Color Concepts

Hue

Hue is the color quality of a pigment or object. Hue and color are interchangeable terms, but in color theory the term hue implies a specific discussion of only hue. For example a “light red” color has the hue of red and a high value.

Value

Value is the amount of light in a pigment or object. Color hues a have intrinsic value qualities.For example, yellow is the “lightest” or highest value hue.Blue-violet is the “darkest” or lowest value hue. Red has a more middle value. The value of a dark hue is made lighter by adding a higher value hue (or white). The value of a light hue is made darker by adding a lower value hue. Imagine the values of the hues below in a black and white picture.

Tints and Shades

Adding white to a color creates a tint. Adding black creates a shade. For example pink is a tint of red; maroon is a shade of red. See the tints and shades of blue below.

Intensity

Intensity is the amount of brightness in a pigment or object. This is a quality of pure hue that creates a visual vibration. Which green is more pure, or intense?

Tone

Tone is a hue mixed with gray.The gray will neutralize or tone down the color. This also decreases the hue intensity. Depending on the value if the initial hue, the addition of gray may also change the value appearance, making the hue lighter or darker.

Warm and Cool Colors

Temperature is an associate quality of color. In general warmer colors are orange, red and yellow. These colors “feel” warm and also emerge or move forward in space. Cool colors are blue, green, and purple. These colors “feel” cool and also recede or move back into space.

Now forget these categories and think more precisely in terms of relationships. A bit of color ying and yang, as warm color is defined by cool and vise versa! This means that in a comparison of red and blue, red is warmer. But in a comparison of red and red, one red will be warmer then the other.

Complimentary Colors

Complementary hues are defined as two hues, which create after-images of each other. Yellow has a blue-violet after-image and blue-violet has a yellow after-image. On most color wheels complimentary colors are across from each other. Placed next to each other compliment hues have the greatest possible contrast. When mixed together the result is a neutral hue.

The After image

The phenomena of after image causes the eye to see the complimentary hue after an extended period focusing on said hue. For example, stare at the yellow dot below for 30 seconds then look immediate at the black dot below.

Contrast of value.

Contrast of color value

Contrast of of hue.

Facial Features

The eye is an important yet complex element within a portrait. A great deal of emphasis is placed in the eyes as they relate to likeness and psychology. Understanding its form is the beginning of depicting it properly. In words, think of its structure, a ball settle into a bone socket. The brow bone or ridge overhangs the ball slightly. This ball is then draped, above and below, with two lids that have thickness. To the center of the face and slightly below middle we find the tear duct. These lids do not make an opening like a symmetrical football, but rather peak closer to center on the upper lid, and slightly toward the outside in the bottom lid. In the eye ball we the sclera (whites of the eye) the iris (the eye color), pupil (dark spot the resides in the iris), and the cornea (the lens on the surface). While drawing the eye it is important to remember these structures as light falls across all differently.

The mouth find find a structure that wraps around the cylinder of the teeth and head. It is composed of three masses in the upper lip, a center flanked by two wings. The lower lip is composed of two masses parted slightly in the middle. The upper lip tappers quickly at the corners and curls down. The upper lip is usually in shadow since its top protrudes and then rolls under as it meets the opening. The lower lip receives light, along the two masses, and sharply descends to shadow along the middle underside, yet descends to shadow slowly along the edges as the lip rejoins the facial mass.

The nose is often one of the hardest features to capture. Again think of its structure as an aid in depicting it properly. There are three basic masses to consider- the ball, nostrils and bridge. It has four basic planes- one top, two sides, one bottom.

Large Scale Portrait

Examples below demonstrate the scale we are attempting in this project as well as a concrete sense of form. This is the basis for your exploration into lighting the subject. A form and mass of the head must be indicated as you then begin to investigate light.

Olmec Heads from Mexican History

Kollwitz

Seurat

Lucien Freud

Andrew Wyeth

Chuck Close

Below we have an image turn upside down and slightly blurred. In this exercise, attempt to draw the image as is, focusing on abstract shapes of light and dark to create form. The likeness will follow.

