What three colors are called primary colors in painting? Complementary colors in painting

Away. Abram Arkhipov.

Synopsis

Since a painting has the status of one of the leading objects of “visual” art, the creation of mood and depth is greatly influenced by the use of color, which can have an extremely powerful effect on the viewer and bring the painting to life. It all started with prehistoric cave painting, in which primitive pigments were first used.

Color influence

Color effects can be manifested purely optically (attracting the viewer's eye), emotionally (using calm, cool colors or bright and stimulating pigments) or aesthetically (juxtaposing harmonious colors in compositions). Illumination and color saturation depend on the master’s correct use of established theories. In addition, the color's impact is adjusted depending on the surroundings. For example, gray surrounded by blue creates a cool feeling, while when next to yellow it shows warmth. The final combination and overall range of tones used in a painting is sometimes called tone key, which for many masters is quite peculiar or even unique that can be used in color analysis of works of art.

Portrait of the Arnolfini couple by Van Eyck, significant figures for oil painting

Watercolor, gouache

Gouache works by Liu Yi

Acrylic

Acrylic painting is created using completely synthetic materials based on polymer acrylic resin. In its simplest combination, this paint is a mixture of pigment, an emulsion of acrylic polymer (plastic), resins (as a binder) and water. Due to the evaporation of water (and some solvents), this paint dries quickly enough, forming a durable film.

Difference

Acrylic paint, due to its composition, changes color slightly after quick drying. Watercolor and gouache change color somewhat after a relatively short drying period, unlike oil paint, which does not change color during prolonged drying. Additionally, after applying one coat of oil, more paint can be added to create rich, saturated colors. Overall, the invention of oil painting (15th century, Europe) was a significant step in the development of color saturation and brightness of the image.

Color pigments

Pigments and dyes- ingredients that give color to paints. The main difference between dye and pigment is their ability to dissolve in water. Pigments must be thoroughly crushed and mixed in a solution, while dyes have a higher solubility rate. Most pigments are obtained from metals and plants, although some are obtained from fragments and parts of animals and fish, charred trees or bones.

Stone Age

Stone Age artists relied on pigments obtained from the earth. Mined elements such as clay and coal produced yellows, browns and various shades of red.

In Egypt

The color scheme produced by ancient Egyptian artists included shades of blue, lemon yellow, green, red-orange and other colors.

Greece and Rome

Antique paintings were characterized by a fairly wide range of colors, which continued to expand with the addition of shades of red, purple, indigo and other colors.

Renaissance

19th century

In essence, the 19th century is the beginning of modern art and a period of massive changes in the directions and patterns of painting. During this time, artists had access to cheaper and more reliable synthetic paints. For the Impressionists, such innovations helped convey ideas of the “fleeting moment.” Subsequently, the subjectivity of expressionist perception was also supported by new colors.

Impression. Rising Sun. Claude Monet.

Conclusion

It is important to remember that until the 18th century, artists were very limited in the choice of colors, but they somehow played an integral role in conveying the mood and atmosphere of the painting. After the 19th century, artists began to use bright pigments as a separate form of self-expression, focusing on them.

Color in painting updated: October 5, 2017 by: Gleb

Three primary colors

The first thing you need to understand is that in painting there are only three colors that cannot be obtained by mixing others. These colors - yellow, red and blue - are known as primary (base) colors. They form the middle (base) of the color wheel.

If you mix two primary colors, you get what is called a “complementary” (or secondary) color. Red and blue when mixed make purple, red and yellow make orange, and finally blue and yellow make green. The specific shade of the complementary color depends on which yellow, blue and red you use and in what proportions you mix them. If you mix a primary color with a secondary color, you get a tertiary color.

Black and white also cannot be obtained by mixing, but they belong to the group of monochrome colors and do not participate in mixing chromatic colors.

Cool and warm colors

Each color "leans" towards one or the other. This is not always noticeable; sometimes the warmth or coolness of a color is barely noticeable. But cold ones should be distinguished from warm ones, since when mixed, these properties have a serious impact on the result.

Among the main ones, yellow and red are warm colors, and blue is cool colors. In addition, if you make comparisons among species of the same color, you may find that among the reds, yellows, and blues there are warmer and cooler shades. True, this is only appropriate within the framework of comparison: yellow will never be truly cold, but only colder than another yellow - otherwise it is no longer yellow, but some other color.

If you mentally move along the color wheel, you will see that each color has a relative “temperature”. When moving from the cold “pole” to the warm one, the “temperature” of the color increases, and when moving in the opposite direction - from warm to cold - this “temperature” drops.

The difference between warm and cool tones is very important to understand and grasp. Thanks to this knowledge, it will be possible to correctly convey the time of day - sunny day or bluish twilight, the desired mood and atmosphere - sad or joyful, etc. In addition, this will help the artist to competently play on the contrast of warm and cold, which also has a very impressive effect when used correctly.
That's all for today, next time we will continue our conversation about color theory. Have fun with your painting!

