DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.19950#0044
•14
CONTRAST.
and will leave mellowness of tone to follow as a natural
result of the education of the eye.
Power does not consist in strong and gay colours, but
is entirely the result of proper combinations and contrasts.
Two contrasting tones must be brought together, and the
power of each will then be felt. "In aiming at opposition
of colour, we must select that which gives force to the
foreground, and consequently communicates the appearance
of air to the distance. Thus if the general tone of the
light be warm and vellow, we should have blues and purples
in the foreground; if the lights be cool, reds and yellows
in the foreground give atmosphere to the distance, as neither
of these colours in a positive state is found in the middle
or remote distance. Some subjects possess a milder har-
mony than others, or rather, admit of less opposition, as
in the effect of early morning or after sunset, where the
force arises from opposing light and shade rather than
colour, and where cool and warm colours are brought
into harmony by a more tender gradation."*
A good first lesson in Sketching in Colour will be to
put in your shadows with the colour opposite to the object
in light. You are already aware of the three principal
contrasts—blue opposed to orange, red to green, yellow to
purple; and by carrying out this principle of opposition
throughout the scale, you will obtain an endless variety of
contrasts.t Remember, a colour and its opposite mutually
* Phillips.
f See Field's " Grammar of Colour," for the elucidation of this
principle.
CONTRAST.
and will leave mellowness of tone to follow as a natural
result of the education of the eye.
Power does not consist in strong and gay colours, but
is entirely the result of proper combinations and contrasts.
Two contrasting tones must be brought together, and the
power of each will then be felt. "In aiming at opposition
of colour, we must select that which gives force to the
foreground, and consequently communicates the appearance
of air to the distance. Thus if the general tone of the
light be warm and vellow, we should have blues and purples
in the foreground; if the lights be cool, reds and yellows
in the foreground give atmosphere to the distance, as neither
of these colours in a positive state is found in the middle
or remote distance. Some subjects possess a milder har-
mony than others, or rather, admit of less opposition, as
in the effect of early morning or after sunset, where the
force arises from opposing light and shade rather than
colour, and where cool and warm colours are brought
into harmony by a more tender gradation."*
A good first lesson in Sketching in Colour will be to
put in your shadows with the colour opposite to the object
in light. You are already aware of the three principal
contrasts—blue opposed to orange, red to green, yellow to
purple; and by carrying out this principle of opposition
throughout the scale, you will obtain an endless variety of
contrasts.t Remember, a colour and its opposite mutually
* Phillips.
f See Field's " Grammar of Colour," for the elucidation of this
principle.