Color changing lighting. Perception of color depending on lighting conditions. b) Color pairs and their impact on humans

The retina consists of two types of light-sensitive cells - rods and cones. During the day, in bright light, we perceive the visual picture and distinguish colors with the help of cones. In low light, rods come into play, which are more sensitive to light, but do not perceive colors. That is why at dusk we see everything in gray, and there is even a proverb "At night all cats are gray

Because there are two types of light-sensitive elements in the eye: cones and rods. Cones see colors, while rods see only the intensity of light, that is, they see everything in black and white. Cones are less light-sensitive than rods, so they can't see anything at all in low light. Rods are very sensitive and react even to very weak light. That is why in the semi-darkness we do not distinguish colors, although we see contours. By the way, the cones are mainly concentrated in the center of the field of view, and the rods are at the edges. This explains why our peripheral vision is also not very colorful, even in daylight. In addition, for the same reason, astronomers of past centuries tried to use peripheral vision when observing: in the dark it is sharper than direct.

35. Is there 100% white and 100% black? What is the unit for whiteness??

In scientific color science, the term “whiteness” is also used to assess the light qualities of a surface, which is of particular importance for the practice and theory of painting. The term "whiteness" in its content is close to the concepts of "brightness" and "lightness", however, unlike the latter, it contains a shade of qualitative characteristics and even to some extent aesthetic.

What is whiteness? White characterizes the perception of reflectivity. The more the surface reflects the light falling on it, the whiter it will be, and theoretically a perfectly white surface should be considered a surface that reflects all the rays falling on it, but in practice such surfaces do not exist, just as there are no surfaces that would completely absorb the incident on it. them light.

Let's start with the question, what color is the paper in school notebooks, albums, books?

You might be thinking, what an empty question? Of course white. That's right - white! Well, and the frame, window sill, painted with what paint? Also white. Everything is correct! Now take a notebook sheet, a newspaper, several sheets from different albums for drawing and drawing, put them on the windowsill and carefully consider what color they are. It turns out that being white, they are all different colors (it would be more correct to say - different shades). One is white and gray, the other is white and pink, the third is white and blue, etc. So which one is "pure white"?

In practice, we call white surfaces that reflect a different proportion of light. For example, we evaluate chalk soil as white soil. But as soon as a square is painted on it with zinc white, it will lose its whiteness, but if inside the square is then painted over with white having even greater reflectivity, for example, barite, then the first square will also partially lose its whiteness, although we will practically consider all three surfaces to be white .

It turns out that the concept of “whiteness is relative, but at the same time there is some kind of boundary from which we will begin to consider the perceived surface no longer white.

The concept of whiteness can be expressed mathematically.

The ratio of the light flux reflected by the surface to the flux incident on it (in percent) is called "ALBEDO" (from Latin albus - white)

ALBEDO(from late Latin albedo - whiteness), a value that characterizes the ability of a surface to reflect the flow of electromagnetic radiation or particles incident on it. The albedo is equal to the ratio of the reflected flux to the incident one.

This ratio for a given surface is generally maintained under varying light conditions, and therefore whiteness is a more constant surface quality than lightness.

For white surfaces, the albedo will be 80 - 95%. The whiteness of various white substances can thus be expressed in terms of reflectivity.

W. Ostwald gives the following table of whiteness of various white materials.

A body that does not reflect light at all is called in physics absolutely black. But the blackest surface we see will not be completely black from a physical point of view. Since it is visible, it reflects at least some of the light and thus contains at least a tiny percentage of whiteness - just as a surface approaching perfect white can be said to contain at least a tiny percentage of blackness.

CMYK and RGB systems.

RGB system

The first color system we'll look at is the RGB system (from "red/green/blue" - "red/green/blue"). The screen of a computer or TV (like any other body that does not emit light) is initially dark. Its original color is black. All other colors on it are obtained by using a combination of these three colors, which in their mixture should form white. The combination "red, green, blue" - RGB (red, green, blue) was empirically derived. There is no black color in the scheme, since we already have it - this is the color of the "black" screen. So the absence of a color in the RGB scheme corresponds to black.

This color system is called additive (additive), which in rough translation means "adding / complementing". In other words, we take black (the absence of color) and add primary colors to it, adding them together until white.

CMYK system

For colors that are obtained by mixing paints, pigments or inks on fabric, paper, linen or other material, the CMY system (from cyan, magenta, yellow - cyan, magenta, yellow) is used as a color model. Due to the fact that pure pigments are very expensive, to obtain black (the letter K corresponds to Black), the color is not an equal mixture of CMY, but simply black paint

In a way, the CMYK system works in the opposite direction from the RGB system. This color system is called subtractive (subtractive), which in rough translation means "subtractive / exclusive". In other words, we take the white color (the presence of all colors) and, applying and mixing paints, remove certain colors from white up to the complete removal of all colors - that is, we get black.

The paper is originally white. This means that it has the ability to reflect the entire spectrum of colors of light that hits it. The better the paper, the better it reflects all colors, the whiter it seems to us. The worse the paper, the more impurities and less white in it, the worse it reflects colors, and we consider it gray. Compare the paper quality of a high-end magazine and a cheap newspaper.

Dyes are substances that absorb a specific color. If a dye absorbs all colors except red, then in sunlight, we will see a "red" dye and consider it "red dye". If we look at this dye under a blue lamp, it will turn black and we will mistake it for "black dye".

By applying various dyes to white paper, we reduce the number of colors it reflects. By painting the paper with a certain paint, we can make it so that all the colors of the incident light will be absorbed by the dye except for one - blue. And then the paper will seem to us painted blue. And so on ... Accordingly, there are combinations of colors, mixing which we can completely absorb all the colors reflected by the paper and make it black. There is no white color in the scheme, since we already have it - this is the color of the paper. In those places where white is needed, the paint is simply not applied. So the absence of color in the CMYK scheme corresponds to white.

