Hue: Any single color in the spectrum (red, yellow, blue, etc).

Hue

Value

Tints & Shades

Saturation: The relative intensity or brightness of a color

Bright, vibrant colors (reds or oranges) have a saturation dull or muted colors (browns) have a low degree of saturation

Saturation

Colors can be of the same hue and still have varying degrees of saturation

Saturation & Hue

Color Schemes

Monochromatic: Composition using tints and shades of only one hue.Easiest scheme to balance visually, but lacks high impact of other more contrasting and complicated schemes.

Monochromatic

Complementary

Analogous

Split Complementary: Color scheme using a hue and the two colors that lay on either side of its compliment on the color wheelProvides more visual variety than complementary scheme; strong contrastHarder to balance than monochromatic, analogous color schemesFor best results, use one warm color with a range of cool colors or vice versaand avoid de-saturated warm colors

Split Complementary

Triadic: Color scheme uses three colors equally spaced around the color wheel. Provides strong visual contrast while adding balance and richness.

For best use, choose one color to be used in larger amounts than others; experiment with color saturation and value

Triadic

Tetradic

Simultaneous Contrast: The concept of color perception based on the other colors surrounding it.

Color can look completely different when set against different hues, and is perceived in relation to its surroundings.

Simultaneous Contrast

Advancing/ Receding Color: Warm and bright colors give the illusion of being closer to a viewer within a composition, while cool and dull colors appear to be further away.

Advancing & Receding Colors

Advancing/ Receding Color: Warm and bright colors give the illusion of being closer to a viewer within a composition, while cool and dull colors appear to be further away.

Advancing & Receding Colors

Vibration: Complementary colors of equal saturation and brightness compete with our eye for attention when seen in close proximity to one another.

Vibration

Weight: Colors differ in visual weight based on their hue and intensity.

For example, red is considered a “heavy”color, and would demand a viewer’s attention, even if shown in only a small amount within a composition.

Color Weight

Highlights: Shade using warm tones like yellow, orange, and peach, if you are looking at a reflective object, or the highlight is very bright, you can leave some areas white!

Shadows: Shade using cool colors like blue, purple, and green. Shadows, just like highlights, can vary in intensity. Check to see how many different values of shadow you can achieve just by layering color!

Warm & Cool Shading

Warm & Cool Shading

Warm & Cool Shading

Color in Composition

Look for implied triangles in the composition!

Color in Composition

Follow the forms of bright, contrasting shapes, or warm tones. If there are people in the image, follow their line of sight.

Color in CompositionThe center of interest—the woman holding the girl—is placed in the middle of the painting.

The horizontal lines on the boat are balanced by the oar and the diagonal lines of the sail.

The outer edge of the boat, the mass of the sail, and even the man's posture point toward the center of interest. Notice how his outstretched left arm points toward the girl?

The unequal distribution of light and dark masses draws the eyes to the brighter areas occupied by the woman, the girl and the boat. If you painted the man in similarly light tones, it would deemphasize the woman and the girl.

Color in Composition

Henri Matisse. Madame Matisse, "The Green Line" ( La Raie Verte). 1905

If an artist has placed RED, YELLOW, or ORANGE in a painting, they’re saying “LOOK HERE!”

Color in Composition

Left: Pablo Picasso, Vase, Bowl and Lemon, 1907,Right: Henri Matisse, Still Life with Blue Tablecloth (detail), 1909,

Color in Composition

Left: Hans Hofmann, The Gate, 1959-1960Right: "The Key" [1946] by Jackson Pollock.

Rule of Thirds

The rule of thirds is applied by aligning a subject with the guide lines and their intersection points, placing the horizon on the top or bottom line, or allowing linear features in the image to flow from section to section.

Rule of Thirds

Rule of Thirds

‘Cornelia, mother of the Gracchi’ by Joseph-Benoît Suvée 1795.

Rule of Thirds

The line going down from the top of the pillars intersects the woman’s chin, the tips of the fingers and toes and the knee of the women in the background:

Rule of Thirds

The line going up from the bottom left corner intersects the top of the heads of three people. It also cuts through the lad’s neck, his head is completely above the line. The left hand of the central figure is parallel to it. The same line intersects her right knee and right elbow. Also, notice the placement of the right leg, right foot and the fingers of the right hand of the leftmost woman in the foreground. Her right leg is parallel to the same line running up from the bottom left hand corner. It also intersects the tips of the little girl’s fingers.

Rule of Thirds

Wayne Thiebaud

Wayne Thiebaud is a master of using color to create dynamic compositions!

Can you find the implied focal point of each painting?

* Hint: First imagine a rule of thirds grid, then look for Thiebaud’s use of red, orange, or yellow!

Wayne Thiebaud

Wayne Thiebaud