ART II
Final Exam Review Sheet
60 multiple choice – 45 pts (.75 each) (Art Criticism,
Elements and Principles, and Art History – Impressionism
through Pop Art – be able to identify slide by artist and
movement and know relevant style and facts about each art
movement)
1 Essay – 25 pts (4 steps of Art Criticism)
2 drawings – 30 pts (value and observational drawing)
You are required to have a #2 HB pencil and eraser to take
the art final exam!
Art Criticism
If for any reason an image does not show up on your
machine or printing, you can always google the artist and
artwork!
Step One:: Description
What do you see?
• The size of the work, the medium used, and the process
used.
• The subject, object, and details.
• The elements of art used in the work.
Step Two:: Analysis
How the principles of art are used to organize the art
elements of line, color, value, shape, form, space, and
texture.
Step Three:: Interpretation
Explain or tell the meaning or mood of the work.
Step Four:: Judgment
You determine the degree of artistic merit.
• Do you think the work is successful? Why? What is
working or not working?
THE ELEMENTS OF DESIGN
Line:: A mark made by a drawing tool; a continuous mark
which causes the eye to follow a path.
Types of lines: horizontal, vertical, diagonal, wavy, zigzag.
Categories of line: Contour line is an outline. Calligraphic
line is a thick or thin line (it varies).
Color:: Perceived due to reflected light.
Three properties of color:
• Hue – the name of a color, such s ‘red’
• Value – lightness or darkness of a color
• Intensity-brightness or dullness of a color
Tint – Add white to lighten a color
Shade – Add black to darken a color
Value:: Lightness or darkness of a color, line, or shape.
Space:: An area that is occupied (positive space) or empty
(negative space).
Depth or closeness is achieved by various perspective
techniques.
Linear perspective: a system of parallel lines that creates the
illusion of depth on a flat surface.
Aerial or atmospheric perspective: far away objects appear
softer and hazier than objects in the foreground.
Shape:: Area enclosed by line or set apart by other areas.
Two-dimensional. Two types: organic and geometric.
Form:: Three-dimensional (having length, width, and
depth), as in sculpture. Form may also apply to the illusion
of a three-dimensional object on a two-dimensional plane.
Texture:: The quality of a surface. Implied texture refers
to whether it appears rough or smooth, shiny, dull, etc.
Actual texture is how something feels.
Impressionism
The impressionists were interested in natural colors and
landscapes that they painted outdoors. They realized that
light had a tremendous effect on the color of objects. The
color of the atmosphere at different times of the day
changed the appearance of objects they were painting. The
Impressionists painted color as they saw it with colored
light even penetrating the shadows. Sometimes, solid form
was lost was lost in the brilliance or mistiness of the light.
The Impressionists wanted to express an immediate
impression, not a detailed analysis.
The name Impressionism was first used in jest when Monet
exhibited a work called Impression: Sunrise in an 1874
show. The painting’s colored streaks and blobs on a pale
blue ground represent what a person sees when taking a
quick look at the a sunrise over a harbor. Critics derisively
called the works impressions and not paintings. The title
stuck, although several Impressionists did not like it.
Impressionism was the first artistic revolution since the
Renaissance. It gradually built up a following in Europe. It
was especially popular in the United States. Impressionism
lasted about 15 years before artists started following
different directions.
Monet, Rouen Cathedral, 1894, oil on canvas, 39” x 26”
Monet simply painted the color he saw – a little blue square,
an oblong of pink, a streak of yellow or green dots. Monet
took dabs of yellow and put them next to dabs of green and
did not smear them together. Instead he let the viewer’s eye
blend them from a distance into a shimmering green. This
technique, called optical mixing or the applying of broken
color, was the basis for Impressionist theories of color and
light. Monet became the leading force in the Impressionist
movement, bridging the span from the Realist world to the
contemporary world of abstraction. Monet loved to work
outdoors and confront the environment he was painting.
To analyze the change of color of a subject during various
times of the day, he painted the west façade of Rouen
Cathedral. One no longer sees the heavy stone, but rather
the light and color reflected. Monet recorded the light and
color changes on the church in more than thirty canvases.
Manet, Gare Saint-Lazare, 1873, oil on canvas, 36” by 45”
Manet wanted to make paintings that could be enjoyed for
their color and arrangement and for the fact they were
paintings and not imitations of nature. His early works had
flatness new to the world of painting. This flatness was hard
for his contemporaries to understand and accept. Manet was
influenced by Japanese woodcuts that were popular imports
in France. His Gare Saint-Lazare, done in mid-career, has a
flatness that is fascinating. The woman’s face has little to no
shadow, a stark contrast with the chiaroscuro of the
Renaissance. The light source is probably behind the artist.