A great influence on the perception of form is exerted by light, its direction, incident and its own shadows. When lighting a room with dim light reflected from the ceiling, i.e. falling on all objects from above, it gives the impression of a cloudy afternoon. With one-sided lighting, sharp and warm in color, which forms sharp shadows from all objects, a feeling of a summer evening is created when the light is bright, side, etc. We get the most correct impression of color in sunlight at noon.

In the light of incandescent lamps, the blue and violet parts of the spectrum are almost absent, so red, orange, yellow and green colors are perceived with only slight deviations compared to the same colors in daylight, while blue and violet surfaces darken and redden significantly.

The light of fluorescent white fluorescent lamps in its spectral composition is close to the natural daylight of the sky. When illuminated by these lamps, color perception will be relatively correct, coinciding with daylight perception. When painting rooms and equipment, it is necessary to take into account the changes that will occur with the color of surfaces under artificial lighting.

Depending on the method of solving the problem of the relationship between the object and the background, one can achieve the impression of remoteness or proximity of the object, the feeling of an increase in space, and, conversely, the creation of the so-called. "stage perspective" - ​​i.e. imposition of contours, identification of the foreground, the second, the illusory distance of the third plan (Table 1).

A dissected plane or space is perceived to some extent larger than undivided. This is based on visual illusions and a psychological moment: it takes more time to view a dissected space or plane than to view an undivided plane.

12. Influence of contrast.

A more complex kind of illusion is the edge contrast (or it is called the border effect), which occurs in places where a light field is in contact with a darker field. A light field near the border with a dark one appears even lighter, and a dark one appears darker. One gets the impression of uneven coloration of both fields.

Students come across the phenomenon of edge light contrast in almost every work: in drawing and painting objects of a multifaceted shape (cube, ball), as well as a human head. In places of contact with the background, the shadow side of the head seems too dark, and the background, on the contrary, is light; the illuminated part of the face in relation to the background seems too light, and the background on the border with the light - very dark.

Sometimes students begin to whiten the shadow part, make the background behind the head darker or the light on the face. The work loses contrasting expressiveness, becomes “sluggish”. Most often, in such cases, it is necessary to lighten the edge of the shadow part of the object, and on the border of light and dark along the edge of the light on the object, apply a light halftone.

The effect of the edge contrast will be weakened. The object will be perceived as more voluminous, spatial1. In ornamental compositions (for example, on fabrics, carpets, wallpaper, etc.), where several planes, different in color, lightness, adjoin each other, they are usually outlined in black, white or gray. These thin intermediate strips that interfere with the action of edge contrast are called spacers.

From the neighborhood with each other, colors change not only in lightness. Being close and mutually influencing each other, they acquire new color shades. For example, surrounded by red, the gray color seems to be somewhat greenish, and on a green background, on the contrary, pinkish, reddened, surrounded by yellow - bluish, etc. It seems that the corresponding colors are mixed with the gray tone every time, i.e. achromatic colors produce a color cast.

In the examples given, the gray tones have acquired opposite (complementary) shades of the backgrounds on which they were located. Similar phenomena can be observed in chromatic colors. If yellow is, for example, surrounded by red, then it is perceived as somewhat greenish, lemon yellow; on a green background, it looks reddish or having an orange tint, on a blue background it looks more saturated, since blue is the opposite color to yellow. Red color surrounded by green is perceived as more saturated, green color on green, but with less saturation than the background, becomes achromatic, gray. These phenomena in changing colors are called chromatic (color) contrast.

So, with edge and simultaneous contrasts, a color is perceived as darker if it is surrounded by light colors; and lighter - surrounded by dark ones. This phenomenon is typical for both chromatic and achromatic colors.

If a color is surrounded by chromatic colors, then it is mixed (according to the law of optical mixing) with a color that is close to the complementary color of the environment.

If the color is in the neighborhood or against the background of its complementary color or close to it, then it is perceived as more saturated. If a small spot of the same color, but less saturated, is placed on a color plane, then the latter loses its saturation even more.

Working with relationships in painting.

To master the skill of realistic painting, it is necessary from the very beginning

learning to understand the essence and meaning of its two main features. Only in this case

a novice artist embarks on the path of professional education, and each new

work on picturesque qualities will be more perfect.

The first feature is that a competent pictorial image from nature,

the transfer of its volumetric, spatial and material qualities is based on the method

proportional arrangement of the visual image of the color relations of nature on

palette color range. The essence of the color relations conveyed in the study follows from

the essence of relations perceived by sight. Moreover, the construction of color relationships

etude is made taking into account the general tone and color state of illumination

(depending on the strength and spectral composition of the illumination - the color of the illumination). Working method

relations is the basic law of pictorial writing. An artist is a person

possessing a heightened sense of not only proportions, but also color relationships.

The second feature is that the color relationships of natural objects

performances are determined by comparison with their whole perception. Without such a setting

eyes on the integrity of vision, the color relationships of nature cannot be determined,

the image of nature will be motley, fractional, inharmonious. It is as a result

mastering these two features of professional literacy, you can create a complete

valuable, emotionally effective coloring of the image.

Primary and derivative colors.

Primary (or primary colors)- three basic colors - yellow, red and blue, from which all the rest are obtained by mixing.

These three colors cannot be obtained by mixing any of the others.

secondary colors- shades of color that can be obtained by mixing two basic ones.

Yellow + red = orange

Yellow + blue = green

Red + blue \u003d purple (lilac)

Tertiary (derivatives) colors are obtained by mixing primary and secondary colors.

