1. Hue

Simply put, hue refers to the name we give to colors, such as yellow, red, blue, turquoise, magenta, and so on.

Hue describes color families, rather than specific shades. like red, not magenta or scarlet.

Each hue has a wide range of colors within it thanks to variations of values and chromas. 

2. Saturation (Also Known as Chroma)

Saturation, or chroma, indicates the intensity or purity of a color. It denotes how much gray is mixed with the hue. 

In the color wheel example below, you can see the saturation increases as you move toward the outer edge and decreases toward the center. Thus, a color becomes duller as more gray is mixed in, and conversely, a color appears more intense the purer it is.

Painting Tip: To achieve a duller, earthier color, you can either add gray or black to a color or introduce the complementary color, which is located on the opposite side of the color wheel.

3. Value

Value refers to the lightness or darkness of a color. 

On a color wheel, adding white increases a color’s value, making it lighter, while adding black decreases its value, making it darker. 

Value is a crucial concept in art, arguably even more important for beginners than color itself. Many contemporary artists alter the color of their subjects, such as in portraits, to create an interesting artistic style. As long as the values are accurate, the subject remains recognizable, contributing to a compelling piece of art.

4. Color Harmony

Now that you have a basic understanding of hue, saturation, and value, you’re equipped to create color harmony in your paintings, enhancing their aesthetic appeal and visual interest.

Here are some basic color schemes:

Analogous: Utilizes colors next to each other on the color wheel, sharing similar hues (e.g., blue, blue-purple, purple). Landscape painters often employ this scheme for its ability to evoke peace and calm.

19th-century English painter George Turner’s paintings used analogous earth colors to describe the romantic landscapes of the English countryside. 

Complementary: Involves colors opposite each other on the color wheel to create drama and contrast (e.g., red vs. green, yellow vs. purple, blue vs. orange). This is currently my favorite scheme because it can quickly capture attention and generate strong visual interest. I used a complementary color scheme of orange and blue to paint this wave painting. 

Split Complementary: This scheme uses a color plus the two colors adjacent to its complementary color (e.g., blue, yellow-orange, and red-orange).

Paul Gauguin: “Vision After the Sermon”

Gauguin’s “Vision After the Sermon” exemplifies the split complementary color scheme. The painting contrasts reds with greens and a yellowish-green, offering a vibrant visual experience while maintaining a balance that is less intense than a direct complementary scheme.

This approach allows Gauguin to explore bold color contrasts that still achieve harmony and depth.

Triadic: Features colors that are equally spaced around the color wheel, such as red, yellow, and blue.

Piet Mondrian:“Broadway Boogie Woogie”

Mondrian’s “Broadway Boogie Woogie” perfectly illustrates a triadic color scheme, utilizing primary colors: red, yellow, and blue. This painting, inspired by the bustling streets of New York and jazz music, features a grid of white, black, and gray lines with blocks of the three primary colors. The triadic scheme creates a vibrant, rhythmic composition that mirrors the energy of the city and its music.

I hope this post has helped you grasp the basics of color theory. Feel free to ask any questions you may have!

The post Color series 7: Understanding the Differences Between Hue, Saturation, and Value appeared first on Ying McLane.

1. Fat Over Lean
2. The strategic placement of colors on top of each other to achieve the desired final effects in a painting.
3. Positioning colors beside each other according to color interaction.

1. Fat Over Lean

The “fat over lean” principle refers to the technique where paint layers that are “leaner” or “thinner,” meaning they have less oil content, are applied first. 

Subsequently, layers with more “oily” paint are added. This is crucial because oil paint undergoes slight expansion and contraction over time as it dries, and layers with different oil contents dry at varying rates, affecting the painting’s longevity and appearance.

Why is this important? Oil paints with higher oil content (fat) take longer to dry and are more flexible, while those with less oil (lean) dry faster and are less flexible. If a “fatter” layer is applied beneath a “leaner” one, the top layer may dry and harden before the bottom, leading to cracking or wrinkling as the layers age. This method helps to ensure the painting dries evenly and remains stable over time.

Materials like cadmium colors dry slower than earth tones like umbers due to their chemical composition. 

Environmental factors, such as humidity and temperature, also play a role.  

The higher the temperature, the faster the paint coating dries because its solvent(oil or water) evaporates faster.

Paint also dries slower if the humidity levels are high because the paint solvent evaporates at a lower rate if there’s more water vapor or moisture in the air.

Colors thinned with turpentine or mineral spirits dry faster, offering artists control over the drying process. Ignoring this rule can lead to uneven drying, cracking, or discoloration.

The oil painting process typically begins with thin washes to “map out” the composition, followed by the application of thicker paint directly from the tube or mixed with oily mediums like linseed oil.

2. Placement of Colors for Desired Effects

This concept encompasses both indirect oil painting techniques like glazing and scumbling, as well as the various techniques in direct painting (alla prima). We’ve discussed glazing and scumbling in detail previously, and you can find more information at the following links:

• How Transparent Colors Elevate Your Painting
• Scumbling Painting Technique: What You Should Know

3. Color Interaction

This method involves placing colors beside each other to enhance or mute their visual impact through interaction. 

A prime example is Henri Matisse,( https://www.britannica.com/biography/Henri-Matisse) who masterfully used primary and secondary colors, as well as complementary colors, to create vibrant and dynamic compositions. Each brushstroke in Matisse’s paintings was deliberately placed to interact with surrounding colors, creating a bold and rich appearance. Adhering to the “fat over lean” rule, his works have maintained their integrity over time.

Understanding color interaction is not just about theory but also about practice. Try experimenting with different color placements in your own work. Notice how colors change based on their neighbors. For instance, a blue might appear more vibrant next to an orange, its complementary color, than it does next to a green.

I encourage you to share your experiments and discoveries with color interaction on social media or within our community. 

It’s fascinating to see how each artist interprets and applies these principles differently, leading to a rich tapestry of styles and techniques.

In essence, mastering these methods is all about meticulously planning your colors and paints to create outstanding paintings. Each technique and aesthetic choice contributes to achieving a unique harmony and depth in your artwork.

I hope you find these insights and suggestions helpful. Dive into your next painting project with these techniques in mind, and don’t hesitate to share your progress and experiences. 

Let’s continue to learn and grow together in our artistic journey. Share this post with a friend who might find it helpful, and let’s spread the joy and knowledge of painting!

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