discover their secret formulas. Buy their EXACT

supplies at SALE prices by clicking here.

26 http://www.SandrasFavoriteStuff.com

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In MasterClasses 2- 4 we will delve into the color systems Old Masters use to achieve the vibrant ranged of hues that replicate the multifarious tones one finds in nature. As you work through your exercises and make your Color Theory Reference Charts, you will be delighted to find the palettes you need for hair, fur, a variety of skin tones, eyes and much more.

Although I teach Color Theory with inexpensive acrylic paints, these theories will apply to all pigment based media like watercolors, oils, pastels, airbrush, colored pencil and more.

Later if you choose to sign up for Color Theory Level Two, we will explore the myriad of methods you can use to choose the right palette for every masterpiece. Once you figure how to mix color, you will be delighted to see your art work come alive.

If you got this MasterClass as a BONUS, go to www.ColorTheoryMadeReallyEasy.com to enroll in Color Theory MasterClass Level One.

Finally stop mixing muddy or wimpy colors and Make Your Colors Come Alive !

Figure 1.42 This artist was good at drawing but using only one color for skin, hair, mouth, etc. Once she discovered which colors to use and how to layer color upon color, she rendered 27 the same little girl with precision and her colors glow!

Page Sign up for Color Theory College at

http://www.ColorTheoryMadeREALLYEASY.com

Color Theory Made Easy MasterClass 1: Old Masters’ Color Formulas By SandraSkip Angelo Years © 2009 o f Frustra Theset lessonsing mayColor not be reproducedMixing or shared.Mistakes Discover Inside Secrets of the Masters that Make Your Colors SING!

Master Color in DAYS Sick of Muddy Colors? • Want Color Mixing to Become Instead of DECADES Second Nature? • Discover Masters’ Formulas for Colors That Pop!

Color Theory Made Really Easy • Walk Through These Exercises and Walk Away with All the Awards and Level One Includes 4 MasterClasses Lucrative Commissions!

Color Theory Level One:

Masters’ Secret Formulas for Eye Popping Color

MasterClass Two: View Color Like a Master, How to Use Your Color Chart, Noticing Color in Your World

MasterClass Three: Practicing the Masters’ Formulas until Color Mixing Mastery is Second Nature, Creating Useful Color Reference Charts

MasterClass Four: This Edition: BONUS WORKBOOK Color Theory Worksheets for Your Assignments

Color Theory Level Two:

(When you sign up for Color Theory Level Two: These MasterClasses will be included.) You will discover Masters’ methods

for replicating hues in nature. MasterClass Five:

Applying Color Theory to Your Art – Choosing Dynamic Color Schemes That Garner Awards and Attention, Creating Depth, Understanding the Logic behind Color

Selection

28 MasterClass Six: Color Theory for Colored Pencils, Exercises and

Page Application, How to Choose the Right Color Every Time

Want to become a Colored Pencil Master? Sign up at www.ColoredPencilCollege.com.