Yellow + green = yellow green

Yellow + orange = yellow-orange

Red + orange = red-orange

Techniques of watercolor painting.

depending on paper moisture Let's single out such watercolor techniques as "wet work" ("English" watercolor) and "work in dry" ("Italian" watercolor). An interesting effect is obtained by working on a fragmentary moistened sheet. In addition, combinations of these techniques can also be found.

Wet work.

The essence of this technique is that the paint is applied to a sheet previously moistened with water. The degree of its moisture content depends on the creative intent of the artist, but usually they begin to work after the water on the paper ceases to “shine” in the light. With enough experience, you can control the moisture content of the sheet by hand. Depending on how filled with water the hair bundle of the brush, it is customary to conditionally distinguish between such methods of work as "wet-on-wet" and "dry-on-wet".

Advantages of wet technique.
This way of working allows you to get light, transparent color shades with soft transitions. Especially successfully this method is used in landscape painting.

Difficulties in wet technology.
The main difficulty lies in the main advantage - this is the fluidity of watercolor. When applying paint by this method, the artist often depends on the vagaries of smears spreading over wet paper, which in the process of creativity can turn out far from what was originally intended. At the same time, it is almost impossible to correct only a single fragment without affecting the rest. In most cases, the rewritten section will be out of harmony with the general structure of the rest of the canvas. Some soiling, dirt, etc. may appear.
This way of working requires constant self-control, free use of the brush. Only considerable practice allows the artist to somehow predict the behavior of ink on wet paper and provide a sufficient level of control over its spreading. The painter must have a clear idea of ​​what he wants and how he must solve the problem.

A la Prima technique.

This is a painting in a raw style, written quickly, in one session, which creates unique effects of streaks, overflows and overflows of paint.

Advantages of the A la Prima technique.
Getting on the wet surface of the paper, the paint spreads over it in a unique way, making the picture light, airy, transparent, breathable. It is no coincidence that the work done in this technique is practically impossible to copy, since each stroke on a wet sheet is unique and unrepeatable. Combining various color combinations with a variety of tonal solutions, you can achieve amazing overflows and transitions between the subtlest shades. The a la prima method, since it does not involve multiple registrations, allows you to maintain maximum freshness and richness of colorful sounds.
In addition, an additional advantage of this technique will be a certain time saving. As a rule, the work is written “in one breath” while the sheet is wet (and this is 1-3 hours), although, if necessary, you can additionally wet the paper during the creative process. In quick sketches from nature and sketches, this method is indispensable. It is also appropriate when performing landscape sketches, when fickle weather conditions oblige a quick execution technique.
When writing, it is recommended to make mixtures of two, maximum of three colors. Excess paint, as a rule, leads to clouding, to a loss of freshness, brightness, color definition. Do not get carried away by the randomness of spots, each stroke is designed to meet its purpose - to be strictly consistent with the shape and pattern.

The complexities of the A la Prima technique.
The advantage and at the same time the difficulty here is that the image that instantly appears on paper and fancifully blurs under the action of the movement of water cannot subsequently be subjected to any change. Each detail begins and ends in one step, all colors are taken at once in full force. Therefore, this method requires extraordinary concentration, sharp writing and an ideal sense of composition.
Another inconvenience can be called the limited time frame for the execution of such a watercolor, since there is no possibility of leisurely work with breaks between painting sessions (including when writing a large-format painting, by gradual execution of individual fragments). The image is written almost non-stop and, as a rule, "with one touch", i.e. the brush, if possible, touches a separate part of the paper only once or twice, no longer returning to it. This allows you to maintain absolute transparency, lightness of watercolor, to avoid dirt in your work.

Dry work.

It consists in the fact that the paint is applied to a dry sheet of paper in one or two (single-layer watercolor) or several (glazing) layers, depending on the artist's idea. This method allows you to provide good control over the flow of paint, tonality and shape of strokes.

Single-layer watercolor "dry".

As the name implies, in this case the work is written in one layer on a dry sheet and, as a rule, in one or two touches. This keeps the color purity of the image. As needed, you can "include" paint of a different shade or color in the applied, but not yet dried layer.

single layer method dry-on-dry more transparent and airy than glazing, but does not have the beauty of wet overflows achieved by the A la Prima technique. However, unlike the latter, without any particular difficulties, it allows you to perform strokes of the desired shape and tone, to provide the necessary control over the paint.

The colors used in the work, in order to avoid the appearance of dirt and filthiness, it is advisable to think over and prepare in advance, at the very beginning of the painting session, so that they can be applied to the sheet without hindrance.
It is convenient to work in this technique by outlining the contours of the drawing in advance, since there is no way to make adjustments with additional layers of paint. This method is well suited for graphic images, as strokes on dry paper retain their clarity. In addition, such a watercolor can be written both in one session and in several (with fragmentary work) with breaks as needed.

Another way to perform a single-layer watercolor is wet-on-dry, lies in the fact that each stroke is applied next to the previous one, capturing it while it is still wet. Thanks to this, a natural mixture of shades and a soft transition between them is formed. To enhance the color, you can pour the necessary paint with a brush into a smear that has not yet dried. You need to work fast enough to cover the entire sheet before the previously applied strokes dry out. This allows you to create beautiful painterly overflows, and the dry surface of the paper provides sufficient control over the fluidity and outlines of the strokes.

Multi-layer watercolor (glazing).

Glazing is a method of applying watercolor with transparent strokes (as a rule, darker ones on top of lighter ones), one layer on top of another, while the bottom must always be dry. Thus, the paint in different layers does not mix, but works through the light, and the color of each fragment is made up of the colors in its layers. When working in this technique, you can see the boundaries of strokes. But, since they are transparent, this does not spoil the painting, but gives it a peculiar texture. The strokes are done carefully so as not to damage or blur the already dried picturesque areas.

