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COLOUR EXERCISES
Chapter 11 in this edition of Drawing on the Right Side of the Brain is about colour. This chapter is not included in recent editions following the publication of her book 'Color'.
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The Exercises from Chapter 11 - as below
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Fig 11.4 Value Scale
Exercise: Make a value scale of twelve steps, using pencil A scale in even steps between the opposites, the white of the paper and the darkest dark the pencil will make. the inset strip is the same value throughout. The apparent change in values is a perceptual illusion, caused by the differences in contrast between the light-to-dark tones of the scale and the constant value of the central strip |
Value Scale
Materials: White paper and pencils |
Fig 11.6 Edgar Degas, Ballet Dancer in Position Facing Front (1872)
Exercise: To experience the impact of colour on drawing, compare this drawing with another Degas dancer on page 123. See page 211 for a drawing exercise. |
The Impact of Colour on a drawing (Drawing in Colour on a coloured ground)
Read and follow instructions pages 211-214 Materials: Coloured paper (any colour of your choice. Any reproduction of a subject that interests you. 2 coloured pencils (dark and light) that harmonize with your paper colour. |
Fig 11.8 Henri Toulouse Lautrec, At the Circus
Exercise: For practice with colour, negative space and sighting, copy this drawing using coloured pencil and pastels but change the colours to those of your own choice to see the effect of colour on drawing. |
Practice with colour, negative space and sighting
Materials: coloured paper, pencils and/or pastels (own choice of colour) Copy this drawing from the book changing the colours to those of your own choice to see the effect of colour on drawing |
Figs 11.8 and Fig 11.10 Jean-Baptiste- Simeon
(2 portraits) Exercise: Try a portrait or self-portrait on coloured paper using only two complementary hues plus white and black. The 2 portraits in the Text Book can guide your efforts to gain control of colour. |
Rich and profound colours can be achieved by using very few hues. Read all text in the book under these Fig nos.
Materials: Coloured paper and two complementary hues plus white and black (use acrylics |
Fig 11.13 Richard Diebenkorn.Unititled
Exercise: Working with an unusual format (tall and narrow, short and wide, circular, oval, divide the space and manipulate the quantities of hues to achieve a pleasing harmonious balance and tension (a sense of connection or "pull") between the colour areas. |
Mixed Media with Unusual Format
Read and follow instructions from the book as at Fig 11.13 Materials: Acrylic, gauche, cut and pasted papers are suggested. |
Fig 11.14 Brian Bomeister, Adam and Eve
Exercise: Experiment with scale by using contrasting sizes - very large to very small. Experiment with light by changing the values of a hue to achieve luminosity in colour. Observe how the artist achieved a wonderful sense of luminous colour in "Adam and Eve". (note: Brian Bomeister is Betty Edward's son) |
Experiment with scale and luminosity of colour.
Materials: mixed media on paper |
Fig 11.15 Odilon Redon, Head of a Young Girl
Exercise: Pressing on to a Pastel World |
Odilon Redon
Read and follow instructions on page 217 for exercise based on this drawing. Read page 216 "Pressing on to a Pastel World" Materials and special requirements: Find a model or suitable subject. -Good lighting -Pastel paper in any soft colour (Redon used soft blue/gray) -Medium-dark pastel and three harmonising light pastels |
Fig 11.16 Student, Self-Portrait.
Exercise: Try an intense, close-up self-portrait in pastel on coloured paper. Remember that you always have an available model - yourself. The addition of props such as hats can stimulate interest in each new self-portrait. |
Intense Self Portrait
Materials: own choice |
Fig 11.17 Student, Umbrella Still Life
Exercise: Construct a still life with some randomly chosen objects. Do a negative space drawing on coloured paper (or do a preliminary drawing and transfer it to coloured paper, using carbon paper). Choose coloured pencils that are variations of one hue, the hue of the coloured paper. |
Still Life - Monochromatic colour harmony based on varying values and intensities of one hue. - HARMONIOUS COLOURS - read Page 215-216
Read and follow instructions at Fig 11.17 Materials: Coloured paper or on a background painted with a light wash according to your choice of hue |
Fig 11.18 Student, Large Stuffed Eagle Exercise: Draw an animal or bird from life if possible, or from photographs. Rub analogous hues of coloured chalk or pastel into white paper and draw with pen and ink. |
Analogous Colours to produce a range of harmonious hues, and strong contrast with black ink and white paper.
Read and follow instructions at Fig.11.18 Materials: White paper, pastels or chalk and pen and ink |
Fig 11.19 Piet Modrian, Red Amarylis with Blue Background
Exercise: Prismacolour watercolour pencils convert to watercolour when dampened with a wet brush. Using these pencils try a "portrait" of a flower or plant, paying attention to negative space and using contrasting colours, guided by the drawing in Fig 11.19 |
"Portrait of a Flower"
Read and follow instructions at Fig 11.19 Materials: Paper and watercolour pencils |
Fig 11.20 David Hackney, Celia in a Black Dress with White Flowers
Exercise: Try a half-length or full-length portrait or self portrait in coloured pencil on white paper. |
Fig 11.20 Half or Full length portrait
Place an object or objects in front of the figure and use negative space to delineate the space between. Three distances are described from the artist's eyes to the objects to the figure. |
Fig 11.24 Urban Landscape - Negative space and contrasting colours transform an urban scene
Exercise: Drawing an urban landscape |
Urban Landscape
Read and follow instructions page 214 |
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Student drawing 'The Arrow Hotel'