Text D Warm vs. cool colors
The distinction between warm and cool colors has been important since at least the late 18th century. It is generally not remarked in modern color science or colorimetry in reference to painting, but is still used in design practices today. The contrast, as traced by etymologies in the Oxford English Dictionary, seems related to the observed contrast in landscape light, between the "warm" colors associated with daylight or sunset and the "cool" colors associated with a gray or overcast day. Warm colors are often said to be hues from red through yellow, browns and tans included; cool colors are often said to be the hues from blue green through blue violet, most grays included. There is historical disagreement about the colors that anchor the polarity, but 19th century sources put the peak contrast between red orange and greenish blue.
Color theory has described perceptual and psychological effects to this contrast. Warm colors are said to advance or appear more active in a painting, while cool colors tend to recede; used in interior design or fashion, warm colors are said to arouse or stimulate the viewer, while cool colors calm and relax. Most of these effects, to the extent they are real, can be attributed to the higher saturation and lighter value of warm pigments in contrast to cool pigments. Thus, brown is a dark, unsaturated warm color that few people think of as visually active or psychologically arousing.
Compare the traditional warmcool association of color with the color temperature of a theoretical radiating black body, where the association of color with temperature is reversed. For instance, the hottest stars radiate blue light (i.e., with shorter wavelength and higher frequency) and the coolest radiate red.
X. Oral Practice
Exercise 18. Make up the dialogues of your own on the following situations. Dramatize them. Use phrases from Table 1 (Appendix)
Situation 1
Your friend and you are discussing the importance of color harmony and the development of your own color scheme.
Situation 2
You are hunting for a job as a web designer in one of design agencies. Tell about your techniques of using colors in your designs. Try to convince that youve got the best color scheme.
Exercise 19. Project work. Prepare a report.
1. The basics of color wheel.
2. Designers tool for creating the harmonies.
Appendix
Table 1
| Conversational formulas | |
| Greetings | Possible answers |
| How do you do? Good morning/afternoon/evening | How do you do? Good morning/afternoon/evening |
| What luck running into you! Very glad to see you again, Mr. N. I have not seen you for ages! | Nice(pleased) to meet you. |
| How are you? Hows life? | Thank you, very well Thanks, not bad(could be better) So-so Bright Great Never better Quite well, thanks |
| Clarifying | |
| May I ask you to explain ? Am I right in thinking that ? Do I understand you correctly that ? Would you please repeat? May I ask you about ? There is a question I should like to ask you. | |
| Making suggestion | |
| How about...? What about ? Now, if you dont mind . Would you mind my asking you to? | |
| Thanking people | |
| Thanks! I am very much obliged to you! I am very grateful to you! You have done me a favour. | Thats all right. Dont mention it. You are welcome. Its a pleasure. |
| Saying good-bye | |
| Good bye Good bye and good luck! | See you later! See you tomorrow! |
Table 2
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| Painters and their craft | |
| portrait/landscape/seascape/ canvas/painting/ still life/fresco/ engraving/self-portrait | // /// / / / |
| to paint(to execute/ to portray)from nature/ imagination | / |
| to paint mythological/historical subjects/ | / |
| to reveal the person's nature | |
| to portray people/emotions with moving sincerity/with restraint | / / |
| to develop one's own style of painting | |
| to break with the tradition | ( ) |
| Painting. Genres | . |
| an oil painting, a water-colour/pen-and-ink drawing/pencil sketch/ pastel picture | , , , , / |
| a family group/ceremonial/intimate portrait | // |
| a shoulder/full-length/half-length/ portrait | / / |
| Composition and drawing | |
| in the foreground(middle ground)/background, in the top/bottom/left-hand corner | /, // |
| to indicate the sitter's profession | |
| to be posed/ silhouetted against an open sky | / |
| Colouring. Light and shade effects | . |
| the colours may be cool and restful/hot /soft and delicate/dull/ oppressive/ harsh | / / / / / |
| to combine form and colour into harmonious unity | ᒺ |
| Impression. Judgement | . |
| the picture may be moving/ lyrical/ romantic/ original/ poetic in tone and atmosphere/ an exquisite piece of painting,/an unsurpassed -masterpiece | / / / / / / |
| the picture may be dull/ crude/ chaotic/depressing/ disappointing/ heap and vulgar | / ()/ / / / |
Table 3
Notable draftsmen
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Keys:
Unit I
Exercise 18.
- Fresco painting B
- Water colour painting H
- Secco painting K
- Gouach J
- Pastel A
- Tempera D
- Oil paint E
- Encaustic painting F
- Acrylic C
- Vinyl - G
1. Painting. /Wikipedia, the free encyclopedia. - :http://en.wikipedia.org/wiki/Painting.
2. Drawing. /Wikipedia, the free encyclopedia. - :http://en.wikipedia.org/wiki/Drawing.
3. Composition. /Wikipedia, the free encyclopedia. - :http://en.wikipedia.org/wiki/Composition.
4. Color wheel. /Wikipedia, the free encyclopedia. - :http://en.wikipedia.org/wiki/Color wheel.