Advantages of the multi-layered watercolor technique.
Perhaps the main advantage is the ability to create paintings in the style of realism, i. most accurately reproducing one or another fragment of the environment. Such works outwardly have a certain similarity, for example, with oil painting, however, unlike it, they retain transparency and sonority of colors, despite the presence of several layers of paint.
Bright, fresh glazing paints give watercolor works a special sonority of color, lightness, tenderness and radiance of color.
Glazing is a technique of saturated colors, deep shadows filled with colorful reflections, a technique of soft airy planes and endless distances. Where the task is to achieve color intensity, the multi-layer technique comes first.

Glazing is indispensable in shaded interiors and distant panorama plans. The softness of the chiaroscuro of the interior in calm diffused light with a multitude of all kinds of reflections and the complexity of the general pictorial state of the interior can only be conveyed by the glazing technique. In panoramic painting, where it is necessary to convey the most delicate aerial gradations of perspective plans, one cannot use body techniques; here you can achieve the goal only with the help of glazing.
When writing in this technique, the artist is relatively independent in terms of chronological framework: there is no need to rush, there is time to think without haste. The work on the picture can be divided into several sessions, depending on the possibilities, necessity and, in fact, the desire of the author. This is especially important when working with large format images, when it is possible to perform various fragments of the future picture separately from each other with their subsequent final merging.
Due to the fact that the glazing is carried out on dry paper, it is possible to achieve excellent control over the accuracy of strokes, which allows you to realize your plan to the maximum. By gradually applying one layer of watercolor after another, it is easier to choose the right shade for each element in the drawing and get the right color scheme.

The complexity of layered watercolor.
The main criticism directed at this technique is that, in contrast to the single-layer style of painting, which preserves the transparency of colors as much as possible, watercolor works executed with glazing lose their airiness and resemble images in oil or gouache. However, if the glazing is applied thinly and transparently, then the light falling on the picture will be able to reach the paper and be reflected from it.

It is also worth noting that the multi-layered writing often hides the texture of paper and paints or the texture of semi-dry brush strokes on a granular sheet.
Like any watercolor painting, glazing involves very careful work - strokes must be placed carefully so as not to smear the lower, already dried, layers of paint. Because the perfect mistake can not always be corrected later without consequences. If paper and a fragment of the image allow, you can blur the bad place with a hard column previously moistened in clean water, then blot it with a napkin or cloth, and then, when everything dries, carefully restore the color.

Also, work can be done in combined (mixed) watercolor technique when in one picture both the “wet” and “dry” techniques are harmoniously combined. For example, the first layer of paint is placed on wet paper to create the desired blurring of the background (or/and separate fragments of the middle and foregrounds), and then, after the paper dries, additional layers of paint are placed successively while drawing the elements of the middle and foreground in detail. If desired, other combinations of raw writing and glazing are also used.

An interesting way work on a fragmentary moistened leaf , when the latter is not completely wetted, but only in some specific places. A long stroke, covering both dry and wet areas of the paper, will take on a unique shape, combining, with its general continuity, clear contours in dry places with “spread” ones in wet ones. The tonality of such a smear will change accordingly in areas of the paper with different degrees of moisture.

According to the color palette used by the artist, we will conditionally highlight monochrome watercolor - grisaille, and multicolor - classical. In the latter, there is no limit on the number of colors used and their shades, while in grisaille, different tones of the same color are used, not counting the color of the paper. Most often, sepia is used and, less often, black, ocher.

Sometimes in relation to watercolor work, you can also find such a term as "dichrome". As a rule, it is used extremely rarely and refers to those images in the creation of which not one, but two colors were used.

According to the degree of humidity you can divide not only the work surface, but also brush hair bundle during a painting session. Of course, this division is more than arbitrary, since, depending on the desires of the artist, the same brush can change the degree of moisture with each stroke. At the same time, we will single out the work with a dry (wrung out) brush, semi-dry and wet, since the strokes in these cases differ from each other.
A brushstroke with a pressed brush when writing "wet" provides less "fluidity", allows you to better maintain control over the paint applied to the sheet. When writing “in a dry way”, such a stroke can only partially cover the paper, “slipping” (especially for embossed paper, medium-grained and torchon), which is of particular interest for specific creative solutions.

Writing with a semi-dry brush is universal and well suited for writing on paper of varying degrees of moisture. Of course, each case will have its own characteristics. With a wet brush, they write, as a rule, “in a dry way”, since dotted strokes on the wet surface of the sheet give a strong “spreading” and are difficult to control. However, a wet brush is well suited for pouring, stretching, washes and other techniques when you want to keep as much water in the brush as possible.

There are techniques for watercolor mixed with other coloring materials , for example, with whitewash (gouache), watercolor pencils, ink, pastels, etc. And, although the results are also very impressive, such techniques are not “clean”.

In the case of a combination of watercolor with pencils, the latter complement the translucency of colors with their bright and clear shades. With pencils, you can either emphasize some details of the pictorial image, making them clearer, sharper, or do the whole work in mixed media, in which linear strokes, brush strokes and colorful stains are equally present.

Pastel does not connect as well with watercolor as a pencil, but sometimes artists use it, applying pastel strokes over the finished watercolor hillshade.

ink, both black and color, can be used instead of watercolor. However, ink gives new possibilities and is usually used in brush washes or pen drawings. The combination of black ink drawing and abstract watercolor spots that merge and cross the boundaries of ink objects gives the work a fresh and original look.

combination of watercolor and pen very well, for example, for book illustrations.

Usually, whitewash(opaque coloring material, such as gouache) in mixed media are used to "simplify" the painting process. Sometimes the "reserve" of individual places in the picture presents a certain difficulty, especially when these places are small and there are many of them. Therefore, some artists paint without it, and then “bleach” the right places with paint (for example, highlights on objects, snow, tree trunks, etc.).
When creating one work, it is possible and combination of different materials, for example, in addition to watercolors, white, ink and pastel are used in the process of painting, depending on the artist's creative intent.

