The thin paper of my sketchbook often ripples when I apply watercolor washes. I don’t like the restriction I feel when I do so.ĭrawn first in ink with my Parker 51 fountain pen followed by watercolor washes. As I’ve mentioned before, I rarely begin a painting with a color scheme in mind. As such, they are considered distracting and difficult to look at for long. Red, orange and yellow are dramatic, loud colors associated with risk. These colors are perceived as warm due to their association with sunlight and fire. In art history, high-key analogous color schemes were very commonly used by Impressionist artists such as Claude Monet, Camille Pissarro. Red, orange and yellow are the longest wavelengths of visible light. What is important to me is not the category of color scheme that the painting can be placed in but the process of finding the strengths and weaknesses in a painting that are, perhaps, a result of the color scheme. Analogous colors are groups of colors that are next to one another on the color wheel. Any of the values and intensities of those hues could be used in. An analogous color scheme consists of any three or four adjacent colors on the color wheel their proximity to one another assures that analogous colors will. The addition of a bright red would bring it into the category of an extended analogous color scheme. An analogous color scheme uses hues that are side by side on the color wheel and share a hue. I feel as if this little sketch could benefit from a bit of bright red somewhere. For those of you who want to be more exact, you might consider this an analogous with one complement color scheme since the neutralized shadow hue beneath the trumpet horn and the totems is in the family of purple, the complement of yellow. The neutrals in the trumpet and the totems are within this range. This painting falls into the limited analogous color scheme category using the definition of five adjacent hues: orange, yellow, yellow/green, green and blue.
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