Surely, each of you has encountered slight sadness and apathy on a cold cloudy day, which instantly turns into causeless inspiration in bright sunny weather. Perhaps the whole point is a lack of vitamin D, which we produce in the sun, but there is another secret. Depending on the lighting, the color palette of all objects around us completely changes. In clear weather we see rich colors and sharp shadows, which are synonymous with dynamism and positivity; on cloudy days, shadows are blurred, and a feeling of calm or even slight sadness is created due to the decrease in contrast. In addition, the natural color of objects depends on the temperature of the lighting, which also affects our impression of the landscape around us.

Often they pay attention only to the tonal modeling of the form, depicting the same color in the shadow of an object as in the light, only with a difference in tone. This is a serious mistake because the color always changes. It is impossible to paint both light and shadow with the same pigment!

To create a realistic image of objects, you must remember the following axioms:

1. If the lighting is warm, then cool shades appear in the shadows, and vice versa, if the lighting is cold, warm shades appear in the shadows.

For example, if we paint a landscape in bright sunlight on a cloudless day, then there may be warm shades in the shadows, since daylight is most often white, bluish or lemon-colored and is considered cool light. At sunrise and sunset, sunlight is usually warm - bright yellow or orange, so cool bluish and bluish shades appear in the shadows.

K. Monet “Rouen Cathedral: portal and tower of Saint-Romain: morning effect.” K. Monet “Rouen Cathedral: Portal and Tower of Saint-Romain: Noon.” C. Monet “Rouen Cathedral: portal and tower of Saint-Romain: effect of the sun, end of day”

In the same way, if we paint a still life under an electric incandescent lamp, the shadows will become noticeably colder, you will see shades of blue, purple or even green. Also, in the flames of a fire or a candle, which provide warm lighting, cold shades appear in the shadows. However, when using a fluorescent lamp with cold light (from 4000 K), the shadows will become noticeably warmer, as with cold moonlight.

The following tables will help us understand the temperature of light

2. Shades appear in the shadow that are opposite on the color spectrum to the local color of the object.

This simple means that in the object's own shadow we can see shades of a complementary color. For example, you are painting a still life with a red apple, a peach and blue grapes. The complementary color for red is green, for yellow it is purple, and for blue it is orange. This is why in the shadows you will be able to see shades of green, purple and orange respectively.

If we look at the color wheel, these pairs will be: yellow and purple, green and red, blue and orange. And intermediate ones between them, respectively.

3. An object illuminated by warm light and having a warm local color becomes even brighter and more saturated in the light, and an object having a cold local color becomes closer to an achromatic color that is equal in tone.

And an object that has a cold local color becomes even brighter, louder and more saturated.

For example, we draw an orange illuminated by a lamp with warm light. In the light, the orange area will appear even brighter and more saturated than it already is, while in the shade the orange color will not only become noticeably colder, but will also lose color. This effect can be achieved using blue paint. Many people know that complementary colors placed side by side on a canvas enhance each other. But not everyone knows that complementary colors, when mixed with each other on the palette, neutralize each other. If we illuminate this orange with cold daylight, then in the light its color will become more faded, while “burning shades” will appear in the shadows.

These simple rules allow you to predict what color will appear in the shadows or in the light and choose the right shades for mixing. That's all. Happy drawing!

PRIMARY AND COMPONENT COLORS

Goals: give an idea of ​​primary and composite colors; introduce the color wheel; learn to create composite colors by mixing two primary colors; develop visual perception of color, attentiveness; promote neatness.

Equipment: “Color Wheel” table, sample pedagogical drawing, paintings depicting a rainbow.

Dictionary: primary and secondary colors.

During the classes

I. Organizational moment.

1. Greetings.

2. Checking the readiness of students for the lesson.

3. Completing the task.

Teacher. I had scattered letters and syllables from which I wanted to form the name of the drawing supplies needed for the lesson. Help me put these two words together.

4. Wetting the paint.

II. Lesson topic message.

Teacher. Each item has its own, inherent color. For example, ripe lemons are yellow, oranges are orange, cucumbers are green. It would seem that everything is clear here. But take your time, color has a lot of secrets. It is not for nothing that there is a special science - color science, which deals with the problems of studying color. So we will begin to gradually comprehend these secrets, so that our drawings are not only colorful, but also convey the real color of the object believably.

III. Communication of theoretical information.

Teacher. The great English scientist Isaac Newton once came up with the idea of ​​passing a narrow ray of sunlight through a triangular glass prism. When he did this, he saw that a succession of beautiful colors appeared on the screen behind her. You've seen this at home more than once, too. For example, when a ray of sun hits the edge of a beautiful crystal vase, we then see red, yellow and other colors. And there is one natural phenomenon when many people simultaneously see the same beauty.

– What is it called?(Students' answers.)

