SHAPE Negative shapes – ‘ground’ Positive shapes – ‘figures’ x 2 (eggbox and egg) Figure / ground interaction TONE Where does the light fall? What is dark & what is light? Draw the shadows! [form shadows & cast shadows DRAWING On A4: 21 cm x 30 cm paper

COLOUR Under-painting colours x 3 Hue / value / intensity 2. Tonal modelling Hue / value / intensity 3. Textures and details Hue / value / intensity PAINTING

Color Wheel The Color Wheel is a diagram that organizes colors. It can be reproduced by just remembering the placement of three colors: Red, Yellow and Blue. These colors can be used to make all other colors. Yellow is always placed at the top, Red to the left and Blue to the Right forming an equilateral triangle. The purpose of the color wheel is to show the relationship of colors to each other. - organizes HUES

Three Properties of Color All colors possess three basic qualities. Hue, Value. Intensity

Hue is another word for color and it is basically means the color pigment present All of these have the basic hue of red!

Hue The first row above shows the natural value of each full strength color The second row shows orange and how it has been made to be all the steps of value. White was added to the right of full strength orange and black to the left. Hint to remember these: Tint - Lighter, Tint and White all have "i" for vowels. Shade - Darker, shade and Black all have "a" for vowels.

Value Value scales of each of the colors. Notice that it takes more steps to make some lighter and darker. involves the lightness and darkness of a color. A color is made lighter by adding white and darker by adding black. Each color also has natural value. From lightest to darkest are: Yellow, Orange, Red and Green, Blue and Violet.

Value Example viewed in the value unit when we discussed color value

White comes from the paper – not the paint Wet the paper where the paint will go – ‘capillary action’ Water & gravity float the colour downhill The brush controls the flow The brush mops up excess water – a cloth mops the brush! Other colours can be fed into the wet paint Watch this video!

Intensity is the brightness or dullness of a color. A color can't be made brighter than the way the pigment comes to you in the paint tube. In this example, full strength orange on the left slowly has a little bit of blue (it's compliment added to it). This creates tones of orange. As you progress across the scale you reach neutral in the center because there is too much blue mixed with the orange and it has become a neutral. If you start on the right with the blue and slowly add a little orange you can see tones of blue until you reach the neutral in the center. Left example has high intensity. It's very bright. Right example is low in intensity. It's very dull.

Intensity What is a color's complement? It's directly across from it on the color wheel. Green is the Compliment of Red Hint to remember: Compliment, Tone & Lower all have "O" vowels.

TONAL LADDER>>> GOING FORM LIGHT TO DARK

You can also work into your images with pen or pencil

Chromatic greys Chromatic Grays and Earth Colors A chromatic gray is made from a mixture of color, rather than a simple blend of black and white. The result is both subtle and vibrant. In The Magpie, the grays vary widely, from the purples and blue-grays in the shadows to the golden-gray light in the foreground and the silvery grays for the snow-covered trees. This is not a dark, sullen winter day; through the use of chromatic grays, Claude Monet makes the warm light an transparent shadows sparkle in the crisp air http://www.utdallas.edu/~melacy/pages/color.html

Sandy Skoglund, Radioactive Cats, 1980 Cibachrome print, 30 X 40 in. http://www.utdallas.edu/~melacy/pages/color.html Color and Communication : Emotional Effects Colors are never emotionally neutral. The color in Sandy Skoglund's Radioactive Cats creates yet another interpretation of an interior space. The gray humans seem lifeless, while the lime-green cats glow with an inquisitive energy that may be toxic!

http://www.utdallas.edu/~melacy/pages/color.html Sandy Skoglund, Revenge