Mixing colors Basic mixing methods. Combination of colors in the interior. Pastel color combinations

3*

86. J. SERE. The circus

but. Purple paint print

b. Writish yellow paint

in. Writish blue paint

g. Printing black paint

d. four-color writing

Notes:

§6 mixing colors

Visible in natural conditions of color, as a rule, are the result of mixing spectral colors.

There are three basic methods of mixing colors: optical, spatial and mechanical.

Optical mixing of colors is based on the wave nature of light. It can be obtained with a very rapid rotation of the circle, the sectors of which are painted in the necessary colors.

Recall how you rotate the top in childhood and was surprised for the magic conversions of the color. Easy to make a special top for experiments on optical color mixing and conduct a series of experiments (see Ex. 11). You can make sure that the prism decomposes the white beam of light on the components - the color of the spectrum, and the top mixes these colors again into white.

In science "Color science" (color) color is considered as a physical phenomenon. Optical and spatial mixing of colors differ from mechanical mixing of their mix.

The main colors in optical mix - red, green and blue.

Basic colors with mechanical blunders - red, blue and yellow.

Additional colors (two chromatic colors) with optical mixing give a achromatic color (gray).

Remember how you were in the theater or circus and rejoiced by the festive mood that creates color lighting. If you carefully follow the three beams of the spotlights: red, blue and green, then it can be noted that as a result of the optical mixing of these rays, the white color will be obtained (Il. 84).

84. Optical Color Mix

You can also conduct such an experiment to receive a multi-color image by optical mixing colors: take three projectors, put color filters (red, blue, green) and, at the same time crossing these rays, get almost all colors on the white screen, just as well as In the circus.

The sections of the screen illuminated at the same time blue and green colors will be blue. When the blue and red emission is addition, it turns out a purple color on the screen, and the addition of green and red is completely unexpectedly formed.

3* Optics (from Greek. Optike is a science of visual perceptions), a section of physics in which the processes of radiation of light, its propagation in various media and the interaction of light with a substance.

85. Mechanical mixing of colors

Compare: if we mix paint, we get completely different colors (Il. 85).

Folding all three colored beams, we get white. If you set black and white slides in the projectors, you can try to make them colored using color rays. By doing this experience, it is difficult to believe that the variety of color shades can be achieved by mixing three rays: blue, green and red.

Of course, there are more complex devices for optical mixing colors, such as TV. Every day, including a color TV, you get an image on the screen with many shades of color, and it is based on the mixture of red, green and blue emissions.

86. J. SERE. The circus

The spatial mixing of colors is obtained, if you look at some distance to small, concerning each other color spots. These stains are alive in one solid spot that will have a color derived from mixing color small sections.

The merging of colors is explained by the light scattering, the characteristics of the structure of the human eye and occurs according to the rules of optical mixing.

The patterns of spatial mixing of flowers are important to take into account the artist when creating any picture, since it will be considered necessarily from a certain distance. It is especially necessary to remember the possible effects of mixing colors in space when performing significant picturesque works designed for perception from a long distance.

This color property was perfectly used in their work artists-Impressionists, especially those that used the technique of a separate smear and wrote small colored spots, which even gave the name to a whole direction in painting - Pointelism (from the French word "Pointe" - point).

When viewed by the picture from a certain distance, small multicolored strokes are visually merged and cause a feeling of one color.

87. Paul Signac. Papal Palace in Avignon

88. J. Point. Girl closed on the balcony

An interesting experiment on the decomposition of color to the components was carried out by an artist Giacomo Ball. Not only color, but also movement, he decomposed into the components of its phases, using the principle of consistent fixation of the movement, as when performing the instant photo. As a result, the amazing picture of the "Girl closing to the balcony" (Il. 88) was born, which only during consideration was published on the basis of the spatially optical mixing of colors reveals the idea of \u200b\u200bthe author.

On spatial mixing of colors is based on obtaining images of various color shades in printing when printing with raster forms. When viewed from a certain distance, areas formed by small differentiferous dots, you do not distinguish their colors, and see the color of spatially mixed.

All color reproductions in this book and in many others are printed using flowering on three main colors (purple, yellow and blue); During printing, these colors are mixed through consistent overlapping them (mechanical mixing). The black color is added as a contour or as needed, and unatainted white paper gives the effect of white. If you look at an enlarged fragment of four-color prints from a close and long distance, you can clearly observe the effects of mechanical and spatial mixing of colors.

89. Stages of print illustration in printing

but. Purple paint print

b. Writish yellow paint

in. Writish blue paint

g. Printing black paint

d. four-color writing

90. Increased fragment of four-color prints

The mechanical mixing of colors occurs when we mix paint, for example, on the palette, paper, canvas. Here it is necessary to clearly distinguish that the color and paint is not the same thing. Color has an optical (physical) nature, and the paint is chemical.

