BY CARL GORDON CtPfLER AND STEPHEN C. PEPPER CAMBRIDGE HARVARD
UNIVERSITY. PRESS LONDON HUMPHREY MILFORD OXFORD UNIVERSITY PRESS
1923 COPYRIGHT, 1923 HARVARD UNIVERSITY PRESS Table of Contents
CHAPTER PAGE I. THE IMPORTANCE OF A COLOR TECHNIQUE 3 II. SOME
GENERAL FACTS ABOUT COLOR 12 in. CUTLERS COLOR SCALE 30 IV.
PAINTING IN STUDIO LIGHT CUTLERS TECHNIQUE 6j V. REFLECTED LIGHT 80
VI. OTHER SPECIAL PROBLEMS 98 VH. PAINTING IN WEAK AND STRONG LIGHT
lOp VIII. OUT OF DOOR PAINTING 121 IX. WIDER APPLICATIONS OF CUTLER
S SCALE 138 X. COLOR SCHEMES 147 APPENDIX I 157 APPENDIX II l62
MODERN COLOR Chapter i THE IMPORTANCE OF A COLOR TECHNIQUE JL H E
aim of this book is to explain in a simple and compact way a method
of painting color. It is a method now being used with great success
by a number of art ists, and it is so easy of mastery and so
mechanically accurate that it seems a pity it should not be shared
with all artists. The method has nothing to do with a mans style of
painting and is adaptable to any style that undertakes to paint
light as it is. The art student spends a great deal of time in the
schools learning how to draw accurately, how to copy exactly the
shape of 4 A COLOR TECHNIQUE an object before him. When the student
leaves the school he may for one reason or another modify what he
has learned there or disregard it, but he will do this not through
ignorance but in order to obtain some other end. And the fact that
the artist does know what good drawing is will show all through his
work no matter how much he may apparently disregard it. It will
save him at least from making unnecessary blun ders. Every artist
no matter what his style may turn out to be, even a cubist,
perhapsmost of all a cubist, ought to know how to draw accurately.
In the same way every artist ought to know how to paint light
accurately. Every artist ought to know how to get exactly the
correct highlight, and exactly the correct shadow. He ought to know
just what to do when the light is made more intense or less
intense, or when the model is moved from studio light into
sunlight. He ought to know how to get exactly the correct color for
his reflected lights, how to look for these and how to control
them. It is a method for doing just these things that we are going
to explain in this book. But are not these things taught in the
schools Yes, in some degree lately but with a deficient technique.
It is astonishing how false the eye plays one in matters of color.
A student in a prominent art school was paint ing a model with red
hair. He put in the proper red dish yellow for the local color of
the hair, raised the color to a tint for the highlight, and lowered
it to a shade for the shadow. But it looked dull and lifeless. Yet
he had painted it as nearly as he could as he saw it. When the
master came round, the student complained of the effect. It is
rather tame, isnt it said the master, and taking a brush he filled
it with violet and touched up the shadows here and there. The hair
im mediately leaped into vitality. How did you know that was the
thing to do asked the student. Only by experience, was the reply.
Only by experience. That is just the trouble. When the student
comes to paint red hair again, he will know what to do. But what
will he do to obtain the same vitality in black hair and golden
hair and white hair He must find a separate rule for each. That
means trying and trying again, scraping with the palette knife and
trying again. The colors will inevitably go muddy and the artists
spontaneity will be gone. There is no one simple rule that can be
applied. Each change of lighting, and each slight alteration of
color, creates a new problem that has to be solved anew. When is
one to make cold shadows, is a question students are constantly
asking, and the only answer has been, experience. In all 6 A COLOR
TECHNIQUE these matters the young art student is left totally with
out guide or support...
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