LINE

The Moving Dot..... The basest form in drawing is the line. Line quality- the variety of weight and thickness of the mark-

-Pressure

-Speed

-Motion/ Direction

-Accumulations/ Interconnections

Line can be used to symbolize:

-Outer Edges

-Plane meets Plane

-Color meets Color

-Tone meets Tone

-Explain Shape

-Contour

-Guidelines

In the Still- Life example of Alberto Giacometti, a searching

line is evident. Giacometti creates guidelines to locate his subject in space, each time refining or re-drawing lines (accumulation). There is also an apparent speed to his mark making, similar to the quick movements of an eye tracing a subject, as he create relationships.

In the next example, a Self -Portrait by Leonardo DaVinci, line is used very deliberately to create shape and movement in the beard. Notice how these darker lines curve back and forth up to the area of interest- the feartures (eyes). Also note where he allows to line to disappear indicating space and planes receding.

In the leaf example of Ellsworth Kelly, line is used in its bearest form to show the outer edges of an object. Kelly, using a delicate minimal approach, uses a slightly darker line to indicate the front edge of the leaf and a lighter one for the further. Also notice the specificity of the line as it describes the contour shape of the leaf.

In the Van Gogh landscape example, the artists large vocabulary of mark is apparent. Van Gogh used a variety of mark for the all different aspects of his composition, some short, some long, some dark etc. Take note of the foreground field, here he employs cross- contour, undulating marks indicating the surface topography of the field.

The example of Cross- Contour is clearly conveyed in the Shell drawing. The lines seek to describe to surface bumps and depressions of the shell, through directional adjustments and thickness of line.

In the torso example of Antonio Lopez Garcia, we can see how the artist used line to organize the portions, symetry, and contour. Notice how the line is heavier along the trunk yet dissapates as it moves to the legs and shoulders. It is this variation of line that allows a form to be made on a 2-D surface.

VALUE

Pontormo

Value is the relationships of lights and darks within an artwork.

Key terms:

Simultaneous Contrast- The area of darkest dark adjacent to the lightest light, thereby enhancing the power of the other. This area will draw the eye first and have the most force in an artwork visually.

Local Value- The actual overall value of the object (for example blue jeans are medium value, and a white cup is high value) Corresponding values within the object will relate to this (shadows will be darker in blue jeans versus the shadows in a white cup)

Halftone- The intermediary tones or middle values, not the highlights or darkest shadows. Think Light Halftones and Dark Halftones.

Halation- An effect of placing an opposite value in the background (negative space) adjacent to that value area of the subject (positive space).

Sfumato- A Leonardo Da Vinci term used to describe a blending of values in transition. The word has connotations of "Smoky" in Italian. "Without lines or borders in the maner of smoke, or beyond the focus plane"- Da Vinci

Chiaroscuro- A term broadly understood to describe the strong contrast in illumination between light and dark in an artwork. In Italian it translates to "light-dark". It also has a reference to light IN dark.

Basic example of light falling across a form (light comes from the upper right). Consider the values from right to left: Highlight, Light Halftone, Dark Halftone, Shadow, Reflected Light, Shadow.

Seurat

Seurat

Seurat

R. Tweedy

Kathe Kollwitz

Kathe Kollwitz

Lopez

Skull and Head Proportions

The skull provides the basis for understanding the form of the head. The three large masses of the head are the cranium, the skeleton of the face and jaw. Consider the forms of these masses simply. The cranium as a sphere, the face as a flat plane that descends off the cranium and tapers toward the chin and the jaw as a horse shoe shape that hinges underneath. Notice where the skull protrudes to provide landmarks, where it recedes under the flesh. (Following two examples are from Szunyoghy's Human Anatomy for Artists)

The profile of skull. Notice the ear hole location, not centered but 2/3 of the way toward the back. Also see how the head rests slightly forward on the neck.

Below we have an example from Bridgman's Constructive Anatomy. Here he illustrates some of the muscles in the head. Good to consider as for developing from and gesture in the face.

