Color UNIT II: Subtractive Color, Value, Hue, and Saturation
Project II
Value Exercise, Personal Color Wheel, and Saturation Scale
Objectives
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To introduce the physics behind “pigment theory” (the color system most familiar to artists). To differentiate
“Subtractive color mixing: (pigment) from “Additive color mixing” (light). Introduction to the color wheel.
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To understand and utilize the principle attributes of color; such as value, hue and saturation
Project Overview
At times, we have all taken color for granted, yet it helps us as humans to familiarize ourselves with the world.
Previously, color was thought to be an element of philosophy; it was just one way that human beings related to
the world. The Greek philosopher Aristotle claimed that all colors were in fact various mixtures of black and
white, as many popular beliefs of color theory came and went throughout history. As color and color theory
became more complex, color theorist began to design systems to organize color. James Clerk Maxwell, a Scottish
physicist came up with three distinct color characteristics or color attributes: value, saturation and hue.
Later Johannes Itten introduced The Seven Color Contrast: contrast of hue, light-dark contrast, cold-warm
contrast, complementary contrast, simultaneous contrast, contrast of saturation, and contrast of extension.
While most artists are aware of how to mix pigments in order to achieve desired color mixtures, few have any
idea about the physics involved. The words used to describe different mixture system leads to confusion.
“Additive” refers to colored light. “Subtractive” refers to pigment. Even though you may be physically “adding”
pigments together-this does not mean that you are using the Additive system.
Reading and References for Study
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Reading: Chapters 2 and 3 in Becky Koenig’s Color Workbook . Pages 17-49
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Artist: James Clerk Maxwell
Vocabulary
hue, primary colors , secondary hues , tertiary hues, complementary colors , analogous hues , achromatic,
chromatic neutral, value , saturation, tint, shade, color attributes, subtractive system, physical color materials,
and pigment.
Materials
Bristol vellum, acrylic paints, brushes, paint palette, drawing supplies, masking tape, ruler, exacto knife, rubber
cement, drawing board.
Process
Part 1: The Value Scale
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On an 11” x 14” inch piece of Bristol vellum make eleven squares or rectangles (at least ¾” x ¾” in size) in a row.
Mix an eleven-step value scale of achromatic colors.
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I would recommend creating the “steps” separately, rather than drawing an eleven-step outline and
then “filling in” the blanks. By creating each step separately and then gluing it to a separate sheet, you
avoid the frustration of incorrectly gauging the increments and having to start over.
 Your middle gray value should be your center square, as your gradation of values move from 10% all
the way to a 90% gray, then to black.
Just below this, use the subtractive primary hues: blue, yellow or red and again make an eleven-step value
scale. Begin with white and end with black.
You should have a total of four, ¾” eleven-step value scales.
Part 2: Saturation
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In our color saturation chart, we will be using two complementary colors to make a scale from each hues
highest point of saturation. You need at least nine steps but you may use up to 12.
We will start with the pure unaltered hue and begin by adding the complement (a tiny dab of color goes a long way
so add in tiny doses so you don’t get too dark too fast) and a little white (to avoid the yucky brown color) as we go
down the scale.
Part 3: Hue
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Be sure to review the thematic concept page on Identity on the
Artcore website.
On an 11” x 14” piece of Bristol vellum, with a pencil lightly
draw a circle with 12 evenly spaced points. This will serve as a
guide for your color wheel.
Define two distinct shapes that represent something that is
fundamentally you. Do you have an interest in science, or
politics, gaming, fiction, comics, etc? What symbols would you
use to identify yourself?
Using these simple symbolic forms make a color wheel that
features the 12 primary, secondary, and tertiary colors. Make
sure that each mixture is at its fullest saturation.
Critique Questions for Suggestion
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How well are colors mixed to show the value-from light to dark?
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Are there any jumps in the stepping of the values or intensity in the charts?
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What is the degree of craftsmanship?
