The three basic properties of colour are hue, intensity and tone. Though in practise these are all interrelated i.e. each hue has a specific tone at which it will be at maximum intensity. In general, painting pigments are at maximum intensity when squeezed directly from the tube. They are however, for the most part, not pure in hue. We can adjust their tonal values by mixing with black or white pigment but this in turn will cause a loss of intensity and may also have a significant effect on hue. An understanding of pigment mixing is essential knowledge in painting. While there are many recommended "palettes" and methods there is really no substitute for purposeful experimentation. Begin on the basis that maximum intensity can be preserved by mixing pigments that are close in hue.
For instance, a cadmium yellow will be severly reduced in intensity and will suffer a hue change towards green by the addition of ivory black. Alternatively a solution to preserving it's intensity and hue more closely may be to add Raw Umber. Similarly to lighten Alizarin Crimson try the use of Cadmium Red in place of White.
In selecting a colour palette for a painting the selected hues should generally be regulated in intensity to provide a dominant and sub-dominant. Fine examples of this have been provided by the likes of Picasso where he will arrange a brilliant area of scarlet and contrast it with a less intense area of green bringing them both into harmony through larger pearly areas into which traces of the red and green have been bound with white. Greys are then used to provide echoes of the dominant and sub-dominant hues.
In general colours of high intensity will project in front of greys, warm colours will jump forward of cool colours of equal intensity, strong tonal changes will appear nearer than quieter tonal variations. These properties offer a means of establishing dominant colour contrasts and pushing our focal points forward while subordinating the rest of the picture as we see fit.
Because we view colour within shapes or recognise colour as shape because it has defined edges it is important to understand these properties and how to create a balance. A small area of intense colour can be counter balanced by a larger area of lesser intensity. Whether we are painting in abstract or in traditional representation these principles still hold.
Hue: in general terms is the colour i.e. yellow, blue, orange, etc.
Tone: is how dark or light the pigment is i.e. Naples Yellow is of light tone, Burnt Umber is of dark tone.
Intensity: is how saturated the pigment is in colour. Pigments of high intensity require only small amounts to greatly modify pigments of lower intensity i.e Prussian Blue is of high intensity, Cerulean Blue of lower intensity. To test this create two equal blobs of each colour then into each place an equal smaller amount of the other and mix. You will see that the blob of Cerulean Blue has been changed more dramatically than that of Prussian Blue.
See also Hue, Tone & Intensity.
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GENERAL ART TECHNIQUES
- Applying a Base Coat
- Choosing a Subject
- Colour II
- Creating an Abstract
- Dealing with Critics
- Design
- Developing A Painting
- Developing A Style
- Fat Over Lean
- Hue, Tone & Intensity
- Perspective
- Ten Rules for Classical Painting
PAINTING LANDSCAPES
- Aerial Perspective
- Composition
- Drawing Trees
- Using Tone
PAINTING MATERIALS
- Basic Colour Palette
- Basic Colours Continued
- Bristle Brushes
- MDF board
- Oil Paints
- The Camera
- Varnishing Artwork
PAINTING NUDES
- Complexity of Form
- Portrait Drawing
- Public Reaction
- Skin Tone
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IMPRESSIONS OF NEW ZEALAND COLOURING IN PICTURE BOOK