In watercolor, one can conditionally distinguish such writing techniques , like: strokes, pouring, washing, stretching, reserves, "pulling" paint, etc.
smears- this is perhaps one of the most common ways of writing in painting, by the nature of which it is easy to distinguish a dynamic drawing from a boring work. The brush filled with paint, in contact with the surface of the sheet, performs one or another movement, after which it breaks away from the paper, thereby completing the stroke. It can be dotted, linear, curly, clear, blurry, solid, broken, etc.
fill- a technique performed in cases where it is required to cover a large area of ​​the picture with one color or make smooth transitions between different colors. It is performed on paper tilted at an angle, as a rule, with long horizontal strokes with a large brush, so that each next stroke flows down and “captures” part of the previous one, thereby organically merging with it into one texture. If, after filling, there is excess coloring pigment, then they can be carefully removed with a wrung out brush or napkin.
laundering- a technique of watercolor painting, in which paint heavily diluted with water is used - they begin to paint transparent layers with it, repeatedly passing through those places that should be darker. The overall tone of each of the sections of the image is ultimately achieved by repeated overlays of these layers, and each of them is applied only after the previous one has completely dried, so that the colors do not mix with each other. At the same time, it is not recommended to apply more than three layers of paint so that dirt does not appear. Therefore, most often the second registration enhances the colors of the halftones, and the third saturates the color of the shadows and introduces details. In fact, washing is a repeated pouring of one tone onto another with a solution of the same concentration. Most often, this technique is used by architects and designers, since an ordinary drawing does not give the viewer a visual representation of the shape and color of the building. In addition, working with color, the architect finds the best combination of material for the perception of what was conceived, clarifies tonal relationships, and achieves an expressive silhouette and volumetric solution of the project.

gradient stretch- a series of successive strokes smoothly transitioning into each other, in which each subsequent one is lighter in tone than the previous one. In addition, sometimes a smooth transition from one color to another is also called.
Often in watercolor, a method such as "pulling" paint. A clean, wrung-out brush is carefully applied to the still wet painting layer, the hair of which absorbs part of the pigment from the paper, making the tone of the stroke lighter in the right place. Best of all, the paint is drawn out when writing “wet”, as the surface is still wet and the pigment does not hold well. If the smear is already dry, it can be gently moistened with a clean wet brush, and then “pull” the paint to the desired tone. However, this method is less effective on dry paper.

Reservation - this is the part of the sheet that remains white during the painting process. A real watercolorist observes the rules of purity of this technique, refusing white. Therefore, the level of the artist's skill, among other things, is determined by the ability to perform a high-quality reservation technique. There are several main ways.
"Walking"- the most complex and most "clean" reservation technique. With such a letter, the artist leaves the necessary places of the picture not painted over, carefully “bypassing” them with a brush. The method is performed both "dry" and "wet". In the latter case, you need to keep in mind that the ink applied to wet paper spreads, so the reserve should be done with some "margin".
The method often used is mechanical impact on a dry layer of paint. In the right places, it is scratched with a sharp object (for example, a razor) to the white surface of the sheet. However, such a technique requires a certain skill and violates the texture of the paper, which can eventually lead to negative consequences.
It is also possible to use various so-called "camouflage", which can be used at almost any stage of the development of the picture, preventing paint from getting into the areas covered by them.
Using these solutions, you can keep bright light accents, glare, splashes white, achieve a variety of effects with the overlay method, when masking is applied after the first wash of color is applied, and a second, darker shade is applied on top.
However, with such a reserve, sharp and contrasting borders are obtained between the paint layer and the protected area. Softening such transitions is not always successful, so it is better not to abuse the use of masking tools, using them only to create interesting and beautiful effects.

You can also create a preliminary drawing in the right places. wax crayons without covering large areas. Then moisten all the work with water and fill with paints on a still wet sheet. Places originally painted over with wax crayons will remain untouched by watercolor, because. Wax repels water.

Another way is washout paint with a damp or wrung out brush. It is best done on a dry layer. However, it is no longer possible to achieve the initial whiteness of the paper, since part of the pigment still remains in the texture of the sheet. Instead of a brush, you can use a dry napkin, gently applying it to the specified places in the picture (for example, thus “creating” clouds in the sky), etc.
Sometimes there is such a technique as removing part of the semi-dry paint palette knife. However, it requires a certain skill and is used only in some particular solutions (for example, they can emphasize the outlines of mountains, stones, rocks, sea waves, trees, grass, etc. can be depicted).

Sometimes when creating watercolor works, some special effects .
For example, salt crystals applied on top of a wet paint layer, absorb part of the pigment, leaving unique stains on the paper, moving tonal transitions. With the help of salt, you can get a moving air environment in the picture, decorate the meadow with flowers, and the sky with stars.

Of particular interest is the watercolor, made on pre-creased paper, due to which the paint accumulates in a special way at the bends of the sheet, creating additional volume.

Sheet tinting black tea may contribute to the visual "aging" of the paper.

In some cases, it is justified to apply the pigment to the sheet by splashing(for example, a finger from a toothbrush), because to reproduce many tiny dots with a regular brush is quite difficult and time consuming. But at the same time, it must be borne in mind that the particles of the paint solution from the hard hair of the brush “scatter” almost uncontrollably, so this technique requires a certain skill.

An interesting effect is given by the usual cling film, firmly attached to the still wet paint and then carefully removed from the sheet.

In conclusion, I would like to note that, in addition to the main ones outlined, there are many other private techniques and ways of working with watercolors.

