A guide to Color and Colour Mixing

Introduction

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The earth effectually us is a constantly changing spectacle of color. In order to capture this in a painting, one needs a noesis of the theory of color. The showtime three sections of this booklet outline the principles of color theory:

  • The origin of colour
  • Properties of colours
  • Mixing colours

The usual view' is that all colours can be mixed from the 3 primary colours red, yellow and bluish. In theory this is correct. Still, in practice this threecolour arrangement of mixing turns out to have its limitations. Fortunately we are not dependent on the 3 principal colours alone. The organization can be expanded in such a westward'ay that every conceivable colour can exist mixed with others without restriction.

The mixing of colours is non the aim of painting. A painting is a flat surface. On it we can paint a representation suggesting a threedimensional space, or one in which every hint of space is avoided. Just by using the colours correctly this suggestion can exist convincingly made. Therefore with the aid of examples we shall talk over the possibilities of achieving the desired result. We do this in the last section:

  • Painting with colour

Annotation: The colours Illustrated should be seen but as a guide, because the four-colour printing procedure imposes restrictions on the accurate reproduction of colours. This applies peculiarly to the orangish colour band.

The origin

Calorie-free equally the source of colour

Colour is created past the interplay of low-cal, colour-giving substances and the human eye. In this section nosotros shall look more than closely at the office of light and colourgiving substances.

Thank you to calorie-free we are able to perceive colours. In the dark we see zero. White low-cal is fabricated up of all the colours of the rainbow. A triangular piece of glass, a prism, demonstrates this. If a beam of calorie-free passes through a prism, the different colours become visible. Nosotros telephone call this series of colours the spectrum. In addition at either finish of the spectrum in that location are invisible rays – at the red cease infrared, at the blue end ultraviolet (ill. 1).

[i]

Reflection and absorption

Almost colours do not originate directly from a light source. They are created by an interplay of low-cal, the human centre and colourgiving substances. Trees, flowers and fruits, human beings and animals, stones and even earth allow us to come across countless colours without themselves generating light. They exhibit colours through colourgiving substances.

These substances accept the belongings of absorbing a particular part of the spectrum and reflecting some other. If we run across a red object under white low-cal, then this item contains a colourgiving substances which absorbs the yellowish, orangish, regal, blue and green components of the calorie-free. Only the red component is reflected back to our eyes. (ill. 2).

And what nearly white, black and grey? In theory these are not colours. A white object contains a substance which does not blot whatever colour in the spectrum. The whole spectrum is reflected. With black we see the opposite. No colour is reflected, all the colours in the spectrum are absorbed. Grey is somewhere between white and blackness. An equal quantity of each colour is reflected, the rest is absorbed. The reflected colours mix to become grey. The lighter the grey (the further in the management of white), the more than of each color as reflected. And vice versa, (ills. iii,4,five).

However, these examples are purely theoretical. In reality at that place are no substances which totally absorb a certain function of the spectrum and reflect a hundred per centum of another. We can illustrate this with the colour red. From the many shades of cerise we shall select vermilion to begin with. If we bank check what portion of the spectrum is reflected in this red, we detect that the red portion is the principal 1. Simply we run across too that all the other colours are likewise present, peculiarly orange and yellow (ill. half dozen).

Let us now await at the pink colour magenta Here besides the scarlet portion of the spectrum again proves to be nearly evident. Just equal ly all the other colours, notably violet and blue are as well found (ill. 7).

To summerize no colour is completely pure. Every colour contains traces of all other colours. The colour most evident after the primary colour, will touch the master colour. White, blackness and grey too are but pure in theory. An exactly identical amount of each color is never reflected.

Dyes and pigments

Nosotros can subdivide colour-giving substances into 2 types: dyes and pigments. For the painter an important deviation between the two is their lightfastness. Composite with pigment or ink all dyes have poor to moderate lightfastness. The lightfastness of pigments varies from poor to fantabulous. The degree of lightfastness indicates the degree to which a colour-giving substance is afflicted by ultraviolet low-cal. Ultraviolet is a constituent of both natural daylight and artificial light. It has the property of breaking downwards colour- giving substances: the colour 'fades'. The speed at which this happens depends on the lightfastness in combination with the quantity of ultraviolet lite. Some colours fade afterward just a few weeks, others only after years or not all. A 2nd deviation concerns their solubility. Dyes deliquesce in a liquid, pigments are insoluble.

