1. Color

3. Color originates in light. Sunlight, as we perceive it, looks colorless. In reality, all the colors of the spectrum are present in white light.

4. 1. All the" invisible" colors of sunlight shine on the apple.2. The surface of a red apple absorbs all the colored light rays, except for those corresponding to red, and reflects this color to the human eye.3. The eye receives the reflected red light and sends a message to the brain.

5. When light hits the surface, the BLUE paint ABSORBS all the light EXCEPT the blue part of the spectrum.

6. There is no pure blue.

7. . . .. .... . . ... .. . .. ... . .. .... . . . .. .... . . .. . .... . . .. . . .. ... . . .. .. . . . .. . .. .. . ... . . . . .. . .. . . . . . . . .. . . . .. . .. .. . ... . . . . .. . .. . . . . . . . .. . . . .. . .. .. . ... . . . . .. . .. . . . . . . . .. . . . .. . .. .. . ... . . . . .. . .. . . . . . . . .. . . . .. . .. .. . ... . . . . .. . .. . . . . . . .. . . . .. . .. .. . ... . . . . .. . .. . . . . . . If colored paints were actually pure color- every time any two “pure” colors of paint were mixed you would get black. The bits of blue in the blue paint would absorb the red and yellow light. The bits of yellow paint would absorb the red and blue light. No light would escape from the paint, and you’d see a perfectly black surface.

8. Itten Color Wheel

9. Color Bias Wheel

10. How to use the color bias wheel to mix colors...

11. What happens when you mix complementary colors? + + +

12. What happens when you mix complementary colors? + + + = a neutral grey or brown

13. Color Bias Wheel

14. make brightest purple

15. make duller purple because some blue and orange are mixed

16. make dullest purple, because blue is mixed with orange and red is mixed with green.

17. Color Bias Wheel

20. Itten Color Wheel

22. Local Color

24. MUNSELL VALUES

25. “ Normal” hues have different values.

28. “ “

31. Adding a color’s complement will make that color LESS INTENSE.

32. Color Bias Wheel

34. Shadows in black and white...

35. Shadows in black and white... 7-8 6 3 4-5 2-3 1 3 3

36. SHADOWS of COLORS are made by adding that color’s COMPLEMENT.

39. Pink Cube Red Cube Here, the shadowed side is more intense than the others. Only a transparent material could look like this.

40. The cube’s SHADOWED side must be LESS INTENSE than the cube’s brightly-lit side.

41. “ Color obtains in the light” ??? -Thomas Lovell

42. “ Color obtains in the light” In other words:Color becomes more saturated when it’s in the light. -Thomas Lovell

43. Vermeer

44. Jacque Louis David

47. Edward Hopper

48. Sometimes painters take this a step beyond, and paint the shadows as the complementary color itself...

50. yellow purple

52. yellow orange purple blue

53. Wayne Theibaud

54. Sometimes color reflects from one object onto another...

55. Reflected color...

56. Bonnard

57. Bonnard

58. SIMULTANEOUS CONTRAST when the color’s complement is placed next to the color, it will look more intense.

60. Bonnard

61. Other kinds of simultaneous contrast...

62. Other kinds of simultaneous contrast... VALUE - a color will appear darker in value on a light ground and lighter on a dark ground

63. Other kinds of simultaneous contrast...

64. Other kinds of simultaneous contrast... INTENSITY - A color will appear more intense on a more neutral ground and grayer on a very intense ground

65. Other kinds of simultaneous contrast...

66. Other kinds of simultaneous contrast... HUE - Orange will look more orange on a field of red and more red on a field of yellow.

67. Josef Albers - Homage to the Square

69. Victor Vasarely

71. For rest of color mixing lab, we will practice working with the color properties of VALUE and INTENSITY