In sunlight, the local color of the object is visible. Collection of books about painting and art
Red represents the local color of the apple. Yellow is the local color of lemon. Well, blue, of course, is the local color of a clear sky. A local color is a color that an object retains regardless of light or the color of other nearby objects. It is for this reason that the grass is green, the trunks of trees look gray or brown (and sometimes greenish, like grass, just darker).
A local color is that base color that is not illuminated by any light source. We already know that unlit objects cannot have color, so best definition there will be a color that is not affected by light or shadow. A local cherry blossom reddens even if it is lit with a strong orange light on one side and reflects blue light on the other. The local color should be the color you start painting with.
What should be the saturation and brightness of the local color? Brightness is determined by the ambient light with which you create the scene. To set the overall brightness of the scene, place the object on a white sheet. The object and the sheet are illuminated with the same light, so the object cannot be sharper than White list.
In this way, color is explained to children who are just starting to learn how to draw.
With the help of local color, paintings by a considerable number of famous artists were created. For example, in the seventeenth century, we can recall the famous Vermeer. In the nineteenth century, Corot comes to mind, or you can cite as an example the creations of modern adherents of photorealism.
The explanation is simple: a white sheet reflects 100% of the light. If the object was lighter than the sheet, this would mean that the object reflects more than 100% of the light. It has to do with contrast. The darker the initial lighting, the brighter the lights you turn on. Luminance is the intensity of light and the saturation resulting from blending various components Sveta. The ratio does not change with light intensity. It's like adding more water with every teaspoon of sugar. The drink will not become sweeter than it is.
Let's look at the concept of "light zones" in the first article in passing. Let's start with a simple scene, with no well-defined lighting. If the background is too far away, it will not affect the subject. We chose brightness and saturation. Without directional light, everything looks flat, in two dimensions. That is why they are called flat colors and are the easiest part of the picture.
Local color is a wonderful tool for describing objects. This color gives the viewer the opportunity to easily recognize images in painting dedicated to objects.
For example, a homogeneous green mass with a brown vertical stick at the bottom is immediately recognized as a tree. The ability to make objects easily recognizable makes local color a powerful tool.
When a light source appears, it covers the entire scene. Its intensity, brightness, is greater when the light has direct contact with the object and less where the light does not reach. The more intense the light, the darker the shadow. The local color becomes the terminator. To avoid the float of the ball, it is necessary to add penumbra, the area to which the light does not reach. This is the darkest part of the image.
But the scene still seems false. It is bright and cheerful, as if it were from a children's book. The ball has absorbed some of the rays directed towards it, reflecting only red. For this reason, in the region of greater brightness, we see pure red, and there is no way to change it. This is a very natural state for materials that do not have a sheen.
Local color, oil
The study was made using local color. We are talking about the color that we habitually use to color the objects that surround us. Trees, grass and bushes are painted using various shades of green. Used for home White color with gray shadows, the sky is classically blue, and the clouds, of course, are white.
So it's a mistake to lower the saturation to get a lighter red. If it's so natural, why does it seem false? This is because fully matte materials are very lean in nature. Almost any material reflects the light of a mirror-like shape, the general soft and thin shape. It doesn't have to be very glossy. When you look at an object near you, change your position. If colors move with you, it's because of specular reflection. Colors that are independent of your position are created by diffuse reflection.
Specular reflection, as we have learned, is the reflection of a light source. Since the light source is more intense, it will be more clearly reflected in the object. critical role plays the share of specular and diffuse reflective properties of the material. Very glossy objects usually have thin layer transparent material with high specular reflection, so the two types of reflection do not mix.
However, one should always take into account the possible difficulties and distortions that arise during the work. For example, if you draw an oval yellow spot, it may look like a lemon. But let's think, suddenly a lemon is drawn in natural light warm summer evening. In such a situation, just a yellow lemon will not work, because you can’t help but add deep pink light, which is transmitted to one side of the lemon by the setting sun.