The visible color depends on the nature of the lighting. Artificial evening light (electric lamps) compared to daylight is yellow-orange, it is dominated by the yellow-red part of the spectrum. Naturally, under such illumination, all surfaces reflect yellow-orange radiation to a greater extent than under daylight, therefore, all colors acquire a yellowish tint. Reds, oranges, and yellows lighten under artificial lighting in the evening; blue-green, blue, blue, purple darken; the lightness of yellow-green does not change; red colors become more saturated; orange blush; blue ones turn green; blue lose saturation; dark blue become indistinguishable from black; purple blush; yellow colors appear pale. In the red light of the rising or setting sun, all colors turn red, reds become more saturated, greens become very dark, losing saturation. The rule of changing colors under colored lighting: colors of the same color tone with lighting increase in saturation, colors of the opposite tone become achromatic (lose saturation and turn black), all other colors acquire a tint of lighting, while colors that are related in tone to lighting brighten, and those approaching the opposite tone - darken. The change in color also depends on the intensity of the light. In bright light, all colors are whitened, and in blinding brightness, colors turn yellow. In bright light, the number of color shades on light surfaces decreases, in low light - on dark surfaces, as well as in shadows. At dusk, with a gradual weakening of the light, the color tones cease to differ: first red, then orange, yellow. Blue colors are distinguished longer than others. At the same time, the lightness relationships between colors also change. During the day, the lightest colors we see are yellow, and at dusk - blue, which gradually become indistinguishable from white. In the morning, at dawn, as the light intensifies, the color tones gradually begin to differ in reverse order: earlier - blue, later - red. 2.6. Changing colors in the distance. Aerial and light perspective.

For objects located at a close distance from the drawing, their size, nature of the form, volume, material, texture, details, chiaroscuro, color and other qualities are clearly visible. As the object moves away, these qualities gradually begin to undergo changes or become indistinguishable at all, which is a consequence of the action of aerial and light perspective.

Air is a gaseous material medium, which contains many impurities - dust, moisture vapor, soot, etc. All this prevents the passage of light, scatters and changes its color. Depending on the thickness of the air, its temperature, humidity, the nature and amount of foreign impurities present in it, the color and light environment of the atmosphere is different. As a result, the distance to objects, the state of the atmosphere have a significant impact on the own color of objects. The color of an object at a distance looks more neutral than near. Light-colored objects darken when removed, while dark ones brighten. The general tone of a mass of objects, such as trees, is much lighter in the distance than that of similar objects located near the observer. In the distance, objects, especially those with a dark color, appear bluish, purple. As the distance changes, not only the own color of objects changes. An increasing layer of air blurs their outlines and contrasts of chiaroscuro. Objects begin to take on a blurry character. At a great distance, the volume, relief, details, material of the object become invisible. In the distance, the object looks generalized, soft, in the form of a small flat spot. Rain, fog, snowfall change the visible characteristics of objects located even at a short distance from the viewer.

Table 3. Laws of aerial perspective

perception of objects in space	depiction of objects on the sketch.
	remote		remote
	detailed	generalized	detailed	generalized
		indefinite in form	with sharp edges	with soft contours
	contrast in lightness	muted, close in lightness (light objects appear darker, and dark objects appear lighter)	contrasting in lightness, with pronounced gradations of chiaroscuro	without gradations of chiaroscuro; Light objects are shaded and dark objects are lightened.
	volumetric, three-dimensional with clearly distinguishable signs of height, width and depth of space	planar	three-dimensional with signs of the illusion of depth of space	planar without signs of depth of space
	without signs of air haze, intense in color	with air haze	rich in color	faded, slightly saturated in color with a characteristic shade of air haze
	multicolor	one-color or in a narrow range of colors.	varied in colors and color combinations	monochrome or close within the overall color tone.

Surely, each of you has experienced a slight sadness and apathy on a cold cloudy day, which instantly turns into causeless enthusiasm in bright sunny weather. Perhaps the whole point is the lack of vitamin D, which we produce in the sun, but there is another secret. Depending on the lighting, the color palette of all the objects around us completely changes. In clear weather, we see rich colors and harsh shadows, which are synonymous with dynamism and positivity; on cloudy days, shadows are washed out and a feeling of peace or even a little sadness is created by reducing the contrast. In addition, the actual color of objects depends on the temperature of the light, which also affects our impression of the landscape around us.

Often they pay attention only to the tonal modeling of the form, depicting the same color in the shadow of an object as in the light, only with a difference in tone. This is a serious mistake because the color is always changing. It is impossible to draw both light and shadow with the same pigment!

To create a realistic image of objects, you must remember the following axioms:

1. If the lighting is warm, then cold shades will appear in the shadows, and vice versa, if the lighting is cold, warm shades will appear in the shadows.

For example, if we are painting a landscape in bright sunlight on a cloudless day, then there may be warm shades in the shadows, since daylight is most often white, bluish or lemon-colored and is considered cold light. At sunrise and sunset, sunlight tends to be warm, bright yellow or orange, so cool bluish and bluish hues appear in the shadows.

C. Monet “Rouen Cathedral: portal and Saint-Romain tower: morning effect”. C. Monet “Rouen Cathedral: portal and Saint-Romain tower: noon”. C. Monet “Rouen Cathedral: portal and Saint-Romain tower: effect of the sun, end of the day”

In the same way, if we draw a still life with an electric incandescent lamp, then the shadows will noticeably cool down, you will see shades of blue, purple or even green. Also, in the flame of a fire or candle, which give warm lighting, cold shades appear in the shadows. However, when using a cold light fluorescent lamp (from 4000 K), the shadows will become noticeably warmer, as with cold moonlight.

Van Gogh “still life drawing board, pipe, bow and sealing wax” .Van Gogh “Starry night over the Rhone”

The following tables will help us deal with the temperature of light.

