Good Reading : July 2005
goodreading 19 practical book © 2004 Betty Edwards Color: A course in mastering the art of mixing colors is published by Hodder, rrp $45.00. The colour of human emotions Part of the joy of painting lies in finding out how you feel about colour. Each of us has colour prefer- ences that are rooted in personal experience, physiology and psychology. In one of the exercises in the book you are asked to create six small paint- ings without portray- ing any recognisable objects at all, just colour, representing ‘colours I like’, ‘colours I dislike’, ‘summer’, ‘winter’, ‘spring’ and ‘autumn’.These are examples of students’ work from the book. spring winter colours I like colours I dislike autumn summer Seeing how colours affect each other Not only do different light conditions affect how we perceive colours but we also see colours differently depending on surrounding or adjacent colours. For example here we can make one colour look like three different colours by surrounding the hue with three different backgrounds. In each case the blue centered in the coloured squares is exactly the same blue, yet the blue on the pale yellow background seems darker than that on the dark green, and the blue on the orange seems brighter than either of the first two. This effect is called ‘simultaneous contrast’. Holding the Brush The brush is mainly held between the thumb, the forefinger, and the middle finger, with the thumb and forefinger placed about where the fur rule meets the wood of the handle. ‘Choking up’ on the brush (holding it too close to the brush hairs) makes painting very difficult. When a brush is properly held, the little finger can be used to rest on the painting surface and guide your brush stroke.