Dyes

The lightfastness of dyes in paint or ink is poor to moderate. For this reason they are non used in artists' products. For educational uses or illustrative work lightfastness is of less importance. An original illustra-tion has a temporary office and after publication can be stored in the dark. In the absenteeism of light the colour does not fade.

Pigments

Pigments can be distinguished non simply by their degree of lightfast-ness simply also by other properties such every bit opacity, transparency and intensity of color.

Lightfastness

Lightfastness varies from pigment to pigment. Thanks to modern techniques we are constantly able to amend the quality of pigments. At present we have thousands of pigments to choose from. This enables the states to replace traditional pigments with only moderate calorie-free-fastness by superior synthetically produced pigments.

The lightfastness of some products is indicated on tubes, labels and color charts by ways of the following symbols:

+++        100 years lightfast

++          25 – 100 years lightfast

+             x – 25 years lightfast

o             0 – 10 years lightfast

These degrees of lightfastness are tested nether museum circumstances.

Opacity and transparency

Some other belongings of pigments is opacity or transparency (ill. 8). Paint with an opaque pigment will hide the basis from view when applied in a sure thickness. Paint with a transparent pigment is transparent at the aforementioned thickness. Not every opaque paint is as opaque; not every transparent paint is equally transparant. Many variations are possible, from very transparent to very opaque.

Some uses the following symbols for this:

□             transparent;  very transparent

0             semi-transparent;  slightly less transparent

E             semi-opaque;  the basis is not completely hidden

■             opaque; none of the ground is visible

Opacity and transparency as properties of pigments are only visible if no opaque filler is added to the paint. Nevertheless, 1 example of an opaque paint is Poster Colour (Gouache) which is based on an opa-que filler, every colour of this type of paint becomes opaque, irrespective of what pigment has been used.

Tinting strength

The intensity of a colour determines how much of that pigment is necessary to reach a certain concentration of colour. We shall take every bit an instance two equal quantities of blue paint, each made with the same quantity of paint. The difference is in the type of pigment: pigment A and pigment B. Nosotros then take equal quantities of the same white colour. When mixed with an equal quantity of white paint, the mixture containing the blue with pigment A is much more than concentrated (darker) than that containing pigment B. Paint A is therefore has a higher tinting force (ill. 8).

In addition to the type of pigment the quantity of pigment also determines the tinting forcefulness of a colour. Again we shall take as an example two equal quantities of bluish paint. However, both are at present made with the same pigment. The only difference is that more of this pigment has been include in blue C than in blueish D. When mixed with the same quantities of the same white pigment, bluish C gives a more intense upshot than blue D (ill. 9).

In add-on the grinding of a paint affects the tinting forcefulness of the paint. Pigments are footing in a medium. The finer the grinding the college the tinting strength.

Backdrop

There are differences between colours. Color names such as yellow, orange, red and violet betoken the get-go articulate differences. In addition nosotros distinguish night and light colours, bright and soft colours and also warm and cool colours. In the existing literature different words are used for these properties or the same discussion is used for dissimilar properties. In this booklet we utilise the following terms to designate backdrop of colours: color temperature, color hue, brightness and saturation.

Color temperature

Nosotros intuitively estimate the temperature in a yellow space as higher than that of a bluish one. We call yellowish a warm colour and blue a absurd i. Nosotros see how relative this is when nosotros mix xanthous with blueish. We then become green, i.east. colour made up of a warm and a cool colour. Compared to blue light-green is a warm colour, compared to yellow a absurd colour (sick. 10).

Red is also felt to be a warm color. If nosotros mix blue and cherry, the mixture is violet. Compared to bluish, violet is experienced equally warm, compared to scarlet it's cool.

Information technology can be even more than subtle. Let us place two yellows next to each other. I of the yellows has traces of blue in it and the other traces of scarlet. We experience one of the yellows every bit warmer compared with the other. Although xanthous is a warm colour par. Nosotros cannot simply dissever the whole spectrum into warm and cool colours. Nosotros tin, all the same, state that bluish is at the center of a absurd area and orange yellow the centre of a warm area (ill. 11).

Colour hue

The proportion in which the colours of the spectrum are reflected determines the color hue. In the section on The Origin of Colour we saw that no colour is completely pure:

Every colour contains traces of the other colours in the spectrum. The largest reflected portion of the spectrum determines the principal colour, for example scarlet. The second largest reflected portion, for case yellow, affects the main colour. Together they determine the colour hue. In this case nosotros speak of a red with traces of xanthous. A ruddy with blue traces and a scarlet with yellow traces are both red, but each accept their own colour hue. The further apart the trace colours are, the greater the departure in colour hue (ill. 12).