2. Shades appear in the shadow that are opposite on the color spectrum to the local color of the object.

This simple means that in the subject's own shadow we can see shades of the complementary color. For example, you are painting a still life with a red apple, a peach, and blue grapes. The complementary color for red is green, for yellow is purple, and for blue is orange. That is why in the shadows you can observe shades of green, purple and orange, respectively.

Paul Gauguin "Flowers and a Bowl of Fruit" Paul Cezanne. “Still life with drawer extended”

If we turn to the color wheel, then these pairs will be: yellow and purple, green and red, blue and orange. And intermediate between them, respectively.

3. An object illuminated with warm light that has a warm local color becomes even brighter and more saturated in the light, and an object that has a cold local color becomes closer to an achromatic color equal in tone.

And an object that has a cold local color becomes even brighter, louder and richer.

For example, we are drawing an orange lit by a lamp with warm light. In the light, the orange area will appear even brighter and more saturated than it is, while in the shade the orange color will not only become noticeably colder, but also lose color. This effect can be achieved with blue paint. Many people know that complementary colors placed side by side on the canvas reinforce each other. But not everyone knows that complementary colors, when mixed with each other on the palette, neutralize each other. If we illuminate this orange with cold daylight, then in the light its color will become more faded, while “burning shades” will appear in the shade.

Van Gogh "Still life with a basket and six oranges". P. Konchalovsky "Oranges"

These simple rules allow you to predict which color will appear in the shadow or in the light and choose the right shades for mixing. That's all. Happy drawing!

We live in a colorful world. And only the blind from birth can not notice this. When we see the transparent blue of the sky, the bright colors of flowers on the green grass, the yellow dazzling sun, it is difficult to remain indifferent. Each of us has colors that we like more than others, we guess that colors somehow affect us, can affect our mood and maybe well-being.

Many in childhood amused themselves by applying colored glass to their eyes: here is blue glass - the world is becoming serious, strict, sad; yellow - you involuntarily want to smile, everything seems festive, even if the day is cloudy.

Since the time of I. Newton, color has almost lost its magical, ritual functions. Once upon a time, colors were considered almost gods, but objective science proved that color is only a subjective sensation that occurs when an electromagnetic wave of a certain length is exposed to a visual analyzer. It objectively depends on the characteristics of refraction, reflection and absorption of light waves of those media and surfaces of objects that are between the source of radiation and the human eye, as well as in his field of vision. Subjectively, a person may not perceive colors (color blindness), or perceive them distortedly (color blindness). Objective aspects of color vision are studied by physical optics, subjective aspects - by physiological and psychology of color perception.

Whether a person likes any color, what he thinks about him, what associations he evokes in him, these questions are dealt with by science, which is called color psychology. Its subject is the relationship between color and the psyche. Her areas of interest include the influence of color on human mental activity, objectification of mental processes and states through color, color psychodiagnostics, etc.

1. Light and color.

What is color and light? Light is: dawn, sunrise, this or that source of illumination. Light is a radiant energy perceived by the eye that makes the world around us visible. This, figuratively speaking, is the "humanitarian" definition of the concept of light. And here is, so to speak, the "physical" definition of the same concept: light is the electromagnetic waves of the optical range visible to the eye with a length of 380-760 nm, perceived by the retina of the visual analyzer - the most subtle and universal sense organ. Light is a natural condition for human life on Earth, necessary for maintaining health and high productivity.

What is color? Color is the light tone of something. Bright color is sharp on purity and freshness of tone. Color (in Greek "chromos") is one of the properties of the objects of the material world, which is perceived as a conscious sensation. Differently colored objects, their differently illuminated areas, as well as light sources and the lighting they create can create (and create) different light sensations. At the same time, non-luminous bodies reflect or transmit light emitted by some sources, and a person actually sees not a color, but only illuminated “surfaces”.

Thus, the color of an object is determined, first of all, by its color and the properties of its surface; optical properties of light sources and the medium through which light propagates; properties of the human eye (visual analyzer); features of visual information processing in the human brain.

How did the name of the flowers come about? Knowing the role that the color of objects has played and continues to play in determining their color, it is easy to understand why the names of many colors come from the names of objects with a strongly pronounced color: crimson, pink, emerald, etc. Often even the color of a natural source of light - the Sun is figuratively described as if it is a non-luminous object: the blood-red disk of the Sun. However, in everyday life, the color of artificial light sources is most often defined (pardon the pun) indefinitely - by the concept of "white color". This is because, as a rule, this particular artificial light source is rarely compared with other sources, and the human eye adapts to the lighting conditions to a large extent.

For a more accurate qualitative description of a color, three of its main properties are usually used: hue (CT, or color hue), saturation and lightness. In this case, the ratio of chromatic and achromatic color tone is also often taken into account. The division of color into three interrelated components is the result of the human thought process, which is essentially dependent on skill and training. The most important component of color is the CG, or hue of a color. In the human mind, it is strongly associated with the color of an object with a certain type of pigment or dye (for example, a green tone is assigned to objects with a color close to the color of natural green). Saturation characterizes the degree or strength of the expression of a color's hue, i.e. the amount (concentration) of the pigment or dye. Gray tones are called achromatic (colorless) and it is believed that they do not have saturation and differ only in lightness. Lightness is usually associated with the amount of black or white pigment, less often with illumination. The lightness of differently colored objects is evaluated by comparing them with achromatic objects. The color of achromatic surfaces that reflect the maximum color is called "white"

Surfaces with a white color often serve as a kind of "standard": they are always immediately recognized, and it is the comparison with them that allows you to unconsciously correct for lighting. Even if only white objects are observed, the color of the illumination itself is identified by them.