The format of the painting is like a snapshot of a young
woman and a girl at the train station. The dominant vertical
bars are fresh and startling. Manet, like Monet, often
worked outside. All four sides of the canvas seem to have
been “cropped”, much as one would crop a snapshot.
Manet’s work occasionally seems unfinished and casual, a
stark contrast with Ingres and David and Neoclassicism.
Degas, Blue Dancers, 1899, pastel on paper, 25” by 25”
Edgar Degas shared the Impressionists interest in casual
subjects and candid glimpses of people in action, but Degas
more carefully considered design and the positioning of
people and objects on the canvas. Degas was a master of
line and drawing and was reluctant t o abandon it in favor of
Impressionism’s soft contours.
One series Degas spent much of his time on was the ballet.
The views are from peculiar vantage points, such as from
wings, balcony boxes or from below the stage. This
enhances Degas’ candid glimpses of dancers working at
their craft. Degas’ soft blending of costume into background
is an Impressionist technique for showing light bouncing off
of form. However, as a line around a foot or down a leg
suggests, Degas only uses softness t express action or to
describe the material. An asymmetric balance is often
carefully used in the composition. Degas worked a great
deal with pastels rather than with oils. He was the first artist
to exhibit them as finished works instead of preliminary
sketches for paintings.
Cassat, Sleeping Baby, 1910, pastel on paper, 25” by 20”
Cassatt studied with Degas. Mothers and children were
Cassat’s favorite subjects. She worked in oil and pastel.
Like Degas, Cassatt used line along legs and arms to
strengthen the design and add solidity to the figures.
Whistler, Arrangement in Gray and Black No. 1: The
Artist’s Mother, 1871, oil on canvas, 56” by 63”
Whistler, Nocturne in Black and Gold: The Falling Rock,
1874, oil on panel, 23” by 18”
James Abbott McNeil Whistler was especially influenced
by Japanese woodblock prints and the stark arrangements of
Degas. He looked to simplification, realistic portraits, thin
glazes of color and restricted palette, often of blacks and
grays. Nocturne in Black and Gold: The Falling Rocket
created much controversy. The painting is an
impressionistic view of rockets bursting in the English
night.
Rodin, The Three Shades, 1881-86, Bronze
Rodin transformed the instantaneity of Impressionism into
powerful, three-dimensional forms. Rodin’s best works
were caste in bronze, but were first formed with his hands in
clay, plaster or wax. He loved the immediacy of these
materials, which he could manipulate, push, stab and form.
Impressionist paintings may seem unfinished but are
complete. In the same way, Rodin often left his sculptures
seemingly unfinished. Often the surfaces of his bronzes
shimmer with light reflecting from his fingerprints and
rough surfaces. Rodin’s work was not accepted during his
lifetime, but has since his death been important to the
history and progression of sculpture and modernist art.
Post-Impressionism
Artists who based their work on the color theory and
techniques of Impressionism, but who developed their own
unique styles, are loosely grouped together under the
heading Post-Impressionists. The Post-Impressionists
wanted to combine the color and light of Impressionism
with the design and composition of traditional painting.
Two directions emerge among these artists. Cezanne and
Seurat looked for permanence of form and concentrated on
design. Van Gogh and Gauguin emphasized emotional and
sensuous expression. Post-Impressionism set the stage for
the extreme range of individual expression that
characterizes art in the twentieth century.
Seurat, A Sunday on La Grande Jatte-1884, 1884-86,
oil on canvas, 81 x 121”
Color and light predominate in Seurat’s paintings, but they
are the very opposite of a quick “impression”. Seurat used
methodical and scientific techniques based on photography
and the physics of light and color. Combing this knowledge
with the techniques of the Impressionists, Seurat painted
incredible paintings. In A Sunday on La Grande Jatte-1884
he placed figures extremely carefully. The color was
applied in tiny dots, each about the size of a pencil eraser.
From a distance the viewer’s eyes visually mix these dots
together to create an array of hues and values. This
technique is called pointillism. The people face sideways or
are frontal and are almost Egyptian in their formality. This
work is more solid that the fleeting glimpse of
Impressionism.
