Warm vs Cool question.

[DAK723]

Originally Posted by VicDiPilato

I never heard of cool and warm colors until I started coming to this forum. I read this thread to see if I could figure out what's so important, but now I am more confused than ever... I think I'll forget about it for now and work on other things.

Here is some info that you might find more helpful:

http://gurneyjourney.blogspot.com/20...-and-cool.html

Don

[sidbledsoe]

Don that is a very good page from Gurney.


This is from the Gamblin site and linked to this page that lists their colors and the munsell values and then the temperature qualities for each (good example here that both types of information can be listed). In relation to other yellows this color wheel identifies the relative warm and cool quality for each, a green leaning yellow tends to be cooler than an orange leaning yellow.

Here is an excerpt from Daniel Smith site that identifies some warm and cool versions of their colors:
YELLOW: Warms—Nickel Azo Yellow, New Gamboge, Cadmium Yellow Medium Hue
Cools—Lemon Yellow, Hansa Yellow Light, Bismuth Vanadate Yellow
RED: Warms—Pyrrol Scarlet, Organic Vermillion, Cadmium Red Medium Hue
Cool—Quinacridone Red, Quinacridone Rose, Permanent Alizarin Crimson
BLUE: Warms—(red bias): Prussian Blue, Phthalo Blue (RS), French Ultramarine Blue
Cools—(green bias): Manganese Blue Hue, Cerulean Blue, Phthalo Blue (GS)

I think that some will find that they do not agree with something here, I see one myself, but I still think in these general terms without problem.

[!becca]

Sid, thanks for the link...that is an informative chart at the Gamblin site, the wheel is useful too.
Sorry, I was too quick to type again ...the Daniel Smith info is very comprehensive, thanks.

I think that some will find that they do not agree with something here, I see one myself, but I still think in these general terms without problem.

Yes, I see one or two too....valuable info no less.

[bigflea]

Ron,
I'm not debating that digital light acts similarly to daylight.

I'm not debating at all.
I was stating an observation about the dialogue in the thread, in which it seemed as if an equation was being made between visual color experience and the methods for digital color analysis of photos of paintings, or of actual scenes, as an accurate measure of color .

Obviously the technology works well enough for people to look at a film or other digital image and believe it represents visual color accurately. But I think that really depends on an opinion about visual color experience. That is why I made the point regarding how programs are designed. The content may be convincing to anyone who shares a similar conception of visual color. It doesn't follow the conception is accurate itself.

Ken

[Ron Francis]

Originally Posted by bigflea

I was stating an observation about the dialogue in the thread, in which it seemed as if an equation was being made between visual color experience and the methods for digital color analysis of photos of paintings, or of actual scenes, as an accurate measure of color.

OK, I think I understand what you mean now.
The photos that I took showing the blueness of the paper under skylight, and the greeness of the paper lit by the grass, do not equate with colour in the real world. The images are facsimiles and colour measurements can't be accurate. Is that what you meant?
If so, I agree.
It can only show the relative blueness and greeness of the shadows compared to their light sources in an imprecise way.
The digital image of the painting was something completely different though because it was this image that was being examined, not the real painting.

[DAK723]

Another link from Gurney. While this one is about color gamut mapping, it is also on the subject of warm and cool - showing the differences in the same scene when painted with a warm or cool palette.

It also gets into the subject of demonstrating how color is relative. In one painting, a close to neutral gray "looks" blue, in the other, it "looks" yellow. I think this is very interesting thing about grays - how they look warmer if the surrounding painting is cool, and look cooler if the surrounding colors are warm.

http://gurneyjourney.blogspot.com/20...ng-method.html

Don

[!becca]

Don, thanks for the link.

As has been observed, this thread has become very diverse, I wanted to mention I started a thread in the color theory forum with a video..Aesthetic Science of Color in case any of you are interested..

[sidbledsoe]

Very good one again Don.
Sometimes a new poster here asks about understanding something such as temperature. This indicates to me that this individual may very well be relatively very new to this vast world of info regarding color. They may be 73 years old and just picked up a brush for the first time in their life (Hi Dor, very pretty painting and beautiful harmony of warm against cool colors I must say!). Perhaps they have seen a rerun or two of a Bob Ross brush slapping video. They are often not exactly computer savy or have not seen a photoshop program. Some may not be quite ready to jump into the Briggs site or Handprint and rely upon a computer analyser or a Munsell book to guide their painting. Maybe in time they will be, but first I want to help them understand what all the hubbub about this stuff is all about .

[!becca]

Sid. I still am ignorant of much of the theory. And I'm not completly new. Just like to paint and have spent little time on the rest. Your explainations are always fun and helpful. And. I feel the concept of warm/cool colors can be benefficial, one can paint knowing little of much of the theory. Thank you for your efforts to make both learning and painting fun for others

[Keith Russell]

Originally Posted by sidbledsoe

Very good one again Don.
Sometimes a new poster here asks about understanding something such as temperature. This indicates to me that this individual may very well be relatively very new to this vast world of info regarding color. They may be 73 years old and just picked up a brush for the first time in their life (Hi Dor, very pretty painting and beautiful harmony of warm against cool colors I must say!). Perhaps they have seen a rerun or two of a Bob Ross brush slapping video. They are often not exactly computer savy or have not seen a photoshop program. Some may not be quite ready to jump into the Briggs site or Handprint and rely upon a computer analyser or a Munsell book to guide their painting. Maybe in time they will be, but first I want to help them understand what all the hubbub about this stuff is all about .

Well, I have a BFA in painting, and I'm certainly computer savvy, and I don't paint Bob across tyle--but I'm not terribly interested in Munsell or PhotoShop, either...

[Ron Francis]

I like Gurney's blog.
Note that the gamut masking that he does in the last link is with a light colour wheel rather than a pigment colour wheel. Yellow is opposite blue, red is opposite cyan etc.
This is why the grey looked yellowish in the cool version of the painting, because it is opposite blue and our eyes always want to see the optical complement of a colour.