Flowers in nature are much larger than the paints in your set.

The color of the paints is much less saturated than the color of many objects. The brightest paint (bleel) is the lighter of the darkest (black) paint only 25-30 times. It seems that it would seem, an unresolved problem - to transfer all wealth and a variety of color ratios of nature with such scanty means in painting.

But the artists successfully solve this problem, using knowledge of the flower digital, choosing certain tonal and colorful relations.

In painting with various colors, depending on their combinations, one and the same color can be transferred and, on the contrary, one paint is different colors.

Interesting effects can be achieved if you add some black paint to each color (Il. 91).

Sometimes mechanical mixing of colors can be achieved by the results, similar to the optical mixing of colors, but, as a rule, they do not match.

A vivid example - mixing of all colors on the palette is not white, both in optical mix, and dirty gray, brown, brown or black.

91. An example of a mechanical mixing of colors with black paint

Consider the drawing with the dancing children and watch the color changes in fact if one transparent cloth is imposed on another.

92. Dancing children. Mix colors overlay

Creating a design of any space begins with color. Determining with the general style of the room, the designer already represents it in certain colors, since it is they send fantasy into the right channel. The combination of colors in the interior design is one of the factors pointing to the style, the subject of the room. Country style is dominated by noble rich tones, all shades of wood, white, beige, bordeaux, brown. To create a "Provence" style, pastel colors are used with a slight embosit of dark shades. On the "Sea" style indicate blue, white, gray, blue and dark wood color. The classic is characterized by a wide range of beige, chocolate, coffee. Ethnic style plays contrasts, using brown, bardo, black, red. The choice of color solutions is the most important stage on which the success of the interior design as a whole depends.

The joke that all men distinguish only 16 colors, as in the default settings, it has real roots: a woman's eye is much more "color-sensitive" cells.

However, as studies show, human eye is able to perceive a huge number of colors and their shades: about 250 pure and more than 10 million mixed.

Not to get lost with such a variety will help a simple understanding of the colors of the main spectrum.

They are only seven: red, orange, yellow, green, blue, blue, purple. Taking on the basis of these colors, diluting them or mixing them with each other, the colorists create a huge number of tones and shades for use in the interior. These are the so-called achromatic colors add to them, that is, not carrying any color load. Their only three: black, white, gray.

In the flowerism, three laws of optical mixing of colors are presented, the knowledge of which is necessary for artists in their practical work.

Small dots, strokes or strips of various colors, applied to the surface, from a certain distance seem to be monophonic, and different colors merge into one color.

First Law The optical mixing is as follows: the second chromatic color can be selected to any chromatic color, which, with optically mixed, with the first in a certain quantitative terms, gives an acromatic color.

Colors that in optical mixtures can give a sharm color, are called mutually additional colors. It can only be strictly defined colors. The ultramarine option is lemon-yellow color, to the carminno-red - bluish-green (the color of emerald green), to the lemon-yellow - ultramarine and to a bluish-green - carmino-red.

Second Law The optical mixing is that, with optical mixing of missile colors, colors are obtained, in its color tone intermediate between the mixed colors. When mixing yellow with red it turns out an orange color, when mixing yellow with green - blue color, etc.

Third Law The optical mixing is that the colors that look the same, in optical mixtures give the same results regardless of what is the physical composition of light flows that cause the feeling of these colors. "For example, the same monochromatic orange color, the wavelength of which is 610 μm, and the same orange tone, compiled from waves 590 and 630 microns, in optical mixes with other colors give exactly the same results, although in one case the color is monochromatic, and in the other complicated". However, the results of the optical mixing of colors differ from the results of mixing paints, which artists enjoy in the practice of painting.

The results of the optical mixing of colors are shown in Table 1, the results of the mixture of paints - in Table 2.

Artists are often used in painting the laws of optical mixing of colors. It is known that at the heart of the creativity of postimputsionists of the Xinyak field, George Sere - is the laws of optical summation of colors and the laws of contrast. Recalling the laws of the optical mixing of colors set forth in the book of Chevreil, Paul Signac insisted on the benefits of an optical mixing of flowers in painting compared to the usual mixing of paints. In the software book, postmingness Paul Xinyak wrote: "Any material mixture does not only lead to blackout, but also to discoloration, every optical mixture, on the contrary, leads to clarity and brilliance."

But as can be seen from Table 1, with optical mixing of additional colors and a color discoloration close to them also occurs.

The laws of the optical mixing in the practice of art knew not only postminglyonists, but also masters of Fayum painting, Pubbean painting, masters of the Venetian School of Painting High Renaissance, Diego Velasquez and many other artists.

Colored strokes on the local fresco color flax of Feeofan Greek and his students testify to the knowledge of the laws of spatial mixing of flowers, reviving the color in the icons of the Russian school.

