COLOR THEORY BASICS

Hue

Hue is the color quality of a pigment or object. Hue and color are interchangeable terms, but in color theory the term hue implies a specific discussion of only hue. For example a “light red” color has the hue of red and a high value.

Value

Value is the amount of light in a pigment or object. Color hues a have intrinsic value qualities.For example, yellow is the “lightest” or highest value hue.Blue-violet is the “darkest” or lowest value hue. Red has a more middle value. The value of a dark hue is made lighter by adding a higher value hue (or white). The value of a light hue is made darker by adding a lower value hue. Imagine the values of the hues below in a black and white picture.

Tints and Shades

Adding white to a color creates a tint. Adding black creates a shade. For example pink is a tint of red; maroon is a shade of red. See the tints and shades of blue below.

Intensity

Intensity is the amount of brightness in a pigment or object. This is a quality of pure hue that creates a visual vibration. Which green is more pure, or intense?

Tone

Tone is a hue mixed with gray.The gray will neutralize or tone down the color. This also decreases the hue intensity. Depending on the value if the initial hue, the addition of gray may also change the value appearance, making the hue lighter or darker.

Warm and Cool Colors

Temperature is an associate quality of color. In general warmer colors are orange, red and yellow. These colors “feel” warm and also emerge or move forward in space. Cool colors are blue, green, and purple. These colors “feel” cool and also recede or move back into space.

Now forget these categories and think more precisely in terms of relationships. A bit of color ying and yang, as warm color is defined by cool and vise versa! This means that in a comparison of red and blue, red is warmer. But in a comparison of red and red, one red will be warmer then the other.

Complimentary Colors

Complementary hues are defined as two hues, which create after-images of each other. Yellow has a blue-violet after-image and blue-violet has a yellow after-image. On most color wheels complimentary colors are across from each other. Placed next to each other compliment hues have the greatest possible contrast. When mixed together the result is a neutral hue.

The After image

The phenomena of after image causes the eye to see the complimentary hue after an extended period focusing on said hue. For example, stare at the yellow dot below for 30 seconds then look immediate at the black dot below.

Contrast of value.

Contrast of color value

Contrast of of hue.

ANATOMY- TRUNK

The strength of all figure drawing comes from a mixture of formal skill and anatomical knowledge. Understanding the human body, interior as well as exterior, is essential. Through out history many cultures have preoccupied themselves with depicting the human form. Western Civilization Art reached its investigative height during the Renaissance, also a coinciding focus of science and art. Below is an example of Leonardo DaVinci's Vitruvian Man. This is a clear demonstration of the need to make sense of the human form- in this case the perfection of human form and its relation to the perfect language of Geometry, the perfect circle and square. The figure is inscribed with its proportions measured and reach touching these shapes. Also note Leonardo's proportions for the figure using the measure of a head.

In 1747 we see the example of one of the most accurate representations of the human skeleton in the work of Bernard Siegfried Albinus- Corporis Humani. The following three examples are taken from Drawing Lessons from the Great Masters, Robert Beverly Hale. Here we see the human skeleton displayed not as static, but as if in motion. All bones and structures are presented in fine proportion, accuracy and rendering. Of specific interest is the TRUNK, or the area composed of the Cage and Pelvis. Please note the volume and form of each of these structures and how the artist represented them using line and value. Below is the Ventral position.

The Dorsal Position.

The Lateral Position.

The following four examples are taken from Human Anatomy for Artists by Andras Szunyoghy and Dr Gyorgy Feher. Below is an example focusing on the trunk. Note the relationship of the shapes, proportions, and location of the cage and pelvis. Also see how the top of the cage tapers and slips up into the shoulder girdle (a horizontal ring composed of the clavicles and scapula.) Notice the hollow in the pelvis as it completes the volume of the cage.

Below is an example of just the Cage (or Thorax.) It is important to note the volumetric shape of this structure (the space inside is loosely egg shaped). Again we see the taper at the top, and the opening at the bottom. All ribs radiate from the spinal column and MOST attach at the sternum, some being short arcs others being long loping arcs. It is important to note that these ribs are not cylindrical curves, but thick flat curves, and in most cases with flex joints (look just to the left and right of the sternum to see a plane shift at that junction.)

Below is the Dorsal View of the Cage. Here we see the spinal column and ribs reaching around to the front. Again we see a plane shift on these flat rib shapes- they are not round rings, but a segmented arc (think about breathing and how important it is for some flex to happen.)

In this and the last example note how the artist presented the sense of volume inside the cage, through the ribs we see the continuation of each rib but it recedes through value shift and line (possibly atmospheric perspective!)

Below we see the Dorsal trunk (back) focusing of the shoulder girdle. Note the shape and form of the scapula, where it lies on the cage, the angle at which it rises to meet the clavicle on the front.