BEGINNING THE CONSTRUCTION OF THE HEAD

In the construction of the head, it is better to begin with a cube in stead of the familiar oval. The oval is non -specific, the eye won't rest on a curve and cannot find a register point. The cube gives a sense of mass, perspective, foreshortening, angle/ tilt. Also importantly, it gives a sense of the third edge. From this starting point we can begin thinking of planes as they relate to the head - top, front, two sides, back, and bottom.

The basic measurements for the cube are 2/3 wide, 3/3 high. The side of the cube (profile) is 7/8 of the height. ( From the profile it looks ALMOST square, from the front (face) it is a tall rectangle.)

The basic proportions and location of the facial features can be constructed as the example demonstrates (Example is from the website Draw23.)

-A Vertical Line down the center from top of head to chin. Through this line we see the Bilateral Symmetry of the features.

-A Horizontal Line is placed at the halfway point. This indicates the lower lids of the eyes.

- The whole height can be again divided, but this time in thirds. The upper horizontal line indicating the middle of the forehead, the second the base of the nose. In the bottom third, two thirds of the way up to the nose is the center line of the mouth.

- The corners of the mouth line up vertically with the center of the eyes.

- The top of the Ear lines up horizontally just above the eye at the eye brow.

-The bottom of the ear lines up with the base of the nose.

Most of these guidelines can be drawn in on the cube, allowing you to place the head spatially and in perspective.

Below we see an example from Bridgman's Constructive Anatomy demonstrating the planes in the head. These are very basic, but a good way to begin to refine your head form.

Below is an example from Szunyoghy's Human Anatomy for Artists. It further illustrates some of the agreed upon proportions in the head. Included are the space between the eyes equals one eye width. The whole width of the head is five eye widths. Also illustrated is the top and bottom of the ear as they relate to the eye brow and nose (good marker). The width of the nose is also illustrated to be approximately the space between the eyes.

IMPORTANT NOTE*- All these proportions were largely agreed upon during the Renaissance, and are considered guides, not hard and fast rules. they do not necessarily account for the variation of people, races, ages, etc.

Below is another Bridgman example providing some insight into the neck and head the muscles track and connect with the skull. Of particular note is the Streno -cleido- mastoid (#8) a great reference point in figure drawing, spanning from the clavicle to behind the ear.

FIGURE-Planes and Construction

Figure- Planes and Construction

Plane- a flat or level surface (no elevations or depressions WITHIN). An area of a two-dimensional surface having determinate extension and spatial direction or position.

Spatial direction and position are important terms for us to consider. This allows the eye to read if a plane is sloped toward or away, what angle , and what the profile of the shape is. Joining of multiple planes begins to create form or the impression of three dimensions. A simple example is to think of a diamond (the precious stone) it has a form that is composed of a multitude of planes or facets. Drawing the human body can be approached this way, thinking of the three big masses (head, rib cage, pelvis) as blocks with cubic limbs extending. Gradually more and more subtle planes can be added making more complex transitions and form. It is best to WORK FROM BIG TO SMALL- the whole to the detail, the big body masses to smaller masses, etc. The following examples are all from Bridgman's Complete Guide to Drawing From Life. These are also presented in an order of process , more or less. Remember basic to more complex.

The 3 Masses of the body (Head, Rib Cage, and Pelvis) note how they are consider blocks (and their proportions) and their stacked position. The twist and bend are easy to see and describe as the relationship of these blocks turn or lean. Essential for carrying the basic movement of the figure.
Horizontal Axis of shoulders, pelvis, knees. This gives an understanding of where the balance is, how the body manages to distribute its weight evenly, and where the body opens or compresses etc.
Basic example of planes going up the back and side (almost two sided at its simplest).What is important to notice is the forward and backward slope as it moves upward or downward.
This is a good way to think about each body part, as a cross section. Is its mass similar to a cylinder, box or pyramid- round, square, triangle.
Further example of this shape of mass. Notice how the shapes alternate as they transition through a limb.
This example of the arm is interesting to see how planes can rise up and dip down as they meet another mass. To use Bridgman's term, they wedge together and interlock.
Planes of the leg from behind, notice how the planes begin to describe muscles.
The torso is a complex structure with a multitude of planes describing its surface. these planes all change as the torso twists and bends. Again we see the muscle groups beginning to be described by planes.