The perception of color and their subtlest shades largely depends on the human environment. So, the question is: "How many shades of white snow can you name?" will surely confuse you. You can name no more than three or four shades, and the Eskimo, without hesitation, will name up to 30 such shades in his native language.

Achromatic colors include black, gray and white, chromatic - all the rest. When chromatic (in other words, local) colors are reunited with white, various whitened colors are obtained, and when combined with black, darkened ones. This is how the well-known "color" books are compiled.

Color harmonies

Warm tones - reds, oranges, yellows, purple-reds.

Cold tones - purple, blue, blue, purple-violet.

These groups act on the physiological functions and the psyche in opposite ways.

Warm - excite muscle performance, reduce auditory sensitivity, make it difficult to endure high temperatures.

Cold - on the contrary - increase auditory sensitivity, facilitate the transfer of high temperatures and reduce muscle performance.

But prolonged perception of one color or group of colors leads to color fatigue, and the actions of colors are replaced by the opposite.

The least fatiguing are yellow-green and light achromatic colors, which signify optimism. All color harmonies can be divided into 2 groups:

1. Contrasting harmonies

2. Harmonies of similar colors

Color harmony is the balance of color forces.

1. The influence of color on the human psyche

The fact that color affects our emotions and even the psyche, people intuitively noticed a long time ago. No wonder we talk about "festive, joyful, cheerful" colors and "dull, gloomy" tones.

Color creates a certain emotional atmosphere, affects mood and performance, and even well-being. One example can be given: during research, experts found that at an air temperature of + 15-17 C, being in a room with bright yellow or orange walls, a healthy person in a short-sleeved shirt does not feel cold, but at the same temperature he freezes in a room with gray-blue walls. Therefore, it is imperative to carefully select colors for painting walls, ceilings and floors.

The problem of the impact of color on the psyche has been and is being studied by many scientists. For example, one of the most reliable and common tests about a person's condition is the Luscher test. The subject is offered to choose the most pleasant color from the group of colors, then, from the remaining ones, they are again offered to choose the most pleasant one, and so on.

Calculating the results accordingly, they make a conclusion about the psycho-emotional state of a person, about his physical health. The same Luscher also solved the inverse problem - by presenting colors to a person according to a certain program, they achieve changes in his emotional and physiological states.

Color acts almost automatically on human physiology, here are the general a) color exposure characteristics:

Red color is exciting, active, acts obsessively, forcibly. A person's breathing and pulse change, as with any excitement. With a brief exposure to this color, performance increases, but not for long. Soon fatigue sets in, attention and reaction decrease.

Orange color causes a feeling of warmth, cheerfulness, fun, creates a good mood. With not very long exposure, it has a positive effect on performance.

yellow color creates the illusion of sunlight. It is active, invigorating, creating a wonderful mood.

Green color soothing, neutral, soft color. Its prolonged exposure not only does not tire, but also causes a steady increase in working capacity. It has many shades that affect the human body in different ways. For example, in combination with yellow, green becomes soft and creates a good mood, and in combination with blue, it becomes passive.

blue color causes weakening and slowing down of vital processes, since it is a passive color. Reduces activity and emotional stress, promotes a feeling of coolness.

Blue colour when exposed to it, the activity of vital processes decreases, breathing and pulse normalize, since it is considered passive, calm, cold. Causes a state of contemplation and reflection.

purple color this is the most passive of all colors, causing a decrease in vitality, a decrease in activity. With its prolonged exposure, a state of depression and anxiety arises.

Brown color creates a melancholy, soft mood, causes a feeling of warmth, is calm and restrained.

Black color causes a sharp drop in mood, being a gloomy, heavy, oppressive color.

Grey colour creates a dull mood, causing apathy and boredom.

White color cold, clean, calm color. There is an impression of simplicity and modesty.

b) Color pairs and their impact on humans

"Yellow - blue" - a feeling of mobility (pay attention to the design of some programs shown on television), strong tension, requires balancing.

"Red - green" - flickering, anxiety, impulsiveness

"Red - yellow" - in their sum, vitality is manifested

"Orange - blue" - an impressive, intense couple

"purple - green" - a feeling of life affirmation

"Purple - lemon yellow" - emphasizes the heaviness and lightness in combination

c) Non-polar colors

"Yellow-red" - radiance, warmth

"Golden - red" - luxury, warmth

"Orange-red" - flashy

"Yellow-purple" - dissonance, trouble, mobility

"Golden - purple" - power, dignity, celebration

"Red - purple" - dissonance

“Yellow is the color of a green leaf” - fun, joy

"Yellow - olive" - ​​dissonance

"Yellow-orange - the color of a linden leaf" - moderately stimulating

"Orange-red - green" - impulsive

"Orange-purple" - stunning, intoxication

"Red - blue" - the dynamics of repulsion, not perception, excitement

"Red - ultramarine" - sharp power

"Orange - ultramarine" - pretension

"Blue - pink" - shyness, shyness

"Pastel green - blue" - passivity, ambiguity

"Pastel green - pink" - weakness, tenderness, cordiality

"Yellow-green - reddish-gray" - dissonance

"Beige - red" - slight dissonance

Linden Beige - soothing warmth

"Brown - green (olive)" - earthiness

"Dark brown - blue" - uncompromising

"Dark brown - ocher" - rigidity, earthiness

"Green - gray" - relatedness, passivity

"Blue - gray" - neutrality, coldness

"Red - black" - depression, danger

"Orange-black" - violence

Yellow-black - fixation of attention

"Blue - black" - night

"Yellow-white" - clarification

"Blue-white" - purity, coldness

"Green - white" - purity, clarity

"Pink - white" - weakness

"Yellow-green" - the radiance of yellow and the feeling of peace of green gives a feeling of cheerfulness.

Let's try to analyze in more detail the psychological impact on a person. We single out three types of color effects on a person: physical, optical and emotional.

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