Paul Cezanne, Mont Sainte-Victoire, 1904,
oil on canvas, 28 x 35”
Paul Cezanne, Still Life with Apples and Peaches, 1905,
oil on canvas, 32 x 39”
Cezanne was the leading painter of the 19th century in
France and one of the most influential artists in Western
painting. According to the standards of his time he was a
failure. The Salon in Paris rejected all his impressionistic
works. While the Impressionists used light to capture a
fleeting moment, Cezanne’s light seems permanent and all
encompassing. It illuminates colors and subjects, and
shadows are often nonexistent. Cezanne did not want his
paintings to imitate the realistic three-dimensionality of
nature. He wanted them to remain as flat canvases with
paint on them. Because he was concerned with the structure
of the painting, he felt free to move objects and adjust
relationships of color and form to produce the best design
possible, even if this meant distortion. He discarded the
traditional aerial and linear perspective and painted every
part of the canvas in equal intensity-foreground, middle
ground, background and sky. This lead to a compressing of
space so that the canvas remained visually flat yet the colors
seemed to indicate depth. A large mountain in Cezanne’s
hometown, Aix, dominated the landscape. He depicts this in
Mont Sainte-Victorie. Cezanne built up his painting by
applying paint in flat, square patches or planes of color. The
intensity of the color remains strong throughout so that the
sky seems as close to the viewer as the foreground. Colors
and values are distributed over the picture plane to produce
a visual balance.
Henri de Toulouse-Lautrec, At the Moulin Rouge, 1892, oil
on canvas, 48 x 55”
Henri de Toulouse-Lautrec,
Moulin Rouge, La Goulue, 1891
Lautrec lived and worked in the artist’s district of Paris
called Montmarte. He spent much if his time in the cafes,
cabarets and theaters. He drew caricatures and portraits with
great skill. He liked to portray dancers and circus people.
Lautrec uses energetic lines in much of his work and there
is a feeling of spontaneity in his paintings. Thin washes of
color are often used in combination with a sure, dark line.
Many of his paintings are of the night life of Paris. At the
Moulin Rouge depicts a group of Lautrec’s friends around a
table at the cabaret. Lautrec and his much taller cousin can
be seen crossing the canvas in the background. The diagonal
table and the woman on the right seem to move forward
form the picture plane. They bring the viewer into direct
relationship with the scene. Lautrec’s presentation of his
lifestyle and social environment was very realistic. He knew
it well, and painted the night life with rigor. He also lived it
excessively, dying of alcoholism when only thirty-seven.
Lautrec was the first artist to produce modern posters for
commercial purposes. His caricatures adorned
advertisements for many of the cafes and cabarets of the
Monmartre.
Paul Gauguin, la Orna Maria,
1891, oil on canvas, 44 x 34”
Paul Gauguin, The Vision after the Sermon (Jacob
Wrestling
with the Angel),1888, oil on canvas, 28 x 36”
Before Gauguin was a painter he was a successful European
stockbroker. Convinced that European urban society was
incurably sick, he began a long search for a better way of
life. He traveled the world, living in remote regions of
France (villages of Brittany) and the Tahiti islands. In his
painting, he rejected the formlessness of Impressionism, the
traditional Western style of naturalism, and realistic
portrayal. He wanted to return to a primitive style of art
with simple forms and symbolism rendered in a decorative
and stylized way. Like Egyptian, medieval, and Oriental
artists, he outlined his shapes. He even used Egyptian poses
in several of his paintings. He flattened form into decorative
shapes and combined brilliant colors to express his feelings.
His color combinations were innovative. He used purples
with oranges, and bright blues with yellow greens.
The search for religious experience was important to
Gauguin. In The Vision after the Sermon (Jacob Wrestling
with the Angel), he tried to show simple, direct faith of the
peasants of Brittany. Instead of natural colors, Gauguin used
stained-glass colors to depict the trance-like rapture of the
peasant woman.
Expressionism
It is difficult to group artists according to style in the 20th c. Each artist was trying to develop an
individual style different from all other artists. But certain characteristics do group artists together for
the sake of organization and study. The term Expressionist art refers to an attitude or philosophy of art
rather than a style, because artists of many styles can be expressionistic in their work. The expressionist
artists working at the beginning of the 20th century were not interested in naturalism. They sought a
means to express emotional states in their work as well as to portray the many stresses brought on by
life in the modern world. Fauvism and German Expressionism dominate in Europe. In the Americas,
Mexican artists developed their own sense of Expressionism.
