tailieunhanh - Color mixing the van wyk way - Phần 8

Tham khảo tài liệu 'color mixing the van wyk way - phần 8', văn hoá - nghệ thuật, điêu khắc - hội họa phục vụ nhu cầu học tập, nghiên cứu và làm việc hiệu quả | Choosing Colors For Backgrounds So far we have examined color and color mixing for subjects. I like to refer to subjects as positive space. What s left over on the canvas is negative space usually called backgrounds. For the important role that backgrounds or negative space play in pictorial interpretation one would think that they should warrant even more thought and concern than the color of the subjects. First they determine the body tone or mass tone s color mixture. You always have to see what the tone of the subject is in relation to its background. n That is the most practical element of backgrounds. But the role they play in a painting is quite profound. They record theme and mood atmosphere and space. They are difficult to paint because they are not subjects to look at and refer to. They have to be tastefully imagined. The next few chapters might awaken in you a better awareness of backgrounds. fa I decide background colors by a process of elimina-tion. I begin to examine the possibilities. My first U limitation is the color s tone I can t easily use a light background for a lightly colored subject or it follows a dark one for a dark colored subject. And medium-toned colors such as reds and violets can t withstand medium-type back-grounds. I also consider the subject s intensity of color ruling out bright backgrounds for bright colors and dull ones for drab subjects. I don t rule out completely the same color as the subject. In fact it is a safe choice. Of ccrurseTitmust beTcontrasting tone-to the tone of the subject ancTtfie intensity oftFecolor should be greadychahged7 A successful-looking background depends more on how it is executed than on its color especially the ones that are a tonal gradation from light to dark. There are three major areas of backgrounds that warrant your attention 1. Where it meets the subject. Overlap the paint into the subject s edges instead of to its outline. This area of a background has to look as though it continues around