Notebook Checklist
Clean and Organized
Turned in on Time
Discussion Page on Subtractive Color
Project Objectives
Concept Page on Identity
Vocabulary
Research
Value Exercise
Personal Color Wheel
Saturation Scale
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Color UNIT II: SUBTRACTIVE COLOR (Mixing Pigments)
GOALS
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To introduce the physics behind "pigment theory" (the color system most familiar to artists).
To differentiate "subtractive color mixing" (pigment) from "additive color mixing" (light).
To introduce the classical color wheel.
To gain further understanding of tints and shades and their relationship to high key and low key colors.
DISCUSSION
While most artists are aware of how to mix pigments in order to achieve desired color mixtures, few have any
idea about the physics involved. The words used to describe different mixture systems lead to confusion.
"Additive" refers to colored light (see UNIT III). "Subtractive" refers to pigment. Even though you may be
physically "adding" pigments together-- this does not mean that you are using an "Additive" system. Pigments
reflect and absorb light: the particular wavelength reflected to our eye is identified as the hue or color of that
pigment, all other wavelengths having been absorbed. The pigment primaries are red, yellow, and blue.
Theoretically, they can be mixed to form all of the other hues.
The diagram to the left shows (subractive) Pigment Mixing.
Note black pigment at the center. Also note that where the pigment primaries
overlap (that is, where they are mixed together) one finds the secondaries of
green, violet, and orange.
A further refinement of the color wheel is shown in the diagram below. Tints are pure hues (see outer ring of the wheel)
that have been lightened by adding white. Shades are pure hues that have been darkened by adding black (see inner ring of
wheel).
The illustration furthest right shows six hues and the
variation of high key and low key colors and their relative
values. High key colors such as yellow, even at full
saturation, are very light in value. Low key colors such as
violet at full saturation are relatively dark in value. The
small dots (of complementary color) on the diagram
indicate a given color's greatest saturation. Note that
yellow is several steps of value lighter than a fully
saturated violet which is close to the bottom of the value
scale.
IDENTITY
The naming of one's own reality is crucial because cultural self-representation is inseparable from political selfdetermination.
-- Douglas Kahn and Diane Neumaier, Cultures in Contention
Visual artists are conscious, and unconscious, agents of mass dreams, allowing forbidden or forgotten image to
surface, reinforcing aspects of identity that provide pride and self-esteem, countering the malignant imprint of
socially imposed inferiority.
- -Lucy Lippard
We all need opportunities for expressing who we are as human beings.
Who am I? Where did I come from? What do I believe in? Where am I going in my life? Such highly personal
questions are part of being human. They go to the core of establishing a unique, personal identity--and
understanding how one fits into the fabric of society. Individuals may pose these questions differently or at
different points in their lives. Thoughtful people in every culture, in every historical epoch, have asked just such
questions of themselves. We all know people who have constructed clear personal identities, established
cultural roots, engaged a system of beliefs, or charted a course for a productive life. Such individuals can be
useful models for understanding--and challenging--how we view ourselves. By comparing our own "picture of
ourselves" with others, we can gain a greater understanding of ourselves.
In many cultures, artists express who they are, where they come from, and where they are going through
their artworks. The act of creating a painting, sculpture, video tape, or other work can be helpful in
determining and shaping who we are as individuals or as a member of society.
Inquiry Questions
1) How do you identify yourself? How does society at large identify you?
2) How do other societies or cultures or groups identify their members?
3) What graphic elements or marks can artists use to express their own identity in a work of art?
4) How can you use, replicate, combine, or transform these elements in your own artwork?
Artists
Laurie Anderson, Robert Arneson, William Blake, Chris Burden, Keith Haring, Lynn Hirschman, Ray Langenbach,
Linda Montano, Michelangelo, Adrian Piper. Jackson Pollock, Charles Ray, Rembrandt, Andy Warhol
References
1. Robert Arneson. artnet.com summary.
2. Adrian Piper. New York Times profile, Dec. 24, 1999.
3. Female Identities. Hosted by the Center for Creative Photography in Tucson.
4. ASU-YWCA Internet Art Workshop. Collaboration bewteen ASU MFA candidates and "Haven House" women.