painting secrets

8/3/2019 Painting Secrets

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The Theory of COL.OR(L.Ight) Page 1of 9There is TWO distinctly differently aspects of COLOR- Color LIGHTSand COl..ORPIGMENTS ~how to copy Nature's L.Ight color with paintp,igments. What is color ..and how does it work? How can I learn tocontrol It to paint a picture? This Information Is only to "Put you inthe Picture" so to speak. Oil painting is based on the SUBTRACTIVEsystem ~oppose the ADDITIVE system (Color LIGHTS mixing like TV)

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The light we can see In is cal/ed "whlte light" and Is made of aperfect mix of the Spectrum colors. When you pass this light thru aprism' ,It breaks up In the spectrum bf colors, like In a rainbow.Whe'n you pass aI/ this spectrum colors thru a prism again - I treverts back to white light. Take these spectrum colors - bend both


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The Theo1Jl_ofCOLOR_{,Li"htJ Page 2 of 9When light hits an object - the object reflects Its own color to you,and absorbs the remaining colors of the spectrum. If the objectscolor is red, it will absorb Slue and Yellow MWhich is Green(Complimentary) Whlte and Black are NOT colors - White reflectsBind black absorbs AL.I../ight.

I TONE and INTENSITY of Color is all we need to' understand to paintTonal Value of Color

The Lightness or darkness is the Tonal value of a color. NOT theBrightness. coior Bretotally dependant on tone- BUT - Tonehas nothing to do with color - All colors have a tonal Value 1butTone has No Color. Any Color can be the same Tone .The dresses of the girls on the donk.ey sare opposite colors withthe same Tonal value.

Tone Sce le Blecl


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Intensitv of ColorThree Primary colOrs ..Reef ..Ye llow B lUeMixing any TWO Primary makes a Secondaryeoto , Three Secondary colO rs O range- G reen-Mauve. Every Primary has an OPPOSITEcoior ..which is sSecancJsry-which is it'sComplementary.RULE 1: To Reduce the Intensftv of any colorADD the Opposite colorRULE 2: To Increase the Intensity ADD oneup towards yellow Plus White

Page 3afS

This would be the most Important rules you have to learn to mixcotor. Let us now look at examples of what Is said above,Ts'ke RED for example - add the opposlte Which is GREEN toREDUCE the Intenslty (Brightness purity etc). Green can only be


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Prismlatic Colors f__ttge d gJ 9Prismatic colo rs are those th'at are present in the atmosphere~ 'Theatn-rosphere is 'White light am i is a m ixtllre' orall the spectrum colors. Thespectrum colOrs again are a section of the Total wave length band thatcovers most things perceivable, and measurab le from nature.

,Rd... XnJ d~uo Hii: : ,1I i:mqw_il~ "j.-~~~~~~~,N o t . ? the complnmnimyalaI's PI tl.1I0U1Jg roseleot

l)C adm iwn Ye llow pale2)Cadmiwn Red light or Vermil ion3 )AHza ri'n. Cdmson4)F renc 'h U ltram arineB lu eo,5)Vuidian G reen or T halo G iree.1il'T Itanium V lhite (not color) for T one


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Prismatic Color Wheel page 5 oi9

Prismatic Primary ColorsCadmium Yellow PaleCadmium Red LightAlizarin CrimsonFrench Ultramarine SlueVirldlan Green

We have learnt so far that mixing Two Primary Colors make a new SecondaryColor, using the previous Chromatic c%r wheelThe Pi1smatlc color Wheel is more advanced and has FIVE PRIMARIES - allTRANSPARENT.TherefOre 5 Primaries mixed as above - makes 8 neWSecondary Colors.5+8 = 13 Colors PLUS White for Tone ..to make you aMaster Artist.


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Greens: The amount of mixturesthat result in high concentratedgreens is astronomically high, andgets out of control very fsst.The various Greens you can buymust Not be used pure in LSridscapesa's they are made for the Northern PartsThe besl by far is to mix Tertiary Greensyourself from Grays and Ochre M ,- d J ,(e.G)Payne's Graysnd Yellow Ochre or Quv'IWr!nm:liRsw S/~nna or Chrome Orange etc.}Scientifically in the 'Added' aspect of color, Greens make a huge 'Bulge' on the color wheelana artists must be cautious ana always stay In control. Mixing Grays with Yellows; It'swise 10 try the color on your painting first, before it looks green on the palette t Mix youI'G}'reensfrom various yellows AVOID greens from the tubes.

whmAm grmls wm No luse d - bul Q-ays WIlliochrll 's i1l. l' llQd

Mauve: is the closest color friend I have, i t does not mean that I Plfint 'Purple pictL/res',but is the friendly color that binds all strange colors In harmony. the mono chromepa'fnting that I painted of the Eland buck in th e desen, as the opposite color controlsthe desert which is mosr/y Ochre's and brings it to life Paintings with a problem add Mauve

Hard and Soft EDGES


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Page 70f 9Composition: No hard rules exists here, be guided by youf feeling. The basis of manytheories of composition is based on the double triangle with a horizon line generally114of the height of the canvas for ISndscapes; and 213for seascapes, from base up.The Golden Mean is where your most important feature is placed, 3/8 or 5/8 left ORright of the length. The most important feature will have the highest intensity relativeto the rest of the painting and does include the hardest edges, whichever draws theviewer's attention to that spot(G ..MeanJ and rests there.Without an order of importance of features, the painting, will not sell itself.