In short, when saturation is lowered transparent area you don't refine it, but make it more brilliant. Anyway, the top balls still look fake. Now they seem to be made from 3D modeling. This is because we are using a white neutral light that does not exist in nature. The light of the sun, before coming to our eyes, must cross the layers of the atmosphere. The previous article explains what's going on here, so now let's put that mechanism in a bit.
Short and medium wavelengths scatter more easily. The further they travel through the atmosphere, the more they deviate, and many will not reach our eyes. The "white" beam then becomes pretty much red and green. Even at the highest point he lacks of blue color: sunlight warm.
And what about the cool hue that forms on a lemon under the influence of the blue clear sky reflected on its peel? Finally, let's not forget about the green tablecloth on which our lemon rests.
As a result, as you can see, one local color is indispensable here, otherwise it will be like distorted glasses that do not allow using all available colors and shades of tone that absolutely every object can boast of.
Why reflection warm spring light will be completely white? To avoid the effect of a false model in three dimensions, he lowers the saturation and increases the temperature while adding a warm sheen. As we have seen, there are hot and cold reds. Thus, the red surface does not turn orange or yellow in situ.
You shouldn't use glitter as a surefire tool to make your painting more pleasing. When you feel like you're getting close to your target, it means your subject is bright or wet. Keep this in mind when coloring leather. What about all that blue diffuse? Of course, it is blue sky, although if we see this blue light, it has come to our eyes. All objects around us are also "reached" by this indirect light, which can also be reflected by us. It's not as clear as the sunlight we get directly, but it makes the surface a little clearer nonetheless.
Many artists long years work only with local color and perceive color not as such, but in the form of shades of tone. Such creations are called tonal. But, good teacher will always say that the object can be depicted using any color, the main thing is to choose the right tone.
Remember: if an artist uses only a local color, he will not be able to truly understand the color, understand it and use it in his work.
Also, if it is not completely matte, the surface loses some saturation and becomes colder. Keep in mind that direct light is always more intense than indirect light and they never mix. Indirect reflection cannot cross the line separating light from shadow.
The most intense reflections are created by glossy surfaces. but matte surfaces, such as our "gender", also affect objects. As we saw in the previous article, contrast decreases with distance. But what about the pitch, saturation, and brightness of distant objects? When an object leaves, information about it mixes with the light reflected from the sky, right?
local color in painting, the main and unchanging color of the depicted objects, conditional, devoid of shades that arise in nature under the influence of lighting, air, reflexes from surrounding objects, etc. As a concept of L. c. first highlighted by Leonardo da Vinci in his Book of Painting. Application of L. c. characteristic of the painting of the Middle Ages, the Early Renaissance and classicism. L. c. was rejected by the Impressionists, but is again used by many art movements of the 20th century. (for example, expressionism). The tone gradually changes the temperature so that it resembles the tone of the sky; The brightness increases until the same sky value is reached; Saturation mixes with noise and therefore decreases. However, if the light source is in the background, the saturation may gradually increase from the foreground to the background plane. The clearer the atmosphere, the lower the frequency at which this effect occurs. When in environment a lot of dust, smoke or moisture, even nearby objects change their properties dramatically. One trick used by artists is to apply aerial perspective even on a small scale. For example, draw the leg of a bluish monster, clearer and less saturated. Our brain interprets this as far, reaching a certain depth. If anything, keep in mind that this makes the atmosphere heavier. Don't do this if you want to give an idea of clean air.
Big soviet encyclopedia. - M.: Soviet Encyclopedia. 1969-1978 .
See what "Local Color" is in other dictionaries:
In painting, the main and unchanging color of the depicted objects, conditional, devoid of shades that arise in nature under the influence of lighting, air, reflexes from surrounding objects, etc. The concept of local color for the first time ... ... Art Encyclopedia
Good coloring involuntarily gives correct values, so to speak. Beginners usually start their paintings with meanings to be able to identify them correctly. The truth is, with the rules we've learned, you shouldn't have a problem coloring.
The original brightness of local colors determines the brightness of the entire scene; Diffuse lights and shadows are saturated like local colors. The more shine, the brighter; Indirect lights never become clearer than direct ones, so they should not be confused with the main light source; The local color becomes a terminator, with shadows on one side and lights on the other. Saturated shadows will be more defined as well as value. . How do you know if more lights or more shadows need to be added? It's contrasty, you have to choose the one that best suits the atmosphere you're trying to create in the image.
