Understanding COLOR Theory IIIpresentation by

Pam Coulter

What’s next• Finish color value scale and discuss

Tints and Shades

notice that you’ve now used tints and shadesimportance of getting away from just the

saturated hues in your painting

CezanneThree pears

Tints and Shades

Tints, shades and “breaking the rule”

Manet, Flowers in a vase Matisse, Window

More work on color lightening and darkening.

Local color is the basic color of an area excluding the effects of light and shadow. Light will tend to wash out the color and shadow darkens and dulls it. If you can establish the basic “local” color of an object and then lighten and darken, using analogous or complementary colors rather than white or black, your painting will be richer than if you just “paint what you see” or what your reference photo shows.

Modifying “home” value

• Using black and white only to model form dulls the result.

• Using complements and analogous colors keeps the result bright.

(Give each student a copy of the outline of the shapes for this exercise. Student to fill in the color as shown in the example shown above.)

Pause for exercise

Students to finish exercise before Class IV