Block studies are a great way to study color effects. This is a wet-on-wet pointillist color study in warm light.
Wednesday, September 29, 2010
Block color study
Block studies are a great way to study color effects. This is a wet-on-wet pointillist color study in warm light.
Sunday, September 26, 2010
Class in San Diego
Hey folks,
Just wanted to let you know I'm scheduled to teach at the Rushing Academy of Art (http://rushingacademy.com), so for all those who don't want to travel to LA... Check their website for the upcoming details. It's also likely that I'll be hosting a short workshop for those who can't commit to a class just yet or are merely curious as to what it's all about.
Just wanted to let you know I'm scheduled to teach at the Rushing Academy of Art (http://rushingacademy.com), so for all those who don't want to travel to LA... Check their website for the upcoming details. It's also likely that I'll be hosting a short workshop for those who can't commit to a class just yet or are merely curious as to what it's all about.
Friday, September 24, 2010
Tuesday, March 16, 2010
The reasons for this blog...the big picture of color theory.
We've been asked to clarify some facts about the color theory class and our reasons for teaching it.
When we took color theory class from other teachers we were left with many unanswered questions which unfortunately weren't really addressed despite our repeated attempts. This and the sheer number of students who had taken the class for the fourth or fifth time, made us question the sanity of that teaching method.
A lot of the problem with color theory as it is currently taught is that it revolves around old, outdated theories. Sometimes teachers will tell you their color theory is correct because they paint well. Unfortunately, just because they paint well does not mean they can answer your questions satisfactorily. Many design decisions have been made in a good painting (which requires the knowledge of color upon which decisions are made on a case by case basis) and this is color design. Color design is, however, only one part of color theory but for some reason the most talked about. This has to change. Artists have to be empowered, not with a system of design but with a knowledge base of concepts upon which they use to design. Basic color theory is more important than design because color design is BASED on basic color theory.
The questions we had a few years ago are the same kinds of questions students are having today and it's disappointing to see this unnecessary struggle continue:
- do I really need all those expensive colors on my palette?
-can I substitute that color with this one? do I really need that specific paint?
- what's the deal with phthalo colors?
- if digital painting works on the additive system of light, why am I using an RYB color wheel based on subtractive mixing of paint when I paint in Photoshop? (it's illogical)
- Why do some painters use so many paints and others so relatively few?
-Why is a Zorn palette so good for fleshtones?
-What is Munsell? What is the best way to understand color?
-On what basis do I select paints?
-Where does the color wheel come from? Do I need it? How come some are different?
and so much more...
It is our goal to communicate the big concepts about color in such a way that you will be empowered not dependent. You will understand the bigger picture and be able to apply these concepts to all types of art. It's not a technique, it's not outdated information, it's solid (scientific, if you will) information about how we see color, how we use it etc.. and it provides a perfect foundation for further learning regardless of the type of art you wish to do or other teachers you have. And you won't have to attend a class 4 times either...
When we took color theory class from other teachers we were left with many unanswered questions which unfortunately weren't really addressed despite our repeated attempts. This and the sheer number of students who had taken the class for the fourth or fifth time, made us question the sanity of that teaching method.
A lot of the problem with color theory as it is currently taught is that it revolves around old, outdated theories. Sometimes teachers will tell you their color theory is correct because they paint well. Unfortunately, just because they paint well does not mean they can answer your questions satisfactorily. Many design decisions have been made in a good painting (which requires the knowledge of color upon which decisions are made on a case by case basis) and this is color design. Color design is, however, only one part of color theory but for some reason the most talked about. This has to change. Artists have to be empowered, not with a system of design but with a knowledge base of concepts upon which they use to design. Basic color theory is more important than design because color design is BASED on basic color theory.
The questions we had a few years ago are the same kinds of questions students are having today and it's disappointing to see this unnecessary struggle continue:
- do I really need all those expensive colors on my palette?
-can I substitute that color with this one? do I really need that specific paint?
- what's the deal with phthalo colors?
- if digital painting works on the additive system of light, why am I using an RYB color wheel based on subtractive mixing of paint when I paint in Photoshop? (it's illogical)
- Why do some painters use so many paints and others so relatively few?
-Why is a Zorn palette so good for fleshtones?
-What is Munsell? What is the best way to understand color?
-On what basis do I select paints?
-Where does the color wheel come from? Do I need it? How come some are different?
and so much more...
