D]4 P]00x/projectors P]01x/Subj.MixPaint P]02x/12grey# P]03x/ApaletSpr P]04x/range P]06x/day P]07x/CLASH P]08x/Lscape2 P]20x/BIGwheel P]12x/TitleIkon ]]P12 00 ]F5 ]10 ]P12 00 ]]P12 01 ]F5 Part 3: COLOR ]10 ]P12 01 ]]P12 02 ]F5 AN ART COURSE ]10 ]P12 02 ]]P12 03 ]F5 by Lewis Tilley ]10 ]P12 03 ]]P12 04 ]F5 ]10 ]P12 04 Deluxe Paint IIIŠ by Electronic Arts LIREPIC by Charles Vassallo 5] The following Artist's color wheel is based on theories in 5]"The Art Of Color" by Johannes Itten, Van Nostrand Reinhold Co.,Publisher. 5]Read it for more information on color. ]]P20 00 This color wheel is anachro- ]]P20 01 nistic; however it has ]]P20 02 served artists so well for ]]P20 03 so long that anyone who ]]P20 04 wants to "paint" on the ]]P20 05 AMIGA needs to know about ]]P20 06 this old-fashioned ]]P20 07 subtractive color aid ]]P20 08 to design. ]]P20 09 First, it names the HUES. ]]P20 10 Reading clockwise (12:00) ]]P20 11 Y=yellow, YG=yellow-green, ]]P20 12 G=green, BG=blue-green, ]]P20 13 B=blue, BV=blue-violet, ]]P20 14 V=violet RV=red-violet, ]]P20 15 R=red, RV=red-orange, & ]]P20 16 O=orange,YO=yellow-orange. ]]P20 17 ]]P20 18 Colors across the circle ]]P20 19 are called complementary. ]]P20 20 A very important relation! 5]HOW TO BUILD A PALETTE FROM A COLOR WHEEL*: ]]P06 00 ]]P06 01 The simplest color scheme ]]P06 02 uses only one color with ]]P06 03 variety coming from changes ]]P06 04 in VALUE of the colors ]]P06 05 (from light to dark). ]]P06 06 Select a COMPLEMENT of the ]]P06 07 HUE in a monochromatic color ]]P06 08 scheme for contrast to create ]]P06 09 a complementary scheme. ]]P06 10 Don't use both complements ]]P06 11 at high saturation (CHROMA). ]]P06 12 Use one color subdued ]]P06 13 (low CHROMA) and the other ]]P06 14 more intense. Then they won't "CLASH"...and here (left) is the same image with a different palette. YUCK! ]]P07 00 ]]P07 01 ]]P07 02 ]]P07 03 ]]P07 04 ]]P07 05 ]]P07 06 ]]P07 07 ]]P07 08 ]]P07 09 ]]P07 10 ]]P07 11 ]]P07 12 ]]P07 13 ]]P07 14 5] Although bright, the colors in "The Girl" on the right don't "fight." 5] Her brilliant effect comes from two sets of complements 5] (4 colors total) for a double complementary scheme 5] Keep 2 or 3 of the 4 low in chroma, varying the VALUES for variety. 8]What is VALUE?: Eliminate HUE and CHROMA from color and you will still have VALUE, those shades of black and white applied to color. The chart below is the one used to assign value numbers to colors. It too is made of 12 steps. ] ]P02 00 ] ]P02 01 ] ]P02 02 ] ]P02 03 ] ]P02 04 ] ]P02 05 ] ]P02 06 ] ]P02 07 ] ]P02 08 ] ]P02 09 ] ]P02 10 ] ]P02 11 ] ]P02 12 ] ]P02 13 ] ]P02 14 ] ]P02 15 ] ]P02 16 ] ]P02 17 A chart like this may be made for each of the 12 Hues. "Half-Brights" in the Amiga Agnus are a sort of built-in MIDDLE GREY for each hue. A palette composed of all 144 HUE-VALUE colors is possible with the HAM (Hold And Modify) paint programs. DPaint3 won't do it. Try Photon Paint, Digi-Paint or Photo Lab for a fuller range of colors displayed on the screen at one time. 5]A Split Complement Scheme uses a selected hue played not against its 5]complement but against the two hues on either side of its complement! ]]P08 00 ]]P08 01 ]]P08 02 ]]P08 03 ]]P08 04 ]]P08 05 ]]P08 06 ]]P08 07 ]]P08 08 ]]P08 09 ]]P08 10 ]]P08 11 ]]P08 12 ]]P08 13 ]]P08 14 5]The Analogous Color Scheme in the picture above plays with the close-hued 5]colors which lie between two of the PRIMARY HUES of the color wheel. 