Brightness

The brightness of a colour indicates how light or dark that color is. Every colour has a certain caste of brightness. No colour is as calorie-free (brilliant) every bit white, all colours are lighter (brighter) than blackness.

If nosotros mix yellow with ever-increasing quantities of blue, we create a series from yellow to green to blueish (sick. 13). We see that not but the color hue and temperature change, just as well the effulgence. The colour becomes darker and darker (the brightness gradually decreases).

Nosotros can illustrate this past making a black-and-white photograph of this series. The colours are eliminated and we are left with a series of greys. This shows the differences in brightness. The same grey series can be mixed with white and black. Then that for every color a grey tin can be mixed with the same brightness as that colour.

Saturation

A colour is saturated ('pure') when the reflected portions of the spectrum which together make up one's mind the color hue strongly predominate. This ways that few traces of other colours are nowadays in the reflection. If the reflection contains many traces of other colours the colour is said to be unsaturated ('dirty'). If we mix a saturated colour with increasing quantities of grey with the same brightness as that color, the saturation decreases. The brightness remains the same, the color hue remains the aforementioned (ill. 14).

White and black are in theory completely unsaturated. If we mix a saturated colour with increasing quantities of white, the saturation decreases, while the colour hue remains the same. In addition the colour becomes lighter and lighter: effulgence increases. By calculation increasing quantities of black the brightness decreases likewise every bit the saturation. The colour hue remains the same (ill. 15).

Saturated colours mixed with:

white

grey*)

blackness
saturation

\

\
brightness

/

–

\
colour hue

–

–

–

') A grey that has the same clarity as the colour it is mixed with.

Colours

We can mix colours in two ways: with light and with color. Mixing with coloured light is called additive mixing. The more colours that are added, the lighter the result. All the colours together form white light.

Mixing with pigment is called subtractive mixing, which in this context means that lite is taken abroad. The mixed color is always darker than the lightest of the colours with which it has been mixed.

Every colour-giving substance absorbs a certain department of the spectrum. If we mix two colours, different sections of the spectrum are absorbed. Simply the jointly reflected department is left.

We shall mix colours with paint, i.due east. subtractively. We shall do this according to the three-color mixing system and the six-colour mixing system. We shall also look at the phenomenon of optical mixing of colours.

3-colour mixing system

Primary colours

With the three master colours lemon yellow, cyan (blueish) and magenta (red) we can mix whatsoever colour hue we wish. These colours are called primary because they cannot be mixed from other colours. The prin-ciples of mixing can exist learned using primary colours. Talens supplies a special gouache mixing set up. In addition to the primary colours this contains white and black. The Ecoline range too contains the primary colours.

To begin with, we mix yellow with blueish, blue with red and ruby with xanthous. That gives u.s. light-green, violet and orangish respectively (sick. 16). The proportion in which the colours are mixed depends on the tinting strength of the paint. It is a adept idea to brainstorm by mixing minor quantities to avert wasting pigment.

If we mix the colours next to each other in the six-colour circle, we obtain six new colours (sick. 17). By doing the same with the colours in the 12-colour circle we obtain twelve new colours.

The 24-colour circle contains various yellows, greens, blues, etc. (ill. eighteen). At that place are yellows with ruddy traces and yellows with blueish traces, bluish violets and reddish violets. By constantly mixing adjacent colours the circumvolve can in principle be expanded into infinity. The colour areas merge into each other like the colours of the spectrum.

Primary colours with white and black

Countless color hues tin can be mixed with the three primary colours. With white and black we tin mix countless greys. By combining these two possibilities nosotros can in principle mix whatever color we like.

Principal colours with white, without black

The colours that nosotros need to paint all the objects that surround us can also exist mixed without black. Blackness and grey objects have more colour than is credible at first sight.

If nosotros mix principal colours in the correct proportion nosotros create a grey which is almost blackness. This is because in the mixing simply the jointly reflected section of the spectrum remains. When the primary colours are mixed that section is very modest. Near no low-cal is reflected. This dark grey is night plenty to create the impression of blackness in a painting. Instead of black,  night-greyness can as well be mixed instead of blackness with white and a colour hue into any colour required (ill. 19).

