color-composition-1222610522808715-8

5/13/2018 color-composition-1222610522808715-8 - slidepdf.com

http://slidepdf.com/reader/full/color-composition-1222610522808715-8 1/20

Drawing & Painting withStyle and Confidence

Presented by

Anne Kullaf

Anne Kullaf © 2008

Color &

Composition



Anne Kullaf © 2008 Color & Composition

Course premise«

Color and composition are key elements in

any successful piece of art. Regardless of

medium chosen, layout and use of color are essential in keeping the viewer

engaged with the work.




Course Overview«

During the weeks that this course runs we will explorecolor and composition through a series of weeklychallenges that address the following:

± Color: Color Harmony & the Limited Palette

Working with White

Working with Values and Temperature to Create Mood & Atmosphere

± Composition: Elements of design

Principles of organization

Compositional Techniques




Color




Color Basics Colors that complement

one another should beused to create shadowsand darks, in other words,colors that appear opposite

one another on the color wheel

Example: if you need toshow a shaded area on alemon (yellow, primary

color) use violet (secondarycolor)

Mix your secondary colorswhenever possible insteadof using them directly fromthe tube




The Limited Palette

Try working with a limited palette of 3 primaries, onedark neutral and one white. One of my favorites is:

± Cobalt blue - Burnt umber

± Alizarin crimson - Titanium white

± Yellow ochre You may experiment with other colors you like, just

remember to keep it to 3 primaries and one dark neutralplus white.

If necessary, you can always add in a brighter primary

for the areas in highlight²for example, I often will use acadmium yellow in addition to the colors above whenworking on sunlit landscapes just to get that extra ³glow´in my greens.




The Limited Palette

2 Paintings,

1 Palette: Cobalt Blue

AlizarinCrimson

YellowOchre

CadmiumYellow

Burnt Umber

TitaniumWhite

Notice the difference in mood of the 2 paintings

above.

Both were painted using the colors listed at left,

this illustrates the wide range of effects capable

with a limited palette.




Working with White

White reflects color from

objects that surround

When painting white

objects, pay attention to

the temperature of the

object itself, as well as to

the temperature of the

colors it is reflecting

especially in the shadows

Although the painting above is of a pile of allwhite laundry, a variety of colors was used to

paint it: yellow ochre, cobalt blue, dioxazineviolet, burnt umber and titanuium white.Notice the warm and cool highlights on the silkyfabrics, they are more of an off white asopposed to the cool whites of the cottons. Thecolor variation provides interest as well asdefines the textures of the different fabrics.




Working with Values &Temperature

to Create Mood & Atmosphere

Vary the mood and

atmosphere of your

paintings through your color

choices: ± Dark colors can be used to

create a dramatic lighting

effect as in the painting top

right ± Bright colors can create a

lighter, more festive feeling




Composition




Elements of Design

Line - the visual path that enables the eye to move within the piece

Shape - areas defined by edges within the piece, whether geometric

or organic

Color - hues with their various values and intensities

Texture - surface qualities which translate into tactile illusions Direction - visual routes which take vertical, horizontal or diagonal

paths

Size - the relative dimensions and proportions of images or shapes

to one another

Perspective - expression of depth: foreground, middle ground,background

Space - the space taken up by (positive) or in between (negative)

objects

Source: C ompositi on, (Visual Arts), Wiki pedi a




Principles of Organization Shape and proportion Balance among the elements

Harmony, or consistency among the elements

The orientation of elements

The area within the field of view used for the picture (cropping)

The path or direction followed by the viewer's eye when theyobserve the image.

Negative space

Color

Contrast: the value, or degree of lightness and darkness, usedwithin the picture.

Rhythm Illumination or lighting

Repetition (Sometimes building into pattern; rhythm also comes intoplay, as does geometry)

Perspective






Rule of thirds ± The rule of thirds is a guideline commonly followed by visual

artists. The objective is to stop the subject(s) and areas of

interest (such as the horizon) from bisecting the image, by

placing them near one of the lines that would divide the image

into three equal columns and rows, ideally near the intersectionof those lines.


The painting on theleft follows the ruleof thirds, notice the

placement of theobjects of interest

close to the orangelines. The paintingon the right doesnot follow the ruleof thirds, but it stillis successfulcompositionally,why?





Rule of odds ± The rule of odds states that by displaying an odd number of

objects, there is always one in the middle that is "framed" by the

surrounding objects.

Source: C ompositi on (Visual Arts), Wiki pedi a

The painting on the left, a diptych, breaks the rule of odds by having 4 objects (the mason jars)

instead of 3, yet it is a successful composition. What other compositional techniques are used to

make it work? What other rules are broken? Describe the compositional strategies of the painting

on the right.





Rule of space ± The applies to artwork (photography, advertising, illustration)

picturing object(s): - to which the artist wants to apply the illusion

of movement

± This can be achieved by leaving white space in the direction the

eyes of a portrayed person are looking at. Another examplewould be when picturing a runner, adding white space behind

him rather than in front of him to indicate movement.

Source: C ompositi on (Visual Arts) Wiki pedi a

The painting on the left showsfigures moving in opposite

directions, there is space impliedby the shadows behind the figureswalking into the painting and thosewalking toward the viewer. Theheadlights on the cars in thepainting at right are aimed into theempty road, further implyingspace.





Simplification ± Images with clutter can distract

from the main elements withinthe picture and make it difficult toidentify the subject. By

decreasing the extraneouscontent, the viewer is more likelyto focus on the primary objects.Clutter can also be reducedthrough the use of lighting, asthe brighter areas of the imagetend to draw the eye, as do lines,

squares and color. In painting,the artist may use less detailedand defined brushwork towardsthe edges of the picture.


In this painting, the surrounding buildings andtraffic are depicted with looser brushwork thanthat of the main building and figures. Thetriangle created by the elements in this imagefurther solidifies the composition.





Limiting focus ± When used properly in the right setting, this technique can place

everything that is not the subject of the painting out of focus.

Geometry and symmetry

± The "rule of odds" suggests that an odd number of subjects in an

image is more interesting than an even number. Thus if youhave more than one subject in your picture, the suggestion is tochoose an arrangement with at least three subjects. An evennumber of subjects produces symmetries in the image, whichcan appear less natural for a naturalistic, informal composition.

± Related to the rule of odds is the observation that triangles arean aesthetically pleasing implied shape within an image. In aattractive face, the mouth and eyes fall within the corners of thearea of an equilateral triangle.

Source: C ompositi on: Visual Arts, Wiki pedi a




Other Compositional Techniques(just remember it¶s ok to challenge the rules!)

There should be a center of interest or focus in the work, to prevent itbecoming a pattern in itself;

The direction followed by the viewer's eye should lead the viewer's gazearound all elements in the work before leading out of the picture;

The subject should not be facing out of the image;

A moving subject should have space in front;

Exact bisections of the picture space should be avoided;

Small, high contrast, elements have as much impact as larger, duller elements;

The prominent subject should be off-centre, unless a symmetrical or formalcomposition is desired, and can be balanced by smaller satellite elements

the horizon line should not divide the art work in two equal parts but be

positioned to emphasize either the sky or ground; showing more sky if painting is of clouds, sun rise/set, and more ground if a landscape





Tying it all together«




Tying it all together«

Here are some things you can do to loosen up:

Practice, practice, practice!

Focus on shapes and values ± sketch in charcoal!

Use complementary colors for shading

Try working with a limited palette Be aware of compositional techniques but don¶t be a

slave to them!

Experiment and try to break some ³rules´, analyze whatworks, what doesn¶t and most important²ask yourself

WHY?

Documents

color-composition-1222610522808715-8