8]THE PRIMARY HUES? Well, to people who mix their colors in paint, they are RED, YELLOW and BLUE. They were called primary because you had to have them before you could mix all the other HUES. Amiga artists have all the colors in one color which isn't a color at all: WHITE. White light, that is. And what colors make up a white light? RED, GREEN and BLUE! 4]Shall we pause a moment and show a little physics to straighten out 4]this muddle? ]]P00 00 ]]P00 01 To the left is a simple demo set up ]]P00 02 with three slide projectors. Note that ]]P00 03 the projectors have filters. These are ]]P00 04 standard "separation" filters that you ]]P00 05 will be using if you digitize images ]]P00 06 with a B&W TV camera and Digi-View. ]]P00 07 They are the same filters which are ]]P00 08 used by printers for three-color sep- ]]P00 09 arations: BLUE, RED and GREEN. The ]]P00 10 overlap of the three forms WHITE. ]]P00 11 This is exactly what happens on the ]]P00 12 Amiga monitor from the inside. 3] THIS IS CALLED ADDITIVE COLOR since the colored lights add units 3] of light as they join in different combinations to create the 3] three properties (HUE, VALUE and CHROMA) of color. Then why have artists used a different color wheel than one which uses the ADDITIVE system? Well stage lighting artists do, but ordinarily an artist works with pigments on a surface which REFLECTS color. ]]P01 00 At left is a diagram representing a light ]]P01 01 shining down on a design of colors painted ]]P01 02 on black paper. The light is a "daylight" bulb ]]P01 03 of around 5400 degrees Kelvin (a way the color ]]P01 04 of a light source is measured). The black of ]]P01 05 the paper absorbs most of the light rays. The ]]P01 06 other colors which are reflected are the opposite ]]P01 07 (COMPLEMENTS) of the RED, GREEN, BLUE of the ]]P01 08 ADDITIVE color system. These colors are called ]]P01 09 CYAN (minus RED), MAGENTA (minus GREEN) and ]]P01 10 YELLOW (minus BLUE) because they reflect all ]]P01 11 the components of WHITE LIGHT except the minus ]]P01 12 component. Incidentally, these are the inks used in 3-color printing. 4]Time to apply all this theory to mixing colors with light using 4]Deluxe Paint III. ]Press "P" on your keyboard when you ]P03 00 ]are in DPaint. The Palette requester]P03 01 ]at the right appears. The RGB slides]P03 02 ] (left) mix the HUES. The HSV slides]P03 03 ](center) change the balance of the ]P03 04 ]color's Hue, Saturation and Value. ]P03 05 ]SPREAD and RANGE are valuable for ]P03 06 ]creating subtle runs of VALUE or ]P03 07 ]HUE. Gradient Fills are made with ]P03 08 ]these tools. You define the ranges ]P03 09 ]by first clicking on one (1 to 5) ]P03 10 ]of the RANGE buttons. Next, select ]P03 11 ]a HUE from the displayed palette ]P03 12 ](at the far right of the requester) ]P03 13 ]Click on it with the left button. ]P03 14 ] Click on the RANGE box."TO?" ]P03 15 ]will appear. Click on a HUE to end ]P03 16 ]your GRADIENT. Click on "OK" box ]P03 17 ]to exit. From the TOOL TOWER select ]P03 18 "FILL" with your right button. This brings up FILLREQUESTER with its many options. Select (left button) The vertical arrow boxfrom GRADIENTS. Adjust the DITHER (far left gives color bars, and far right BLENDS by feathering (DITHERING) the colors together). Return to the screen by clicking OK box. ]]P04 00These are demos of the above tech- ]]P04 01nique. On the left the DITHER was ]]P04 02at extreme left, resulting in the ]]P04 03bar effect. This particular palette ]]P04 04works well in graphics since you have ]]P04 05a spectrum range combined with the ]]P04 06Grey Scale for photographic repro- ]]P04 07duction. HI-RESOLUTION, as you know, ]]P04 08only allows 16 color palettes just ]]P04 09as the present 640x200 LIREPIC does, ]]P04 10although a limited palette is often ]]P04 11helpful in that it brings unity to ]]P04 12a color scheme, the more VALUES and ]]P04 13ranges of CHROMA you can use in an ]]P04 14image, the more subtle it can be. ]]P04 15As the Duchess of Windsor once said, ]]P04 16"One can't be too thin or too rich." 8]May I add, "Nor have too many colors in your palette." However, you can 8]use them wrongly! 5] The End 4]Next in the series, we will explore where to find images for your 4] pictures and ways to transfer them to the screen.