|
|
COLORS THAT HARMONIZE - THE STUDY
OF COLOR Helpful information when deciding on your color
scheme by Linda D. Ferretti TRIADIC · 3 colors equally spaced about the color wheel · 1 main color and subordinate the other 2 colors Example: 1. Red Blue Yellow 2. Red Orange Yellow Orange Blue Violet 3. Orange Green Violet 4. Yellow Orange Blue Green Red Violet Simply chose your color of choice and add the other 2 colors in smaller amounts. ANALOGOUS COLOR · 5 Adjacent colors on color wheel · simply chose 1 basic color plus 4 hues SPLIT-COMPLIMENTS · affords considerable “visual interest” · 1 principal color plus 2 splits. Example: Principal Color - 2 Splits Red Blue Green + Yellow Green Red Orange Blue + Green Orange Blue Violet + Blue Green Yellow Orange Blue + Violet Yellow Red Violet + Blue Violet Yellow Green Red & Violet Green Red Orange + Red Violet Blue Green Orange + Red Blue Red Orange + Yellow Orange Blue Violet Orange + Yellow Violet Yellow Green + Yellow Orange Red Violet Green + Yellow SEMI-TRIAD · The basic semi-triad relationship is made up of two complementary colors plus a third color halfway between the two on the color wheel. Example: Orange + Blue + Yellow Green Red + Green + Yellow Orange or Blue Purple Yellow + Purple + Blue Green or Red Orange Red Purple + Yellow Green + Blue or Orange Red Orange + Blue Green + Yellow or Purple Yellow Orange + Blue Purple + Green or Red DOUBLE COMPLEMENT · A double complement is made up of two sets of true complements with a dividing color in between. Example: Red + Green Orange + Blue Yellow + Purple Note: One color must dominate over the other. Let’s say 75% red to 25% green. If they are equal, it is too confusing to the viewer and the eye becomes confused. This makes for a dramatic, robust piece of work. Perspective
Simplified For Fiber Artists Perspective helps us create the feeling of 3 dimensions on a 2 dimensional pictorial surface. In fiber art, perspective is especially important in providing realism. People viewing a work with poor perspective often can't put their finger on the problem but find that the image "feels" wrong. Visual Examples of Perspective: Imagine an image of a road across the prairies. The road is wide at the bottom of the pictorial because it is close to you. The telephone pole beside the road is the full height of the material backing within the design. Way off in the distance, you can see where the sky and land seem to meet, the horizon. As the road progresses to the horizon, which you will see at your eye level, it becomes narrower, and the telephone poles become shorter until they seem to vanish completely at the horizon. This is called the vanishing point. Our eye level and vanishing points determine how we place objects in our pictorials to create a sense of depth and distance. 1. What is your eye level? The eye level is where your eyes rest depending on rather you are standing, sitting or laying down: (a) Standing gives you a higher eye level; (b) Sitting gives you a lower eye level; (c) Laying down you are looking up at objects and see underneath, completely different eye level. In creating your pictorial, keep in mind where your eye level is at all times and your perspective will start to take shape from the very beginning. 2. Where is your vanishing point? The vanishing point is the area that is the furthest away from you, the most distant area in your pictorial. Let us combine the eye level and vanishing point. Example 1: --VP ------------^-------------------------------VP- You are here You are closer to the vanishing point on the left than the right hence the area on the left will be the weakest value. Example 2: VP--------------------------^--------------------------VP-------- You are here You are approximately equal distance between the vanishing points hence the area you're at or the part of the picture that is the closest to you, in your pictorial will be the stongest in value. You will gradually work left and right to weaker values creating distance. Let us apply the above theory directly to our pictorials. To make posts in a landscape: 1. Draw 2 posts that are the closest to you. 2. Draw a line from the top of post 1 to top of post 2 towards the vanishing point. 3. Draw a line from the base of post 1 to base of post 2 towards the vanishing point. 4. Between these 2 lines fit the number of posts you want in your pictorial. Note how the size decreases as they recede towards the vanishing point. TIP: An easy trick to remember is to divide your pictorial into thirds horizontally. Place your horizon on one of those two horizontal lines. See diagram below. (Additional information in composition and design to come). Divide pictorial into thirds Place your horizon on one of the two horizontal lines Simplified Version Posts in Perspective Eye Level and Vanishing Point Posts In Perspective 2 The following lesson, with it's accompanying diagram, was taught to me by Bill Hamilton, Cartoon Artist, in Ottawa, Ontario, Canada. A slightly more complex and exact method of "Posts in Perspective". First: Draw two posts the correct distance apart. Second: Draw line 1 & 2 to the vanishing point on the horizon. Third: Find the half-way point on the first post and draw a line to "VP". Last: Draw Line B from the Top (Left) of Post 1 through the Center (Left) of Post 2 - to Line 2. This gives you the location of the left side of Post 3. Repeat for the right side. Then repeat the procedure, doing one post at a time. Exact Posts in Perspective By Cartoon Artist, "Bill Hamilton", Ottawa, Ontario, Canada Lesson 2 Perspective Simplified Lets draw a book in perspective.1. Check your eye level and determine where your eye level and vanishing points are. VP 1--------------------------eye level--------------------------VP 2. Determine the height of the book, this is your perpendicular that is the closest to you. (When drawing houses, barns etc. keep this perpendicular straight. ) Draw lines from the base of the perpendicular to the left vanishing point and to the right vanishing point. Now you can see the V form. 3. Now from the top of your perpendicular draw line to left vanishing point and then to the right vanishing point. Now determine the actual size of the book in length and width, insert the perpendiculars. Draw a line from the top of the left perpendicular towards the right vanishing point and draw the line from the top of the right perpendicular towards the left vanishing point. You have your book in perspective. It's that simple. The same principals applies to creating a box. 1. Determine your eye level and vanishing points. 2. Determine the height of the box. To do this, you use the perpendicular that is the closest to you. 3. Draw from the base of the perpendicular towards the left vanishing point and repeat for the right side. 4. Draw from the top of the perpendicular towards the left vanishing point and repeat for the right side. 5. Insert the left and right perpendiculars, keeping them straight between the lines. 6. To create the top of the box, draw the line from the top of the left perpendicular towards the right vanishing point and draw the line from the top of the right perpendicular towards the left vanishing point. You have created a box in perspective which will assist you to create believable forms in your fiber art. Note: You cannot always see the vanishing points. If your drawing appears to be stunted or you feel something is wrong, try extending your vanishing points to a greater distance. The general direction is what's important to create the form.
Warm & Cool Color Theory Warm colors come forward and cool colors recede, simple and useful information for creating pictorials.Think of the sun for hot colors: Red Yellow Orange A color that contains one of these hot colors becomes a warm color, example: Yellow green red purple Think of the distant hills or snowy day and you will have the cold colors: Green Blue Violet A color that contains one of these cold colors becomes a cool color, example: Blue green blue purple Home|artsy@xplornet.com|www.linartdesigns.com |
Enter supporting content here