Fresco
The Fauves (Fauvism)
Diego Rivera, The Making of a Fresco Showing
the Building of a City,
1931. Fresco, 23’ by 30’
Rivera studied in Paris and knew Picasso and the
rest of the artists in Paris creating the newest forms
of visual expression (avant-garde). But, he
returned to Mexico in 1921 to become actively
involved in its politics. Influenced by simple
outlined forms of Gauguin and his own cultural
heritage of Mayan and Aztec sculpture, Rivera
developed a powerful and unique painting style.
Rivera revived the fresco technique, which had not
been used extensively for centuries, and put his
ideas on public walls for all to see.
By the late 1920’s Rivera’s murals were well
known in the United States. One of his numerous
commissions was for a mural for the San
Francisco Art Institute. The Making of a Fresco
Showing the Building of a City was executed from
April to June 1931. The mural’s theme is the
design and construction of the modern industrial
city in the United States. The activities of workers
and planners, both above and below ground, are
seen through a scaffold that supports a fresco
painter (Rivera himself) and his assistants. The
large helmeted worker in the background is
sovereign in this fresco. Rivera paints industry in
an idealized setting where everyone works in
harmony together.
1. Henri Matisse, The Red Studio, 1911.
Oil on canvas 71 by 86”
2. Henri Matisse, Beasts of the Sea, 1950.
Paper on canvas (collage), 116” by 60”
In the early 20th c in Paris, young artists were
greatly impressed by the freedom, color, and
individual character of works by Cezanne, van
Gogh and Gauguin
The work by these young artists was called that of
“wild beasts” by critiques. The French world for
beasts is Fauves, and thus Fauvism.
Henri Matisse felt the urge to paint while studying
to become a lawyer.
He used intense colors and he simplified complex
subjects. Matisse wanted to express himself with
simple color and shape rather than shading and
perspective. In The Red Studio Matisse creates a
German Expressionism
flattened effect, enhanced by the lack of shadow
and value changes. On the walls are a number of
his Fauvist paintings from the previous years.
Renaissance painting concepts are almost
completely eliminated and a brilliant, personal
quality emerges.
In his later years (ill and confined to bed), Matisse
experimented with collage-pinning and pasting
brightly colored flat shapes on contrasting
backgrounds.
Two groups Die Brucke (The Bridge) and Der
Blaue Reiter (The Blue Rider).
Die Brucke rejected academic training in art and
all traditional forms of expression. They revived
avid interest in the woodcut and other graphic
means of expression. They emphasized violent
colors and distortion of features. They also studied
African art in depth, especially the expressive
masks and carvings.
Der Blaue Reiter were not social revolutionaries,
but these strong individual artists exerted a
powerful influence on 20th century art.
Kirchner, The Street, 1913. Oil on canvas, 47” by
35”.
The leader of Die Brucke was Ernst Kirchner. He
insisted, “art depends on inspiration and not on
technique.” In his early paintings, such as The
Street, he worked in flat color areas with bright
hues and heavy black shapes. Sharp, angular
shapes and vivid colors express the tension and
agitation of the street. There is isolation and
loneliness even in such crowded conditions.
Franz Marc, The Yellow Cow, 1911. Oil on canvas,
55 by 74”.
Franz Marc was part of The Blue Rider group.
Marc painted many different subjects, but his
animal paintings are of major importance. Marc
used brilliant color in a symbolic and arbitrary
way. He combined color with shape and rhythm to
dramatize the integration of all creatures in nature.
The Yellow Cow looks happy and fills the picture
with powerful movement and an active shape.
Abstract Expressionism
Kandinsky, Study for Composition No. 2, 19091910.
Oil on canvas, 51 by 38”
Kandinsky was also part of The Blue Rider group.
He is credited with painting the first completely
nonobjective painting in about 1910. His early
paintings were similar to the Fauves, with
recognizable houses and trees painted in vivid
colors. The Shapes in Study for Composition No.2
are already quite abstract, but many forms are still
recognizable. Gradually, he simplified and
abstracted these features until only shape, color
and line were left. Certain kinds of lines and
various colors had personal meaning to
Kandinsky. He wrote that to him “blue is soft and
round while yellow is sharp.” He developed his
own personal language of color and shape to
express his feelings. His influence became very
strong in the Abstract Expressionist movement
following WWII.
Abstract Expressionism exploded in New York
following World War II. AbEx got its title because
it was abstract (emphasizing shape, color and/or
line with no recognizable subject matter) and
expressive (stressing emotions and individual
feelings more than design and form). Partly as a
reaction to the times they lived in, artists turned
against reason. Their work had a spontaneous and
very fresh feel to it. It was meant to be grasped
intuitively by the viewer rather than reasoned out.
