|
|
|
|
Tweet
|
|
Bookmark this site
MORE DRAWING TUTORIALS: How to draw a roseHow to draw a dragon How to draw a horse NEW: How to draw a wolf NEW: How to draw a betta fish How to draw animals from pears How to draw an owl How to draw a cat How to draw animals from alphabets How to draw a frog How to draw a parrot How to draw a bird How to draw a butterfly How to draw a sheep How to draw a pig How to draw a swan How to draw a penguin How to draw a peacock How to draw a lion How to draw a rabbit How to draw a cow How to draw a dachshund How to draw a seahorse How to draw a tiger How to draw a kitten How to draw a monkey How to draw a unicorn How to draw a phoenix How to draw a deer How to draw a squirrel How to draw a crocodile How to draw a dinosaur How to draw a whale How to draw a duck How to draw a giraffe How to draw a snail How to draw a koala How to draw an angelfish How to draw an elephant How to draw a griffin How to draw a walrus How to draw a cocker spaniel How to draw a poodle How to draw a donkey How to draw a chicken How to draw a rooster How to draw a porcupine How to draw a kangaroo How to draw a bear How to draw a mouse How to draw an octopus How to draw a turkey How to draw a goat How to draw a camel How to draw a hippo How to draw a possum How to draw a rhino How to draw a centaur Did you choose "Other"? I'd love to know what your other is. Email me to let me know. 
Get the book! Download all the animals listed on this site in an easily printable pdf format. $7. |
Learn to Draw > Color mixing Subtractive mixture occurs whenever substances which reflect light are combined, as in all painter's colors. It can be understood in this way: imagine that colorless light is a whole made up of three thirds. Every patch colored with nontransparent, primary color reflects one third and absorbs two thirds. If we mix these patches of red, blue, and yellow together, then three times one third is reflected, and three times two thirds absorbed. Only one third of the whole lighf energy encountering the surface is reflected, and two thirds is absorbed; the combination of reflected light is no longer white but darker, which means gray.
In the color circle this subtractive mixture of equal parts of primary colors can be represented as a concentric section of the circle which is dark gray. If you take this section eccentrically from the original circle we produce not a neutral, but a colored gray. The color corresponds to the one or two dominant colors. In the illustration it is a brown, since red + yellow = orange predominate. Otherwise expressed you have % red +% yellow +% blue=% brown. Subtractive mixtures can be made visible by the following experiment: paint a color circle (in three or more segments, it makes no difference) onto a disc of cardboard and rotate it quickly. The eye cannot separate the different color stimuii and they are mixed optically to gray. If instead of the complete color circle you paint an eccentric section 011 the disc, the result, when it is  rotated, is a colored gray: blue-gray, green-gray, yellowgray (beige or brown), and so on. All dull colors are made in this way, depending entirely on what section of the color circle, or what original colors are used. Gray would also result if only two colors were rotated, if they consisted of one primary color and a mixture of equal proportions of the two others, such as red and green (blue + yellow).
It can be seen that green lies directly opposite red on the circle. Every pair of colors lying diametrically opposite each other adds up to gray. These opposed colors are called complementary colors. They and their effects are decisively important in all color sensations, and therefore in painting. This is due to the fact that the nearer two colors approach complementary relations, the more the eye is stimulated. It tries to combine them as gray, but since it cannot do so each color seems brighter against its neighbor than it would if it stood alone in a neutral weak-colored surrounding. If you look at a snow scene in the twilight everything looks gray on gray. If you light a lamp the landscape immediately looks uniformly blue. The blue increases in strength the closer the lamp light is to orange, the complementary color to blue. The same thing happens on a cloudy winter's day if direct sunlight suddenly falls on the gray-white landscape. The shadows turn to pure cobalt blue, even though the glistening snow shows no orange, but a pure white, because many more of the long light waves, red and yellow, penetrate the thick blanket of air between the landscape and the low lying winter sun. Where its direct rays do not fall, you feel all the more clearly the contrast, the weak blue reflection. This does not occur only in winter light, of course, but everywhere and all the time; but it takes more observation and practice to notice it. This is what is meant in the art schools by the insistent exhortation to "see color in everything"; though often no further explanation is forthcoming for the innocent student. 
Next: Warm and cold colors |
 If you're worried about not having enough artistic "talent", try some free cartooning lessons. You'll be drawing and laughing in no time flat.  Free printable coloring pages for kids.  50 tricks and that anyone can do. Puzzles and brain-teasers, too. |
| www.HowToDrawIt.com | contact | about | privacy | how to draw blog | sitemap | © 2012 City Different Marketing LLC | ||