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I...ooklng at nature, we /tlok through an atmosphereof gasses and dfJst,.blurring every thing more thefurther they st, Tone and Intensity reduce as theatmosphere gets thicker towards the distance.Fffects are more obvious when foggy or dusty.The atmosphere and the sky are always the sameIdemfty. Slues ,Greens, Oranl}e(sunsets)etc ...This identity of the sky affects all themountains, trees, water e tc . When using CobaltBlue to paInt the sky No other Blue may be usedthroughout the painting, as the Cobalt blue affectsall parts of the landscapeHiSh IIg f1 'U l are where sunlight hits parts of the landscape like the higher mountain peaks,r rees ere. and becomes brighter towards the fore ground (higher IntensltyJ. The highlight isalways only relative to distance the mountain It is on. Far away it's only lighter and bright6rlike the peak it Is on .. The highlights in the foreground are brighter. Compare the two highlights pOinted out, It is reflected sunlight, snd must be brighter closer to us. High lightse%rs are Always a Lighter snd Brighter color of the object that it is supposed to highlight.

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S'as lc Landscape:TO ,understand rhe BASIS.


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Page 919Revis ion: Compare my "Color Log ic" in these paintings, It is ob vious enough toconvince you use the Prismatic color wheel. Look for th e fu ll rsnge of Tones used - andthe control of Intensity b y using the oppos ite 00101 .Spot the Hard and Soft edges andhow theGolden Mean in the t:Omposition holds you r eye . F ee l how the continuity ofatmosphere Is h eld together b ecause aU theeolors are m ixed from only the ffva Primaries.The ' Whites Is carried and No Black Is eve r used - p roving I p ractice what I preach


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Revision:Compare my ColOr Logic in these paintings. It is obVious enough toconvince you to use the Prismatic 5 color wheel. Look a/so for the fullTonal range used - aOOthe control of IntenSity - using the OPPOSitecolor.Spot the hard" soft edges and how the Golden mean in the compositionholds your eye. Feel how the continuity of atmosphere is held together-because all the colors are mfxed from only the 5 Pnmanes WhUes are carried - No Slack is usec/ - proving / practice what I preach!


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Page 10 The POWER of the s,econdarv cQI~orsThe secondary colors bonds puresplashes in a painting. If you havre topaint an intense' pure color li'kea liedroot or green dress ~ you must correlate

S " with bits [of these secondary color in thepure, color to bind.A .pure red roof wil l i have lit tle ' b it s: ofAlL three secondary colors in it.This: is the secret Q f all masters - youwill see this In the paint.ingls of AdrianBoshof, Vermeulen, Oedert, mys,elf etc ...

GRAYC rOLORSGray - is ,a,_condition of a collor~ .not a color. We see grayedversions of all the' colors in many, many Tones a,ndJntensjties~The most obeious example of grey in nature is fog. Grays makes ourpainting look atmospheric and reaJ


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BLA.CK &WHITE:PR]NrING Copy Photo to Canvas,

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Left FIXED 1~il1Mhldle copy piltTESTING lire ;retUngs to enl!g'ge a dl'Cle PER,FECTLY

'"olkiwing fue: linles-.and s~d,W!~from photo - to canvas to painf


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TEXTURE ON PAIINTIINGS1'. The ,more visible texture is on any painting - tbe more impresive itappears to the viewer..2 " . Drawing a few imponan t l ines oftne paintin,g IOn" you r c,anvas- gu ides you where toap pJ y thic#(lJr~3. 'Paly,oolfJ'lIIendall9,Q all putpOse ,adhesive filler, is pliable ami durable. Uttle cold wood glue csn beadded If yoo needth,e the textul'e more pliable ,and less porous for the canvas can to roll in a tube4" L.et the cafIVas dry for at least 8'dav Sand liqhUv and ,SEAL W 1TH ' V A.R NISH AND TU RPS MIXED and

dry for another(i8V " If yo.udo1n'tv:amish the paint bteeds' and tbe texture sue,/(S;n the Itlste'r

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"_ /(5 J ,NOTE: Paint with any thinned darker tone left ove r paint tocovera.ll c'(evicesthat still show white


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SIM PLe R ULes ~NPAIN TING FOR' Y OI.IR WALL

1) Only TWO eclors may' be mixed together at:a time.2) Only TWO things can be done to a color- Dulling or Brightening3) ADD'loppositle to DULL for ~shadows~ADD one up to yel'lowforHIG~HLIGH'f4) OVER mixing destfiDYs the [pigment! dOIil'ltgrind your paint tal mud,5) Paint the pure clean collorFIRSi - then ad'd theslh:adow bl,ending in.6) Highlights and SHADOWS must be in ALL objects- subjects, in paintings,.7) fULL range or TONE 'from light to dark MUST be in paintings.8) Don't place promin,ent subject'S close to sides, of canvas blur to all sides9) Hard and soft EDGES; must be in ALL paintings" Soft around outsides.10) Kleep no more thanFlrvE COLORS & white in your studio- to START11) Paintings without TiEXTURE is flat, Uke'Cololing inll'paintby numbers12) OIl.. and TURPS desu-oy quality of [paint. avoid ad d ing!. DO liI'f THIN paint


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