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ericbraks
10-14-2002, 05:40 PM
i was just taking a shower and i had to log on again to post these ...y'know how compositional structure is important,[...i earlier saw again my 'two feet' painting where i organised the image into an oval] ...well... i recall when i first saw 'structure ' demonstrated in an art book i thought..."hmm yeah but its not THAT important " ...when of course i now know it is a fabulous thing. ok....well the same kind of situation applies to something else which i still dont know what all the fuss is about....and thats the warm/cool colour thing.
can anyone explain and convince me that its important to be aware of warm/cool colours when doing a painting? ...i figure the colour balance just works out intuitively. so..i invite theses on this subject, examples appreciated, weblinks where appropriate.
i trust ive stated the question ok .....go!......>>>> [and thanks]
[regards e.]
[the other thing ill put in a separate thread.]

paintfool
10-14-2002, 07:37 PM
Eric, this is a good question for the 'Color Theory' forum. I'll be moving it there for you.
Cheryl

Leopoldo1
10-14-2002, 08:46 PM
Originally posted by ericbraks
...i figure the colour balance just works out intuitively.

I saw those feet, so why do you need a structure (warm/cool color balance theory), when intuitiveness from your hand works superbly!.... Post a head of yours, where cool/warm theories might be more challenged.......L

ericbraks
10-14-2002, 10:52 PM
thanks leopoldo..im working on it ! regards from new zealand -e.

djstar
11-08-2002, 12:50 AM
(no. REALLY???)
I believe the things like structure or composition, value, color, line all that stuff in the final analysis ALL works out inutatively.
When you need to have that awareness is when it is NOT working out.
I watch paintings being analyzed for structure and compostition stuff and find WHEN I look into my most successful stuff it is there, intuitively. When it is not working is when I fall back on the awareness.
I use lots of color but there is a little voice running around telling me ".. that is a cool tone. it will fall back and the purple will make the sking darker and that is a good thing, but if you used green the blood of the skin will complement it and flesh it out more, and if I use orangy brown there will be darkness but no real zing... do I go for the zing or the dark or maybe put a glint of the background color in there... yeah, I see it reflecting in there....." a running monologue of all the information I KNOW but I make the choice on the knowlege of the list my brain is making of the options.
Understanding the principles FOR ME has always acted as the help I need when instinct has failed me.
Learn it and lose it and it will come back if you really need it... or some such zen thing!
dj*

jackiesimmonds
11-08-2002, 01:55 PM
I absolutely agree with DJS - trust your instincts, and you probably won't go far wrong.

HOWEVER having said that ... I was shocked when one day, I put into practice something I had read. And that was, if the tone, and temperature are right, and in the right place, you can use any colour you want and the picture will work. I tried this, being really adventurous with the colour, but sticking to the "cool light = warm shadow" rule, and yes, the picture really DID work.

It's great to know the rules. Then you can ignore them if you want, and you can use them to sort out what isn't working.

Jackie

ericbraks
11-08-2002, 03:31 PM
mm . thanks all.
jackie that sounds interesting.
im still a bit confused...any red will always be warmer than any blue wouldnt it?
..there seems to be something i just dont get.
thanks for the thought though, it will stay locked in my brain, till one day i figure out just what it means:-).
have a great day all -e.

djstar
11-09-2002, 09:59 AM
I posted a little lure out there... (http://www.wetcanvas.com/forums/showthread.php?s=&postid=748880#post748880) with your sentance.
We may have gotten the semanticists in it, as perhaps the debate on RED or YELLOW could take days with this group, but the gang of the brain trust are taking on the topic from all angles.
I know what you are saying and I firmly believe color temperature is about comparison and degrees. I think the ending "-er" is the determinant. Colors are cool-er or warm-er. The absolute of your statement appeals to me, but there is something about my philosophy that makes me KNOW better. AND I really like the statement "..it is hard to believe that any blue will be cooler than Alizarin Crimson..."
Hope showering does not inspire such brain cranking all the time!
dj*

jackiesimmonds
11-14-2002, 02:52 PM
Eric - sorry - I am confused. Were you confused by MY post, or by something else? I didn't say anything about reds and blues!! I was only referring to values, and warm/cool.

If you want me to explain what I was talking about more clearly, just say.

Jackie

Turner
11-16-2002, 07:42 AM
Oh yeah!

Originally posted by ericbraks
can anyone explain and convince me that its important to be aware of warm/cool colours when doing a painting? ...i figure the colour balance just works out intuitively.

From Adobe's website: "Color temperature refers to the heat of a light source."

Well, put it this way - using perhaps the most literal subject - landscape painting - color temperature is SURE important if you want to convey feelings of actual temperature...

Also, warm colors advance, and cold recede, so even just as a visual effect in any type of painting, you could mix your "close objects" with a touch of a warming color, and your "distant objects" with a touch of a cooling color, and enhance any other effects of distance you have in place.

Although this works with any type of painting, think landscape... distant mountains (of the same type as close ones) often get a bluish tone applied to enhance natural atmospheric effects.

Wayne Thiebaud ....
http://www.artcyclopedia.com/artists/thiebaud_wayne.html

The reason I specifically post this link is because he not only uses color temperature really effectively, but if you can find larger images, you'll see that he also has an unorthodox method of using color on edges and within objects that exploit both temperature and complimentary color.

Also, Richard Diebenkorn:
http://www.artcyclopedia.com/artists/diebenkorn_richard.html

Naturally, if you're working abstract, theory still applies, but hey, do what you wish...

Cheers!

Andrew