Art and Design A comprehensive guide for creative artists - Aaltodoc

Jung (2004, 139) remarks, “Of course a colour can stand on
its own as well ... Such colour contexts ... are know from
monochrome painting.”
Then again, as we continue to study about colours, on a
colour wheel, we will find harmonious colours that are
also known as analogous colours; usually, such colours are
positioned beside each other, for instance blue, blue-green,
blue violet. And they are pleasant to look at because they
appear as if they belong in the same family.
Artists become acquainted with colours when they devote
attention—to interacting with a colour wheel. It works as
a guide, which helps creative artists to understand colours
and how they relate to one another.
In accordance with Michael et al.'s (2006, 187-188) remark,
“the purpose of a colour wheel is to expand students
understanding of colour relationships and to assist them in
developing skills of painting and drawing with colours.” That
is to say, by understanding the principles of a colour wheel,
the learner shall be able to develop skills of painting and he
or she will discover the absolute importance of using each
colour.
On a colour wheel learners can annotate the differences
between each colour. Jenkins (1980, 142) asserts, “Encourage
young children to name colours. Enjoy with them the
delight in discovering that blue and red make purple, red
and yellow make orange, red and white make pink, black
and white make grey and red, yellow and blue make brown.”
We can conclude from this that, a colour wheel is necessary
for enthusiastic creative artists
for the time of mixing colours;
from dry powdered mixes of oil
paints, watercolour, colouring dyes and inks or any another
medium consisting (paint) pigment.
Accordingly, we can use a colour wheel to identify different
essential colours from their separate groups. For instance:
1. Primary colours cannot be obtained by mixing any
other colours although all other colours can be made or
mixed out of them. They include red, blue and yellow.
2. Secondary colours are created by mixing two primary
colours: For example, by mixing blue and red. The
resulting colour will be purple.
3. Intermediate (tertiary) colours are made with equal
mixtures of primary colours, added with—either one
secondary colour adjacent—on a colour wheel. Such
colours result from a mix of two secondary colours.
“Mixing primary and secondary colours may be more
difficult for children to achieve.” Thus, they should be
advised to make a review of each colour group before
choosing a colour for any design plan. Equally, “blues
and greens are usually identified as cool and receding
colours. The movement forward or backward of any
colour, however, depends entirely on its relationship to
the surrounding hues.” (Michael et al 2007, 188)
Systems of colour
There are two major systems of colour; subtractive and
additive. Here is a review about each colour:
a) Subtractive colours are to a certain extent common
within the art and design world. Bellamy (2004, 14)
laments, “... as more subtractive hues are mixed, the
mix becomes darker ... colours seen on the surface
of physical objects, such as paper, work in different
ways to those seen in light.” By their correct names,
subtractive primary colours include cyan, magenta and
yellow. See Computer aided printing, Chapter Five.
b) Additive colours apply to radiant (white) light made
by sunlight. Jung (2004, 97) defines additive colours as
“optical.” In his explanations, “the additive mixing of the
three optical primary colours—produces the sensation
of colourless light.” The list of such colours contains
“blue yellow and red.”
30 31