Experiments In Color

I'm still working on the quest for color, and with some great results so far. I decided to seek out help from some books since it seems like having some working theory while trying to devise a palette (i.e. making conscious decisions about color from the left side of the brain) helps out a lot, instead of relying too heavily on the right side of the brain alone to say "I guess this looks right".

Having studied some now, I realized exactly why my finished pieces often wind up looking muddy. I have been very afraid of bold colors. This silliness has meant that I've been avoiding one of the very things the human eye finds appealing: contrast. It extends to contrast in value (light and dark) in my sketches, as well as in hue and intensity in paintings and digital pieces. With the help of Betty Edwards' book Color: A course In Mastering the Art of Mixing Colors, I've been able to get a better handle on color judgment and application.

Now, the piece I've posted today needs some explaining, apology, and gratitude all in one. It was a marvelous lesson from Ms. Edwards. In her book, she claims that you can make almost any combination of otherwise mismatching colors harmonize by making sure to include their complements in hue, value, and intensity. Surely not, I thought, I mean have you ever seen peach, grey turquoise, and chartreuse go together? I worked really hard against this assignment with a zealousness to prove an expert wrong, and to my surprise I wound up with a really interesting product. I give her full credit and much thanks for the lesson. Here's what I wound up with.


I. Exercise In Color Harmony





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