Color and chromatism -- oil painting techniques

Color Strictly speaking, when drawing from life, it is only necessary to know which color combinations represent the object and colors you are observing. If you paint the right colors and their relationships, the picture must be harmonious. Because the "light source" itself helps to create the natural color harmony of the object. Sketches, shading, and even edges are measurable entities, but the artist's color is not suitable for this precise analysis, because it is highly expressive of subjective feelings. Therefore, for many painters, the ability to observe color is a "true skill". Some painters seem to master color naturally, while others always find it untouchable. There are some painters who think color is not worth mentioning. They don't work very hard on color, they work on other things. They followed the principle of "drawing is as good as a sketch is good enough" (this is said to have been David in the late seventeenth to mid-eighteenth centuries). I don't mean to criticize that. If a painter doesn't care too much about color, or if he finds it difficult to work with color and interferes too much with the painting, there's no need to focus too much on it. Indeed, my sympathy goes to those who are struggling with color. Especially beginners. The stacks of color theories, concepts, terminology, and precepts are enough to intimidate anyone. David XVIII -- 19th century French painter. (translator) Ingres was a French painter of the 19th century. (translator) Color (warm and cold) When I talk about color and chromatism in this book, I do so in a relative sense. I think colorific warm cold is not inherent absolute. Chromaticity changes with light and neighboring colors. For example, bright orange appears "warm" when compared to its complementary color, blue, which is a primary color of the same brightness, and does appear soft and warm in normal natural light. But if you change the light source to a dark blue, the orange becomes almost black and the blue almost white. Of course, this is rarely the case, unless you wear sunglasses. But it goes further to show that the nature of light is an important factor in painting. I like to paint in the natural light from the north because it gives me the color relationship I need. Under normal light conditions, coloration can be changed by adding warmer or cooler colors of the same lightness. For example, a skin tone mixed with russet yellow and rose-earth red can be cooled by adding a touch of emerald green, which is relatively cooler than the original tone. As long as the added cool color belongs to the same brightness, it can change the color cold and warm without changing its brightness. This illustration illustrates four terms for mixing colors. The three primary colors are red, yellow and blue. Primary colors are basic and cannot be produced by blending with other colors. The intercolors are orange, green and purple. They are combined in two primary colors. A complex color is a combination of three primary colors. It is generally called brownish gray. Any two colors opposed to each other in a diagram are called complementary colors. Yellow and purple, for example, complement each other. So are red and green. Complementary colors mix with each other to form complex colors.