Local color is the average color of several closely spaced (usually unequal in color) details of an object. The effect of local color in a color photographic image may result from: insufficient sharpness ... ... Wikipedia
Local Color- a term in painting, denoting the main. image color objects, devoid of c. l. shades arising under the influence of a light-air environment, reflexes from nearby objects, etc. The concept of L. C. was introduced by Leonardo da Vinci (Book of Painting). L. C ... Russian humanitarian encyclopedic dictionary
You don't have to guess anymore!
In general, the main subject is placed on three backgrounds: white, black and 50% gray. If the object looks good on all of them, you are on the right track. Converting the paint to grayscale for testing in its current form is also a good idea. Light colors and very rich are rare in nature, used only for flowers, birds, and magical things; Put the lights on the light, don't light up on the shadows! If you want to add light to a dark area, brighten it up a little; If the shading looks very colorful, take a break to get away from the paint. It may happen that when working for several hours, your eyes focus heavily on the shadow. It also helps to rotate the image or look at it indirectly from a mirror; It retains pure white for reflections and pure black for penumbra. Using these colors in excess detracts from their effectiveness. Maybe colors are beautiful after all. . Once you know that color is just a sign, a type of information, it's much easier to recreate the real world in your paintings.
local color- claim. The main and unchanging color of the depicted objects, transmitted in a pictorial work conditionally without shades and transitions ... Dictionary of many expressions
local- oh, oh. local, adj. lat. localis local. 1. Limited to a certain place, not going beyond certain limits. BAS 1. As the victorious troops .. from the foreign army approached the borders of the State, then the Collegium moved to the location ... ... Historical Dictionary of Gallicisms of the Russian Language
You don't need to learn hundreds of rules. Once you understand the basic concepts, you can calculate reality with great accuracy! Of course, don't take them as a recipe for success. Art is art and sometimes you get top scores when you break the rules.
Be the first to know the latest translations - follow. The color that is usually placed in upper part color wheel. The lightest and highest value in the chromatic circle. Lack of color, neutral; grey, white or black. Refers to the name of a color: red, yellow, blue, etc.
local- oh, oh; linen, book linen peculiar only to a certain place, not going beyond certain limits. local wars. local phenomenon. local nature of the disease. Synonyms: local / local Related words: local / lno, local / lness, local ... Popular dictionary of the Russian language
This is a color that fades or changes color over time. short period time. These are colors that cannot be obtained from mixtures: red, yellow, magenta, blue. It is a color that does not refer to an object, but to some object or ambient light. Colorful light jumps from the surface and falls on a nearby surface.
Light colors created from natural earths or their synthetic equivalents. It is called larger area color or a bright area of color to highlight. Color scheme is a logical color link on color wheel. Scheme of complementary, complementary, divided, analogous, double complementary, triadic, etc.
local- oh, oh; flax, flax, flax.; (lat. localis) Peculiar only to a certain place, not going beyond certain limits; local. Events are local/lny character. L th variety of plant. local color... Dictionary of many expressions
- (lat. localis, from locus place). Local. Dictionary of foreign words included in the Russian language. Chudinov A.N., 1910. LOCAL [lat. localis Dictionary of foreign words of the Russian language
Refers to the quality or characteristic of the pigment to the precipitate. It has to do with the purity or brightness of a color, sometimes also referred to as chroma or saturation. This is due to the dynamics created in the frame by distracting or drawing the eye in one direction. Horizontal, vertical or diagonal.
Refers to the coverage power of the pigment. This is a palette based on the primary colors yellow, red, blue, or magenta, cyan, or their ink equivalents. Two of each primary color used to create vibrant blends. Feature of the painted surface. For example, thin and velvety or overloaded.
Aya, oh; flax, flax, flax. [lat. localis] peculiar only to a certain place, not going beyond certain limits; local. Events wear l. character. L th variety of plant. ◊ Local color. Claim. The main and unchanged color of the depicted ... encyclopedic Dictionary