EFFECTS OF COLOR AND VALUE (Color Theory III, color in context): Principles of Color Harmony (referred to as Color Theory I, the Color Wheel in this class,) consider how colors relate to to each other, how they can be coordinated to create an overall appearance of harmony. Structures of Color Harmony (referred to as Color Theory II, the Color Triangle in this class,) focus on the values of color, that is, how color, when mixed with white (tints), gray (tones) and black (shades), can be combined to create an effect, like the El Greco effect. Where the focus in "principles of color harmony" is on the 12 colors of the color wheel, "structure of color harmony" widens the range to include the color variations of tints, tones and shades. Effects of Color and Value (which is the basis for a Color Theory III class) looks the relationship and impact of color values -- that is, how the values can be manipulated in order to accentuate or subdue neighborning colors. Sight is affected by illumination as well color. Here, illumination refers to the the general distribution of brightness or darkness. Through manipulating color and value, one can create effects like luster, iridescence, luminosity, and transparency. Contrasting effects in values are most noticeable when light and dark colors or tones are used. Contrasting effects in hue are most noticeable when colors are fairly uniform. If the area or size of juxtaposed colors are large, then the strong differences in value and color will cause startling visual effects. If the area or size of juxtaposed colors are minute, dotted like spots or drawn in thin lines, then the eye will diffuse the colors, thereby canceling the effect the colors might have on each other and the resulting optical mixture can become dull or muddy. Simultaneous contrast of brightness: Light colors tend to accent the depth of dark colors, and dark colors tend to accent the brightness of light colors. Put objects of the same hue and value in a light background and a dark background simultaneously; the objects will appear darker and lighter respectively. When 3 colors seem like 4: Place the same color in a light and in a dark background, and it will look like two different colors in two different background colors. For example, burnt umber can will look lighter when surrounded with black, and darker when surrounded with yellow lemon pale. When 3 colors seem like 2: A mixture of two colors, when properly balanced can be made to look the one when placed in a background of the other and vice-versa. For example, a middle mixture of orange and olive green can look olive green in an orange background and orange in an olive green background. When 4 colors seem like 3: In order for a color in a light background to look the same as one in a darker background, the one in the darker background is significantly darker in order to look lighter in the dark background. For example, light olive green looks darker in a light background. In order for the same slighter darker olive green to appear in a darker background, the one in the dark background has to be considerably darker than the light olive green used in the light background. Simultaneous contrast of values: When colors of different values are placed side by side there is a fluting effect. Values differences must be minimized along borders in order to avoid the fluting effect. Melting borders: If values are even slightly different, the border will be apparent. Two different colors of the same value will have a softer border than two colors of the same hue with different values. Vibrating borders: Due to the eye's inability to simultaneously focus on two disparate colors of the same value, the borders will vibrate. A flash of light or white will flicker; in some cases a corresponding shadow or darker line will appear as well. Color transposition: When two sets of color, differing in value and intensity, are placed in a recognizable pattern or composition, the interval between the sets create a transposition of colors. For example, transposition occurs in a partially shadowed scene where the shadowed area contains the same colors but in different value and intensity to those in the sunlit areas. Iridescence requires gray contrast. The background is a lighter neutral gray than the shadows of the object, and the object itself is depicted in tinted hues. Partitive mixture: Optical mixture occurs when small bits of color are repeated in a pattern. An averaging of colors occurs as the eye blends visually. The pointillists used this effect in their paintings. Transparency is created when a middle color is placed between its two parent colors. The lighter of the two colors will seem to pass over the other like a film or a transparent medium. As one hue takes on the color of the other, the first will appear to sink into the environment of the second. This progression of gradation will suggest transparency. Chromatic light effect requires a good understanding of how lights and pigments react together. Where yellow and blue pigments will produce green, yellow light shining on a blue surface will produce a deep blackish olive color. The best way to understand what happens when colored light strikes a surface is to take a color chart and look at it through tinted cellophanes of various colors. Optical afterimage effect occurs with all colors, hence color will always influence its neighbor. For example, the gray of a tree trunk will take on a violet quality when contrasted with yellow-green foliage. Note: Because the afterimage is the complement, a good way for finding the complement of a color is to stare at it for a while then glance at a white sheet of paper. Luster requires black contrast. When color is painted against a black background, it will appear lustrous. First create an overall impression of subdued light, then surround the object with a dark background. Depict the object with a slightly darker value than the background, before bringing it successively lighter, until reaching the true lightness of the object itself. (See Color Triangle, Rembrandt Effect.) Luminosity requires subtlety in the application of color. The luminous areas must be relatively small in size and must be higher in value or brightness than anything else in the composition. They should also have the purest color and the strongest chroma. The apparent light sources must seem to pervade the entire painting or design. Deep values and dark colors must be avoided. Outlining the object in black will dull its color. For deep shadows use dark atmospheric gray instead of black. (See Color Triangle, Turner Effect.) Vibrancy is better achieved when colors are from the same side of the primary color triangle. For example, to get a lively purple, use a red and a blue from the possible color selections between red and blue on the primary color triangle: red, red-violet, violet, blue-violet and blue. Red-orange and/or blue-green will give a dead violet mixture. (See Color Triangle, Turner Effect.)