The movement lasted about fifteen years, but
during that time it revolutionized the art world.
America became the leader of the art world during
this time and remains (arguably) the leader today.
Willem de Kooning
deKooning, “Easter Monday”,1950-1952, oil on
canvas
deKooning, “Woman I”, 1950-1952, oil on canvas
De Kooning came from Amsterdam to the US in
1926. In the depression he actually worked as a
house painter. This led him to use large housepainting brushes and enamel paint.
After painting realistically for many years, he leapt
into AbEx and became one of its leading
exponents. His slashing brush covered large
canvases with color and tremendous action that
became his nonobjective subject matter. Because
the emphasis is on the act of painting as part of the
subject matter, such work was called Action
Painting.
In Easter Monday de Kooning used newspaper
transfers and oils as the media of his nonobjective
work. The painting is coincidentally strewn with
E’s. DeKooning often used letters of the alphabet
as part of his huge swinging-motion paintings.
At the same time he was still very interested in the
figure. His famous series of Woman paintings was
inspired in part by advertising billboards.
Woman I is an exciting painted made at top speed.
Amid the interplay of colors and brushstrokes, the
overall shape of the body is recognizable. There is
an emphasis on the face with its wide, rather
learning grin. Like other action paintings, the
image comes into and out of focus. This is violent
and very expressive painting.
Jackson Pollock
Jackson Pollock, “No.I, 1950 (Lavendar Mist)”,
oil enamel and aluminum on canvas.
In 1946 Pollock began his drip paintings. His new
working technique completely freed him from the
use of traditional brushes and opened the door to
Abstract Expressionism. Laying his canvas on the
floor of the studio so he could walk on it, he
literally put himself into his work. With a can of
paint in his hand, he moved about the canvas,
freely dripping, spilling and throwing the color
with apparent abandon. Pollock’s No.1, 1950
(Lavender Mist) is a complex interweaving of
color and line that produces an overall web of
texture Pollock intended the work to be flat;
however, there is a sense of shallow depth.
Lee Krasner, “Right Bird Left”, 1956, oil on
canvas
Lee Krasner progressed through realism and small
abstractions. Eventually, she turned to much
larger-sized canvases to fully contain her
expressions. In 1965 she painted Right Bird Left.
The resulting surfaces are rich in texture, color,
movement, and overall unity. She was married to
Jackson Pollock until his tragic death in 1956.
Mark Rothko, “Blue, Orange, Red”, 1961, oil on
canvas
Mark Rothko developed a style based on soft
edges and blending colors. His expression was not
as harsh as deKooning. As his work became more
simplified, the sizes of his canvases became larger.
The color became less contrasting and less intense
as well. He limited his large rectangular shapes to
only two or three, as in Blue, Orange, Red The
hazy edges give the feeling of shapes floating and
vibrating in and out of the background color.
Richard Diebenkorn, “Cityscape I”, 1963, oil on
canvas.
Richard Diebenkorn was part of the second
generation of Abstract Expressionists. Many of
these second-generation AbEx painters turned
from complete reliance on abstraction to
representational subjects and figurative painting,
but with expressive overtones. Diebenkorn
combined reality with the expressive power and
technique of Abstract Expressionism. Cityscape I
shows the influence of Abstract Expressionism in
the brushstrokes and reliance on flat shapes.
Pop Art
In the early 60’s a group of artists burst on the
scene. Their subjects were coke bottles, beer and
soup cans, comic strip characters and hamburgers.
Because these things were so common, or popular,
their movement was labeled Pop Art. Pop Art was
more an attitude than a style. All Pop Art works
were reminders of supermarkets, movies,
television and the comics. Unlike Abstract
Expressionism, Pop Art expressed an impersonal
attitude toward the work and subject and had a lot
to do with the artists’ frustration with the art
establishment. It incorporated a delightful sense of
wit, satire and humor.
Claes Oldenberg, Shoestring Potatoes Spilling
from a Bag, 1966, Painted canvas, kapok, glue
and acrylic, 107”x46”x42”.
Claes Oldenburg used found materials to make
sculptures and drawings of the objects he saw
around him. TO help the viewer see the
manufactured environment with new eyes,
Oldenburg worked with various sculpture media.
He enlarged ordinary household objects, such as a
three-way electrical plug, to enormous size. He
also developed the technique of soft sculpture,
which added a surrealistic effect to his work.