– That's right, it's a rainbow. The rays of the sun, passing through raindrops, are divided into seven colors, just like in a prism. Remember which ones?(Students' answers.)

– Can you arrange them in the same order as in the rainbow?(Students' answers.)

There is one magic phrase: “Every hunter wants to know where the pheasant sits.” The first letter of each word represents a color, and the word's placement in a phrase indicates its place in the color sequence.

Knowing the pattern of colors is very important, as you will see later. To make it convenient to work with this scale, all colors were depicted in the form of a color circle, adding to the already known purple color, which is absent in the rainbow, but exists in nature.

But there are three colors that are called pure, or basic. These are red, yellow, blue.

Mixing three primary colors produces white, and mixing two of them produces mixtures of colors. This does not mean that if you take red, yellow and blue watercolors and mix them, you will get white. No, such a transformation is possible only by mixing rays of light colored in primary colors. Try experimenting at home, directing rays to one point, which can first be passed through colored glass.

If we mix two primary colors, we get the so-calledcomposite colors . For example, by mixing yellow and red paint we get orange, by mixing blue and red we get violet.

IV. Didactic games.

1. Know the composition and main color.

The teacher shows a card colored in some color, and the students either clap their hands if the color is a primary color, or sit silently if the color is a compound color.

2. Let's check how attentive you are.

Cards colored in the colors of the rainbow are laid out in order on the board. When students close their eyes, the teacher either rearranges the cards or switches their places. Students must restore the sequence.

3. Who's the most?

The teacher shows two cards with different primary colors, such as blue and red. Students must hold up a card colored in a composite color, in this case purple. The pace of the game gradually accelerates.

V. Practical work.

TASK 1. Perform exercises on mixing primary colors to obtain composite colors.

The inner circle is the primary colors.

The outer circle is composite colors.

Task 3. Draw how you imagine the seven-flowered flower from the fairy tale of the same name.

F y s c u l t m i n u t k a

We sat and drew

And a little tired.

We stood up, spread our hands,

Lifted up, stretched,

They lowered it and bent over.

One two three four five,

You can draw again.

VI. Lesson summary.

1. COLLECTED WORDS FROM RAISED BOOKS.

What is orange?

(Orange.)

3. The teacher’s final word.

Some of you might find it strange that we devoted an entire lesson to color. But this is just the beginning. We will have many more questions.

For example:

– What colors go well together?

– Why do some colors seem to stick out from the picture, while others seem to merge with neighboring colors?

So we still have many discoveries ahead. The main thing now is to train your vision so that you can distinguish between shades of the same color or different tones obtained by mixing primary and composite colors. Only then will you be able to correctly convey color relationships in your drawings.

4. RATING.

Methodical manual “Color is the basis of painting” for children 6-7 years old.

The teaching aid “Color is the basis of painting” is intended for children 6-7 years old. Developed on the basis of educational materials by G. P. Shalaeva “Learning to Draw.” It will be useful for educators and additional education teachers when teaching children the basics of color science and the techniques of watercolor and gouache in painting. It can also be used by parents who teach their children independently.
Target: Introduction to the basic characteristics of color as a means of artistic expression.
Tasks:
lay down theoretical knowledge about color;
develop a sense of color and artistic taste;
create a system of knowledge and skills for working with color;
develop confidence and initiative.
The methodological guide “Color is the basis of painting” will significantly enrich the artistic and practical base of the primary school student. This methodological guide is aimed at children mastering theoretical and practical knowledge and skills in working with color.
Knowledge about color and techniques for working with paints is also necessary for mastering painting technology. Children are encouraged to master the principles and methods of working with primary and complementary colors, delicate and rich, sonorous and dull, cold and warm shades. An important part is the work on mastering color relationships, where children become familiar with the theory and visual demonstration base and perform a number of creative tasks. Color is of great importance in the life of a modern person. Everyone needs knowledge about color. The ability to see and feel color harmony helps a child develop creative activity.

Note:
a) It is advisable to study the methodological manual in blocks (divided into proposed sections). For each topic, conduct reinforcement exercises with students.
b) Use the manual material at your own discretion - based on the age characteristics of the child.

Methodical manual “Color is the basis of painting”

Subject. Primary and secondary colors.

Color spectrum.

Primary and secondary colors.

Exercise. Color the cockerel with composite colors.

Subject. Shades and halftones.

If you dilute paints with water, their tone will be paler, that is, from red you will get pale red, that is, pink, from blue you will get pale blue, that is, blue, and from yellow you will get pale yellow. The more water you add to the paint, the lighter the tone. These light tones of paint are called tints, or halftones.

Subject. Contrasting colors.

There are also colors called contrasting. Contrasting colors are located opposite each other.

Theme: Warm and cool colors.

Exercise. Color the leaves with warm and cool shades of green.

Subject. Voiced and dull colors.

Bright colors in paintings by famous artists.