The chart and definitions below introduce the four basic levels of saturation
PRISMATIC COLORS
are as pure in hue as is possible with pigments. Once a pure color has been altered through color mixing, it ceases to be prismatic (except when the admixture is a closely related hue, as when mixing yellow-orange into yellow).
MUTED COLORS
range from rich colors that lie just outside the prismatic zone, to the most saturated chromatic grays. One can create muted colors by adding black, white, or gray to a prismatic color. Adding the complement of a hue will also diminish its saturation and produce
range from rich colors that lie just outside the prismatic zone, to the most saturated chromatic grays. One can create muted colors by adding black, white, or gray to a prismatic color. Adding the complement of a hue will also diminish its saturation and produce
muted color.
CHROMATIC GRAYS
exhibit a subtle, yet discernible hue. Except for the proportions involved, they are mixed in exactly the same manner as muted colors. Chromatic grays simply require larger quantities of black, white, gray, or the complement.
exhibit a subtle, yet discernible hue. Except for the proportions involved, they are mixed in exactly the same manner as muted colors. Chromatic grays simply require larger quantities of black, white, gray, or the complement.
ACHROMATIC GRAYS
compose the inner circle of the color wheel. Grays mixed from black and white are achromatic because, like black and white, they lack perceptible hue and saturation. Achromatic grays can also be produced by precisely intermixing two complementary colors so that each hue cancels the other our. Insofar as a gray registers the slightest amount of perceptible hue it should be considered a chromatic gray.
SAMPLES COLOR CHARTS BELOW SHOWING PROCESS OF LEVELS OF TRANSFORMATION FROM A PURE SATURATED HUE DOWN TO CHROMATIC GRAYS.
THESE EXERCISES MUST BE PUT INTO PRACTICE IN SKETCHBOOK IN ORDER TO UNDERSTAND THE PROCESS AND THE GRADUAL SHIFTS FROM MUTED TO CHROMATIC GRAY.
This is to be analyzed and strategically applied to the composition exercises you are creating in class.
You must apply the appropriate use of chroma considering range of values, different levels of muted hues your composition. Use the muted composition as a guide to following the same hues and same values but using a chromatic gray palette.
Result:
There will be a total of 3 sets of compositions produced in class. (6 total)
Each set will use TWO of the same compositions, same chroma, same values.
one using Prismatic palette.
one using muted palette.
one using muted palette.
one using chromatic gray palette.
one using chromatic gray palette.
one using achromatic gray palette.
Pay attention to the grayscale value scale as a guide to applying the different value shifts in each hue. IMPORTANT to compare grayscale value in relation to value in hue.
Paper size: 9 x 9 inches
Student Samples
compose the inner circle of the color wheel. Grays mixed from black and white are achromatic because, like black and white, they lack perceptible hue and saturation. Achromatic grays can also be produced by precisely intermixing two complementary colors so that each hue cancels the other our. Insofar as a gray registers the slightest amount of perceptible hue it should be considered a chromatic gray.
SAMPLES COLOR CHARTS BELOW SHOWING PROCESS OF LEVELS OF TRANSFORMATION FROM A PURE SATURATED HUE DOWN TO CHROMATIC GRAYS.
THESE EXERCISES MUST BE PUT INTO PRACTICE IN SKETCHBOOK IN ORDER TO UNDERSTAND THE PROCESS AND THE GRADUAL SHIFTS FROM MUTED TO CHROMATIC GRAY.
This is to be analyzed and strategically applied to the composition exercises you are creating in class.
You must apply the appropriate use of chroma considering range of values, different levels of muted hues your composition. Use the muted composition as a guide to following the same hues and same values but using a chromatic gray palette.
Result:
There will be a total of 3 sets of compositions produced in class. (6 total)
Each set will use TWO of the same compositions, same chroma, same values.
one using Prismatic palette.
one using muted palette.
one using chromatic gray palette.
one using chromatic gray palette.
one using achromatic gray palette.
Pay attention to the grayscale value scale as a guide to applying the different value shifts in each hue. IMPORTANT to compare grayscale value in relation to value in hue.
Project Description
This is an in-class project. You will create a composition based on a small still-life in class. The composition will be drawn out twice, using two sheets of bristol board (9 x 9in). Be as precise as possible, to make both compositions the same- use a grid to help layout the composition.
When deciding on a composition, use cropping as a tool to develop an asymmetrical balance that considers both the foreground and background (figure/ground relationship).
When deciding on a composition, use cropping as a tool to develop an asymmetrical balance that considers both the foreground and background (figure/ground relationship).
Your compositions will be painted in acrylic, using four or five different hues (colors). Different values of each hue should be used to develop contrast within your composition.
Remember, contrast should be used to establish areas of interest. Also, be aware of light, darks, and mid tones. You can reference the value scale projects from the beginning of the year.
Remember, contrast should be used to establish areas of interest. Also, be aware of light, darks, and mid tones. You can reference the value scale projects from the beginning of the year.
Important
Each of the two compositions must maintain the same relative values, and shapes. They are to be the same in terms of color, shape, and value. The only difference: one will be Prismatic, and the other Muted.
When you mix your paints, think of a broad value range that extends from lights to darks. Mix different greys to your pure colors (hues) to get the proper tints, tones, shades. For this assignment, always mix your colors with grey (as opposed to white OR black). you will have to be aware of value and add white and small amounts of blacks to get the right value and level of saturation. You can also produce muted colors by using its complementary color.
When painting, be sure to block out your colors, and keep the colors flat (no brush strokes, shading, gradients).
Paper size: 9 x 9 inches
Process
Homework:
Study and practice in sketchbook painting swatches going from the pure color and adding different levels of grays or minimal amounts black and white to adjust the color desaturation or if you have to remove more color to create muted colors and chromatic grays. you have to be very aware of the shifts in color saturation the level of value (refer back to your value scale exercise.
30 mins- Prepare 10 thumbnails of composition ideas in your sketchbook (5 minimum).
Study and practice in sketchbook painting swatches going from the pure color and adding different levels of grays or minimal amounts black and white to adjust the color desaturation or if you have to remove more color to create muted colors and chromatic grays. you have to be very aware of the shifts in color saturation the level of value (refer back to your value scale exercise.
30 mins- Prepare 10 thumbnails of composition ideas in your sketchbook (5 minimum).
40 mins- Draw out your compositions on the bristol board.
Classwork:
Classwork:
Paint muted composition.
Stop at 3:30 for Clean-up and have students turn all projects in. Name should be on back.
Stop at 3:30 for Clean-up and have students turn all projects in. Name should be on back.
Things to consider
This study should help you learn to see how light works in nature, and how light is reflected off objects.
The following generalizations are often observed throughout the day:
The following generalizations are often observed throughout the day:
Early Morning- nice muted colors and pastels
Mid Day- Nice bright prismatic colors
Dusk- darker muted colors and chromatic grays
Student Samples
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