Orange, green and violet are called secondary colours. Ii secondary colours combined besides incorporate the 3 chief colours. However, they exercise not abolish each other out every bit completely and we do not obtain a black colour. Whatsoever proportion they are mixed in, the common main colour is e'er dominant and hence determines the colour. A colour mixed from 2 secondary colours is called a tertiary colour (ill. 21).

Three secondary colours combined in turn contain equal quantities of the three chief colours so that a black colour can also be mixed from them, besides equally greys in combination with white.

Limitations of the 3-color mixing system

Lemon yellow, cyan blue and magenta are saturated colours. Nevertheless the three-color mixing system has the limitation that the saturation of intermediate colours may be greatly reduced. The following examples illustrate this:

Lemon yellow is a yellow with blue traces. Cyan is a blue with yellow traces. Magenta is a reddish with blue traces (ill. 22).

The violets mixed from cyan blue and magenta contain, in addition to blue and pink, the yellow traces of the blue. Yellow and violet are complementary colours. Equal parts of yellowish and violet brand grey  when mixed, so that the violets are less saturated (ill. 23).

The saturation of the oranges is sharply reduced as a result of the complementary traces of both pinkish and yellow (ill. 24).

Only the greens are saturated. The colour hue of both lemon xanthous and cyan blue take no traces which exercise not belong to the light-green office of the spectrum (ill. 25).

Half-dozen-colour mixing system

In guild to be able to make a colour circle with only saturated colours, we add three new colours: ultra marine (a blueish with carmine traces), a yellow with ruddy traces and vermilion (a cerise with xanthous' traces). Orange and violet are now also saturated (ill. 26).

By mixing adjacent colours the circle can be farther expanded (ill. 27).

By calculation white, grayness or blackness the brightness and saturation of each colour hue can of class exist inverse, just every bit in the 3-colour mixing system.

The vi-colour mixing organisation also offers more than opportunities for approximating black. The yellows, reds and dejection can exist mixed in different combinations. The proportion in which they are mixed determines the colour hue of the night grey. If we want to mix a gray without a colour hue, a neutral colour, those propor-tions must be very precise. The darkest neutral grayness is obtained by mixing all six colours. This grey is so close to black that the difference tin can only be seen when compared with pure black paint.

Optical mixing of colours

Optical mixing of color means that a mixed colour is suggested without really mixing colours together. We distinguish pointillistic and glazing color mixing.

Pointillistic mixing

Pointillism means painting with dots. To obtain a green colour we practise not mix yellowish and blue paint, but paint yellow and blueish dots close together on a surface. The surface volition then give the impression of being green. The smaller the dots the more complete the mixture will appear (ill. 28).

Hither too complementary colours make the mixed colour unsaturated (dirty).

If we combine coloured dots with white, black or grey ones, brightness and saturation are affected in the same mode every bit in ordinary mixing (ill. 29).

Even without black nighttime grey colours can be suggested through pointillism, although the result will never exist as dark and unsaturated every bit in complete mixing (ill. 30).

In the preceding pointillistic illustrations the white of the paper also forms part of the optical mixture. This makes the colours brighter and less saturated. In the following example dissimilar colours have been applied to a ground which has been painted a uniform colour, and then that greater saturation is accomplished (ill. 31).

In the second example vertical strips from left to right take been painted in uniform colours. The aforementioned colours have been applied pointillistically in the aforementioned guild in horizontal strips (ill. 32).

Glazing mixing

In painting glazing means the application of transparent layers of paint. A transparent blue applied over yellow mixes optically to dark-green. Transparent cerise over yellow mixes optically to orange. Transparent bluish over ruby mixes optically to violet. If nosotros apply 3 colours on height of each other they abolish each other out and mix optically to produce an unsaturated gray color (ill. 33). The all-time results are achieved with glazing mixing when increasingly dark colours are applied over each other.

This technique cannot exist used with poster color, since affiche paint is opaque. With all other types of paint the rule is that only colours based on (semi-)transparent pigments are suitable for this technique (see under pigments).

Painting with colours

Suggesting space on a flat surface

The ground on which we paint is apartment. Yet depth tin exist suggested in hurting-
tings. This proposition tin be created, for example, by a correct use of colour tempera-
ture, brightness and saturation.

Analysis of a landscape

Nosotros are looking out over a mountain landscape full of copse (sick. 34).

