Hue
The property of color itself or the perceived color of something
ex. The ccue of a clear sky is blue
Chroma
aka: intensity/saturation
the retaliative vividness of a hue
ex. red, blue, + yellow = high intensity
Value
-specifies the relative whiteness (lightness) or blackness (darkness) of a color
a value scale of 1 to 10 can be used to define the value of a color
ex. greyscale = 1 –> white + black –> 10
Retreating Color
a high-intensity cool color but may be any color that will appear to recede from the picture plane
Optical Mixing
occurs when two or more adjacent colors seen at a distance are mixed by the eye to form another hue
Advancing color
A high intensity warm color that will appear to advance or lie in front of the picture plane
3 main elements of paint
- 3 main elements in paint
- pigment = mineral in paint that consistuets color + is a vry fine powder suspended in a fluid
- fluid = second element of paint = medium/vehicle of the paint
- binder = the glue that adheres to pigment to a surface after the vehicle has evaporated
Pigment
- minerals pulverized into a very fine powdoer
- pigments = fugative colors = hue fades with time
- can be expenseive
- have personalities → can be overhleming
The Vehicle
- the fluid that carries the pigment
- water = most common in scenic paints
- is often the solvent of the same paint
The binder
- the substance left behind that bonds pigments to a surface once the vehicle has evaporated
- it is usually colorless → does not interfere with teh color of the pigment
Ombre
Graded wet blending aka an ombre blend is a smooth even transition from one hue or value to another. In a wet blend, you can do this b laying the separate colors or values in stripes across the width of the blend and systematically brushing one color into the other. Then, brush horizontally across the blend with a clean dry brush working from the first color field to the last.
Usually, the final blend begins in the lightest value color and works towards the darkest.
Wet Blend
The technique of blending together two or more colors while they are wet.
Often serves as the base coat
generally is done by laying in all the colors save one in the right proportion and pattern. The last color is used to blend together the other colors. The last color is the dominant one of the blend.
Used in bricking, setting wood bases, or for marble
Scumbling
covering a surface by laying two or more colors next to each other using paint strokes in X like patterns
objective = let the colors mingle without making an effort to blend them
done on dry surface
Stippling
applying paint by dabbing or lightly dry brushing a surface with only the tips of the brushes bristles held perpendicular to the surface
was the primary technique used to stencil + can be used to create very fine texture
realized heavily in pointillist painting
Spattering
involves flinging paint on scenery so that paint lands in blobs. Can make spattered patterns from the extremely coarse to extremely fine textures
very commonly used
used in the base for bricking
gently shaking or rocking a charged brush over an area and letting the drops of paint fall in an evenly dispersed pattern or to slap the ferrule of a charged brush against your hand or a piece of wood so the bristles snap and paint flies onto the surface
Schleptichka
texturing trick dome by twirling a feather duster or flogger around gently and dabbing it on the surface of the scenery between each twirl of the tool so that the splayed patterns prints on the senery
done as a background or foliage or wallpaper
Sponging
applying paint or texture with a sponge, can be used to create a very convinvi organic texture
A natural ocean sponge = used to create illusion of texture
a sponge dabbed in paint + dabbed over a surface (lightly)
rotate sponge between dabs so a pattern does not develop
Rag-Rolliing
a paint soaked rag loosely twisted or wadded up + is rolled around on a surface
cerates a broken texture that is even but not repeatative
can also be used in a manner similar to sponge by blotting the paper on and rating the rag to avoid repeative patterns
can create a grain on scenery
Wood Process
Variety is more believable than constancy
- Base Coat (Wet blend)
- Use tools (Brushes- held loosely Graining Combs, rocker tool/Grainer ) to make the wood grain. Drag through wet paint
- Add Glaze
Marble Process
Avoid mechanical repetition when veining and always thinking of how the material was actually formed
- Base Coat
- Veining (Bird feathers dragged through a fresh wet blend or by dipping it in vein colored paint and dragging it across the surface)
Lining = painting lines (can be straight or curved)
Sponge Technique = natural ocean sponge used to create the illusion of texture on two dimensional surfaces because of organic quality
Anatomy of a Brush
Have three parts: Bristles, ferrule, and a handle
Bristles = the working part of the brush –> absorb, hold, and spread paint
ferrule = a band of metal, leather, or string used to hold the bristles to the handle
Handle = a material carved or molded into a shape that gives the usher something to hold
