Under standing C O

L O

R Theory III

presentation by Pam Coulter

What’s next • Finish color value scale and discuss

Tints and Shades notice that you’ve now used tints and shades importance of getting away from just the saturated hues in your painting Cezanne Three pears

Tints and Shades Tints, shades and “breaking the rule” Manet, Flowers in a vase Matisse, Window

More work on color lightening and darkening.

Local color is the basic color of an area excluding the effects of light and shadow. Light will tend to wash out the color and shadow darkens and dulls it. If you can establish the basic “local” color of an object and then lighten and darken, using analogous or complementary colors rather than white or black, your painting will be richer than if you just “paint what you see” or what your reference photo shows.

Modifying “home” value • • Using black and white only to model form dulls the result.

Using complements and analogous colors keeps the result bright.

(Give each student a copy of the outline of the shapes for this exercise. Student to fill in the color as shown in the example shown above.) Pause for exercise Students to finish exercise before Class IV