First, let’s take a look at a color wheel – a tool to help organize colors and their relationships to each other. Subtractive color, which I may from here on refer to as just color or hue – another, more technical word for color – can be divided up further, in different ways. In subtractive color, white is basically the absence of color – that is, if your paper or canvas is white! When you mix all the subtractive colors together equally, however, instead of making white, they create black. Blue and red make purple (usually called “violet”) as always (well, in additive color it’s more magenta). Today I shall focus instead on subtractive color – the realm of the painter.Ī first difference you’re likely to know is that in subtractive color, the primaries are red, yellow, and blue – and that red and yellow make orange while yellow and blue make green. Unless you plan to work in light, a lot of that won’t be useful…but it has its place. In additive color, white is all color, while black is absence of it. You are probably familiar that if you pass white light through a prism, the colors are refracted differently and a rainbow of color-blocked light results on the other side of the prism. The other primaries mix much as they do in subtractive color, but this difference is significant to note. This can get very confusing because what most people know a bit about is subtractive color, but I’ll get to that in a little bit. Also in additive color, the three primaries are red, blue, and green. In additive color, mixing all the colors of light together produce white. Pixels change to different colors to give you an impression of some blend or other, in order to make an image – an image made of light. Additive color is made with light – it’s what you see on your cell phone screen or your TV or computer. They are separated because they work differently than each other. In our world, color can be first of all and most widely broken down into two major categories: additive color and subtractive color. Artists (and scientists) have analyzed and categorized them in various ways, in order to understand working with different aspects of how color is used. One of the most obvious properties of a painting is color. To change the value of a colour you follow the Colour Mixing Rules.Your teacher Eilee George here, with a lesson on color. ![]() Yellow would be near the top (light end) of the scale while purple would be found near the bottom end. Each colour falls on the value scale from light to dark. Value is how light or dark the colour is, as discussed in Element 5 above. The chroma of a colour is not the same as its value.Ĭolours also have value. Too much saturated colour can give a garish result. ![]() In painting only small amounts of saturated colours are usually used as accents. The more pure the colour is (less of other colours mixed in), the more intense or saturated it is. (Hue the name we give a colour.)Ī colour has intensity called chroma, also known as saturation, brightness or purity. There are several other and each works well in different situations.Ĭolour is described by its hue – red, green etc. Another popular scheme uses Cyan, Magenta and Yellow as the primaries. The most common is the Red, Yellow, Blue model. There are various colour schemes which define the primaries. Colour theory is based on the colour wheel, colour value and on which colours work well together - also called colour schemes. It’s only a theory and can’t be proven but it is nevertheless useful to the artist. ![]() The colour wheel shows primary colours, (colours that can’t be mixed), secondary colours (made by mixing two primaries) and tertiary colours (made by mixing a primary and secondary colour).Ĭolour theory helps the artist to mix desired colours from primary colours. The colour wheel was developed by Isaac Newton who took the colour spectrum and bent it into a circle. In art, colours are arranged on a colour wheel. Colour is created when light is reflected into the viewer’s eye.
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