Below is an example of the Pelvis take from The Human Figure, Jon H. Vanderpoel. Here we see a good description of contour line as it relates to the undulating form of the pelvis. Notice the butterfly shape of the structure and the hollows within. Important landmarks are the ilium crest (upper most point of the pelvis, the semicircular shapes) and the Ischium (rings at the bottom) and the Sacrum (on the backside the area around the Coccyx)

Here is an example of the Spinal Column (Human Anatomy for Artists) illustrating the three views and most importantly the gentle S- like curve. Notice the shapes of the vertebrae, cylindrical in front and wing protrusions in the back. Also observe the relative size of the vertebrae big to small top to bottom.
Another Example from John Vanderpoel illustrating the angles of these forms with the body. Note how and where they open and constrict on opposite sides.

Please take a moment to see Robert Beverly Hale give a lecture on basic anatomy.

Rib Cage 1

Rib Cage 2

FIGURE- BASIC CONSTRUCTION

Student Example

Plane- a flat or level surface (no elevations or depressions WITHIN). An area of a two-dimensional surface having determinate extension and spatial direction or position.

Spatial direction and position are important terms for us to consider. This allows the eye to read if a plane is sloped toward or away, what angle , and what the profile of the shape is. Joining of multiple planes begins to create form or the impression of three dimensions. A simple example is to think of a diamond (the precious stone) it has a form that is composed of a multitude of planes or facets. Drawing the human body can be approached this way, thinking of the three big masses (head, rib cage, pelvis) as blocks with cubic limbs extending. Gradually more and more subtle planes can be added making more complex transitions and form. It is best to WORK FROM BIG TO SMALL- the whole to the detail, the big body masses to smaller masses, etc. The following examples are all from Bridgman's Complete Guide to Drawing From Life. These are also presented in an order of process , more or less. Remember basic to more complex.

The 3 Masses of the body (Head, Rib Cage, and Pelvis) note how they are consider blocks (and their proportions) and their stacked position. The twist and bend are easy to see and describe as the relationship of these blocks turn or lean. Essential for carrying the basic movement of the figure.
Horizontal Axis of shoulders, pelvis, knees. This gives an understanding of where the balance is, how the body manages to distribute its weight evenly, and where the body opens or compresses etc.
Basic example of planes going up the back and side (almost two sided at its simplest).What is important to notice is the forward and backward slope as it moves upward or downward.
This is a good way to think about each body part, as a cross section. Is its mass similar to a cylinder, box or pyramid- round, square, triangle.
Further example of this shape of mass. Notice how the shapes alternate as they transition through a limb.
This example of the arm is interesting to see how planes can rise up and dip down as they meet another mass. To use Bridgman's term, they wedge together and interlock.
Planes of the leg from behind, notice how the planes begin to describe muscles.
The torso is a complex structure with a multitude of planes describing its surface. these planes all change as the torso twists and bends. Again we see the muscle groups beginning to be described by planes.

Student Example

Student Example

Student Example

CINEMATIC PERSPECTIVE

Below is some inspiration for our cinematic perspective drawing. At some point during the making of these movies, an artist had to create a perspective drawing for the Backdrop or CGI to be made. Our project is to do this process in reverse. We will learn from these created scenes and take them back to their beginning (their skeleton) by finding the horizon line, vanishing points, etc. and make a Perspective linear drawing.

Inception Trailer click here

Tron click here

Titanic click here

Star Wars

Alice in Wonderland

Raiders of the Lost Ark

Gladiator

Student Example- "Inception"

Student Example- "A Single Man"

Student Example

BASIC PERSPECTIVE

Perspective- a technique of depicting volumes and spatial relationships on a flat surface.

Linear Perspective - a mathematical system for representing three-dimensional objects and space on a two-dimensional surface by means of intersecting lines that are drawn vertically and horizontally and that radiate from one point(one-point perspective),two points (two-point perspective), or several points on a horizon line as perceived by a viewer imagined in an arbitrarily fixed position.

Atmospheric Perspective (or Aerial Perspective)- a technique of rendering depth or distance in painting or drawing by modifying the tone or hue and distinctness of objects perceived as receding from the picture plane, esp. by reducing distinctive local colors and contrasts of light and dark to a uniform light bluish-gray color.

Picture Plane- An imaginary "pane of glass" at which the viewers gaze meets the illusion created on the two dimensional surface. To extend the analogy, the viewer would trace on this glass the three- dimensional object. Not just the material surface, a concept.

Horizon Line- A level horizontal line located at eye level.

Vanishing Point- A point of convergence of parallel lines located on the Horizon Line.

Scale- The apparent size of an object.

This example illustrates the same object in relationship to the Horizon Line (Above and Below.) Notice whether you can see the top of the cube or the bottom, which way the diagonal lines slope to the vanishing point.

The following Four examples were taken from Basic Perspective Drawing- John Montague.

This example illustrates the top of a cylinder (circle) as it approaches the Horizon Line. Notice how it changes to an elipse and further squeezes to a line.

Piranesi- Prision Series

Rackstraw Downes

Al Held

Student Example

Student Example