Optical mixing of colors (additive, alignment).

Example: if you put a blue and yellow color nearby, then they made their combination will seem green. For the first time in our civilization, this law began to use Impressionists, passing through the prism of the solar beam decomposes by 3 private colors: red, yellow, blue. Where they are mixed along the edges, 3 components are formed: green, orange, purple. Painting can not pass the strength of color. If you mix the paints on the palette, then the dirty background will be obtained, so the impressionists began to put on the canvas, separate strokes of those paints to which the color (outgoing, reflective from the surface), passing through the prism. And since the lens in the eye of the viewer is the same prism, it seems to unite the color restoring the light. Working in the open, in nature, the impressionists noticed that the shadows of the objects are not black, but painted a little bit in the color of the items themselves for work on impressionistic need to learn several rules:

1. The palette is limited only to pure paints (spectral), without so-called earthy - this is a Surik, and so on.

2. On the palette is allowed to mix only those paints that are adjacent to the spectrum. Example: red and orange, blue and purple. It is also allowed to break the color. All other mixes are produced by an optical way.

3. Paints are applied with small strokes, points, punctuation, the type of impressionism. A clear form individual strokes are not superimposed on each other, but are located nearby, name is called.

4. The local color of the entire object is divided into parts in accordance with the lighting conditions. Illuminated part, own shadow, falling shadow, reflex and so on.

All these parts have their own special color, and the color of the illuminated and the shadow part is usually contrasted, it is called the split color.

5. The color of the local large spot is transmitted as the sum of small smears of different colors, then amplifying, then weaken, this is called gradation.

At the heart of the modern color, the three-component theory lies (the principle of 3 main colors) is a red 750 nm, green - 546.1 nm, purple - 435.8 nm.

Any color can be expressed mathematically, where C is an arbitrary color, x - red, u- green, z - purple - basic colors.

X1, U1, Z1 - Color coefficients showing the ratios of the mixed basic. Color, which is a derivative of color tone and saturation, more convenient to evaluate with relative color coefficients:

X \u003d x1 / (x1 + y1 + z1)

Y \u003d y1 / (x1 + y1 + z1)

Z \u003d z1 (x1 + y1 + z1)

The sum of the relative coefficients is equal to one: x + y + z \u003d 1

Mixing flowers

Mixing colors is one of the most important problems of the theory and practice of the initial stage of learning painting. There are three basic laws of optical mixing colors.

First Law:the main feature of any color circle is the ratio of opposite (relative to the center of the circle) of colors, which, when mixed, gives a sharp color. Such colors are calledadditional. Complete colors are strictly defined:red - green, to yellow - blue, etc.

Second Law It is practical and suggests that the mixing of colors lying around the color circle is close to each other gives a feeling of a new color lying between mixed colors. So, for example, a mixture of red with yellow gives orange, yellow with blue - green. Thus, by mixing the three main colors (red, yellow and blue) in different proportions, you can get any color tone "considerable" optical effect.

Third Law: Same colors give the same mixtures. There are also those cases when the colors are mixed in the same color tone, but different in saturation, as well as chromatic colors with achromatic - "subtractive" optical effect.

In painting, the desired color can be obtained in different ways. For example, put the paint in pure form without mixing with others or get the necessary color by mixing two or several paints.

Mixing of paints with each other can be mechanical or optical (see Table 1-2). At the same time, the mixed paints can change their color shade, saturation and lightness.

Table 1. The results of the optical mixing of colors.

Table 2. The results of the mechanical mixing of paints.

There is some difference between the results of an optical and mechanical mixing of paints due to the physical nature of the paints. To better imagine the difference in the final result of the optical and mechanical mixing of colors and colors, you can give the following example: on the rotating disk yellow and blue color will give a gray mixture color, while the mechanical mixing of the same colors on the palette will give green paint.

When mixing paints, it is necessary to keep in mind not only the color characteristic, but also three ways to compile them:

1) method of mosaic connection of small smears (optical mixing of colors);

2) a simple mechanical mixture of paints on the palette;

3) the method of lesing is a sequential overlay of several layers of paint one on another.

Mixtures of paints in chemical composition can be homogeneous and inhomogeneous. Within one group, taken separately - luster, armrest or cabinet, they are homogeneous: allowed smooth fills and gradual transitions in lightness and color shades. Inhomogeneous mixtures are obtained by mixing lescing paints with cabinet; At the same time, the fillings become uneven, with subkear and breakdowns, and their light-resistance is often falling. Paints included in the consecutive group give satisfactory fills both with lustering and body colors.

An important circumstance that should be taken into account by the novice painter working in watercolor is in particular paints when dryingbrighten and lose greater or lesser degree color saturation.

To obtain a strong, saturated color, it is recommended to use paints with greater color.