Shoestring Potatoes Spilling from a Bag is made
from painted canvas stuffed with soft kapok. The
entire sculpture is soft to the touch. It sags
humorously as it hangs limply from the ceiling. It
is nearly 10 ft high! Oldenburg often produces
ordinarily objects as monumental sized sculpture
located in indoor and outdoor settings.
Robert Rauschenberg, First Landing Jump, 1961,
combine painting, found objects and oil paint on
composition board, 89” x 81”
Robert Rauschenberg acted as a bridge between
Abstract Expressionism and Pop Art when he
fastened such mundane objects as license plates,
street signs and men’s clothes to his abstract
canvases. He called them combine paintings.
Rauschenberg mixed reality with abstraction. He
created everything imaginable (from prints to
stuffed birds and automotive tires). The sensation
is often difficult for the public to comprehend.
Titles like The First Landing Jump probably do
not help either. But the artist makes the viewer
look at ordinary things in a different context. The
viewer is used to seeing tires on automobiles, not
in “paintings”. Pop artists want the viewer to see
the commercial environment in a new way. By
juxtaposing usually unrelated materials,
Rauschenberg has succeeded.
Jasper Johns, Numbers in Color, 1959, encaustic
paint on newspaper and canvas, 66”x49”
Jasper Johns uses many Abstract Expressionist
paintings techniques, but his subject matter is as
common as the American flag, targets, numbers,
beer cans, flashlights and maps of the US. Johns
represents things that are often looked at, but
seldom in detail. In Numbers in Color, he shows
numbers. He forces the viewer to look at common
things that they often overlook. The
complementary colors of blue and orange cry out
for recognition as they seem to vibrate forward
from and backward into the canvas. The overall
effect is one of texture and pattern, but within that
context, the individual numbers are the subject
matter.
Roy Lichtenstein, Masterpiece, 1962, oil on
canvas, 54”x54”.
Roy Lichtenstein became one of the stars of Pop
Art. Like other Pop artists, he wanted to play on
the slick, multiple images of commercial art, its
mechanical techniques and its glossy colors.
Lichtenstein made giant cartoon-like paintings. He
even simulated the ben-day printing dots used to
color the Sunday comics. Paintings like
Masterpiece look like they are cut from the comic
page, but try to image this one 54 inches high.
Often, Lichtenstein pokes fun at the melodrama of
the comics and the national fascination with them.
Some of his works have verbal messages.
Andy Warhol, 100 Cans, 1962, oil on canvas,
71”x52”.
Andy Warhol and Pop Art go hand and hand, it is
hard to imagine one without the other. He zeroes
in on the American mass production and its boring
repetitions. The consumer goes into the
supermarket and sees hundreds of cans of
Campbell’s soup. The product is instantly
recognized and found in nearly every market and
home in the country. Warhol paints 100 Cans in a
boring, unexciting way-just the way they are lined
up on the market shelves. He even used the
mechanical silkscreen process to apply paint to the
canvas, and had other people do the work. This is
how impersonal he became with the medium.
Warhol is also known for images of Marilyn
Monroe and other personalities.
Primary Colors
Secondary Colors
Intermediate (Tertiary) Colors
Neutrals
Color Values
Primary colors are not mixed from other colors and they
generate all other colors.
Red
Yellow
Blue
By mixing two primary colors, a secondary color is created.
Red + Yellow = Orange
Yellow + Blue = Green
Blue + Red = Purple
red-orange, yellow-orange, yellow-green, blue-green, blueviolet, red-violet
Black, white, gray and sometimes brown are considered
"neutral”.
Color values are the lights and darks of a color you create
Tints
Shades
Color Schemes
Monochromatic
Complementary
by using black and white (‘neutrals”) with a color. This
makes hundreds of more colors from the basic 12 colors of
the wheel.
color +white = tint
color + black = shade
Tints are lightened colors. Always begin with white and
add a bit of color to the white until the desired tint is
obtained.
Shades are darkened colors. Always begin with the color
and add just a bit of black at a time to get the desired shade
of a color.
Monochromatic, analogous, complementary, warm, cool
“Mono” means “one”, “chroma” means “color”…
monochromatic color schemes have only one color and its
values.
Complementary colors are opposite on the color wheel
provided a high contrast
Examples::
Red and green
Blue and orange
Analogous
The analogous color scheme is comprised of colors adjacent
to each other on the color wheel. This combination of
colors provides very little contrast.
Analogous colors also share a primary.
Warm
Cool
They are colors found in fire and the sun. Warm colors
make objects look closer in a painting or drawing.
Red, orange, and yellow
They are the colors found in snow and ice and tend to
recede in a composition.
Blue, green, and violet