It is our goal to communicate the big concepts about color in such a way that you will be empowered not dependent. You will understand the bigger picture and be able to apply these concepts to all types of art. It's not a technique, it's not outdated information, it's solid (scientific, if you will) information about how we see color, how we use it etc.. and it provides a perfect foundation for further learning regardless of the type of art you wish to do or other teachers you have. And you won't have to attend a class 4 times either...
Sunday, March 7, 2010
Class schedule!
Hey folks,
We'll be teaching the color theory stuff in a class format up in LA, April 13 - June 8 (Tuesday 7- 10pm - price $325). Our friend, phenomenal draftsman and teacher to boot, Rick Morris (http://richardmorrisgallery.blogspot.com/) has graciously provided us with a teaching location for this class at his studio :
15414 Cabrito Road,
VanNuys, CA 91406
Contact Tony Hsu at 949 331 5318 or email tqartist@yahoo.com
The class is structured around visual color theory or better yet "color anatomy" and is aimed at clarifying and cleaning up a lot of the confusion that is too often taught as color theory in most places.
Contact us with any questions. Hope to see you there!
We'll be teaching the color theory stuff in a class format up in LA, April 13 - June 8 (Tuesday 7- 10pm - price $325). Our friend, phenomenal draftsman and teacher to boot, Rick Morris (http://richardmorrisgallery.blogspot.com/) has graciously provided us with a teaching location for this class at his studio :
15414 Cabrito Road,
VanNuys, CA 91406
Contact Tony Hsu at 949 331 5318 or email tqartist@yahoo.com
The class is structured around visual color theory or better yet "color anatomy" and is aimed at clarifying and cleaning up a lot of the confusion that is too often taught as color theory in most places.
Contact us with any questions. Hope to see you there!
Sunday, November 22, 2009
Testimonials from a previous workshop
Here some reviews of this info we shared at a workshop in downtown San Diego this last year:
- "It has made me look at my paint in an informed way and not purchasing any paint blindly. You've made me a smarter artist!" - Cherry Sweig (www.cherrysweig.com)
- "Even though I have been painting for many years I extracted many facts and tips about color. Very Useful." - Jori Owens, San Diego
- "Learned to start making informed choices about color." - Jeremy McKay, San Diego
- "You have accomplished a remarkably clear and concise presentation of a very complex and potentially confusing subject. Furthermore, you have done this without imposing narrowly-based and/or arbitrary rules many teachers utilize as crutches. It is refreshing that your approach encourages experimentation, exploration and is applicable to all possible artistic endeavors involving color and pigments." - Lydia Straus-Edwards, San Diego
- "It has made me look at my paint in an informed way and not purchasing any paint blindly. You've made me a smarter artist!" - Cherry Sweig (www.cherrysweig.com)
- "Even though I have been painting for many years I extracted many facts and tips about color. Very Useful." - Jori Owens, San Diego
- "Learned to start making informed choices about color." - Jeremy McKay, San Diego
- "You have accomplished a remarkably clear and concise presentation of a very complex and potentially confusing subject. Furthermore, you have done this without imposing narrowly-based and/or arbitrary rules many teachers utilize as crutches. It is refreshing that your approach encourages experimentation, exploration and is applicable to all possible artistic endeavors involving color and pigments." - Lydia Straus-Edwards, San Diego
Welcome!
This is the first post to usher in the new blog about color theory for artists. It is the prelude so to speak for a book about color theory and also workshops/classes about color.
The main theme is that too often artists are taught color methods or techniques to color harmony without even having a starting grasp on how we see color, how we mix it and how color space works. Often times the information is either too technical and fit for scientists only or too vague and artsy for students to learn (other than by just copying color schemes). While there is a definite place for copying and looking at color schemes we believe it is fundamental to understand the basics.
We have taught this information to people throughout San Diego and LA and hope to share the information with more so they can start to understand more about the world of color. and while color may not be the most important thing in art, it is nevertheless one worth learning about and we hope to dispel the myths and simplify the science so you can use it for your own artistic discovery!
The main theme is that too often artists are taught color methods or techniques to color harmony without even having a starting grasp on how we see color, how we mix it and how color space works. Often times the information is either too technical and fit for scientists only or too vague and artsy for students to learn (other than by just copying color schemes). While there is a definite place for copying and looking at color schemes we believe it is fundamental to understand the basics.
We have taught this information to people throughout San Diego and LA and hope to share the information with more so they can start to understand more about the world of color. and while color may not be the most important thing in art, it is nevertheless one worth learning about and we hope to dispel the myths and simplify the science so you can use it for your own artistic discovery!
Subscribe to:
Posts (Atom)