Despite the fact that the photograph is a 'apartment picture' the impression is that we tin can see infinitely far into

the altitude. From foreground to groundwork the landscape can be roughly divided into iv stages:

  1. The copse in the foreground
  2. The trees on the far side of the water
  3. The mount with trees backside it
  4. The mountains in the altitude.

Formal perspective and colour perspective

Proffer of space is created in the offset identify by the fact that shapes which in reality are the same size appear smaller and smaller 'the further away from us they are'. The trees in the foreground are most as large every bit the photograph, while the trees on the other side of the lake are depicted many times smaller. The trees on the mountain are fifty-fifty smaller and on the mountains across no copse at all tin can be distinguished. Merely the dark patches suggest that there are copse at that place too. Even so we know that in reality the trees practise not get smaller and smaller.

If we next look at the colours in each of those four stages, we also see keen differences. Exactly what happens to the colours becomes clear if we copy a dark and a light colour for each phase  approximately using pigment (ill. 35).

In the foreground the greens are warm. They contain a lot of yellow, and even orange. The further away the trees are the bluer they become. The colour temperature falls every bit the distance from a colour increases. The colour becomes libation.

In the foreground the dissimilarity in effulgence is great. The farther abroad we move, the smaller the distance betwixt light and dark becomes. A dark color becomes increasingly lite as the distance from the colour increases.

Colour saturation follows a comparable pattern. The further away, the greyer the colours. The saturation of a color decreases as the distance from the colour increases. Form perspective and colour perspective are inextricably bound together.

Color temperature and the suggestion of space

Warm colours stand out compared with cool colours (ill. 36). By reversing the apply of colour in two illustra-tions with the same shapes, the issue of the various colours on the suggestion of space is conspicuously shown.

In the landscape on the left our attention is fatigued by the warm-coloured mountains in the foreground. From there our eye is led into the space. In the right-mitt illustration our attention is immediately drawn past the warm-coloured mountains in the groundwork. If we so expect down the blue mountains in the foreground seem to exist trying to hide under the warm colours. They do not stand out.

Brightness and suggesting infinite

Objects which are contrasted with a lighter background stand up out (sick. 37). In the first example nosotros take no difficulty in imagining a spatial mountain mural. In the 2nd case this is much more difficult. The globe seems to be standing on its head. Objects which have corking contrasts in effulgence stand out compared to objects with small contrasts in brightness (ill. 38).

In the get-go illustration space is suggested past the marked form perspective of the posts (ill. 38). This space is emphasized in the 2d example past increasing the dissimilarity between light and dark in the foreground and decreasing it in the background.

Saturation and suggesting space

Saturated colours stand out in relation to unsaturated colours (ill. 39). In the starting time analogy we expe-rience depth considering the shapes become smaller and smaller. By then decreasing the saturation from foreground to background the suggestion of infinite is heightened.

Suggesting space through a combination of colour properties

In painting from life space is suggested, as well equally through class perspective, through a combination of colour temperature, brightness and saturation. Of grade the artist has the freedom to proceed to reality, depart from it, or to paint from his imagination. He can opt to emphasize the suggestion of space or precisely avoid it. In all cases the required result tin can just be accomplished by a correct use of colour properties. Using the post-obit examples diverse options are described.

In this illustration form perspective is totally absent-minded: the grass-like shapes are as big in the foreground as in the background. Depth is created solely by combining the possibilities of the properties of colours. At the bottom saturated and warm colours have been used and the dissimilarity in brightness is cracking. Towards the meridian of the moving-picture show saturation and contrast in effulgence gradually decrease, and the colours go predominantly cool. At the very top the shapes disappear in a light grayness colour.

In each of the six rectangles (ill. 41) the top left-hand corner stands out and the bottom right-hand corner recedes. This is because of the diagonal progression of colours: at meridian left saturation, colourtemperature and/or contrast in effulgence are strongly present, at bottom right much less then. Where the rectangles border each other mutually comparable differences tin be seen through which the suggestion of space is emphasized.

In the following examples the suggestion of space is linked to form perspective through combination of colour properties.

The surround of the blueish block (ill. 42) are very saturated and in addition are made up of warm colours. Despite the saturation of the blueish itself and the contrast in brightness between the bluish areas the block appears to be trying to disappear into the background; we do not experience any space behind the shape.

The saturation of the foreground and background is increasingly reduced from forepart to back (ill. 43). The corner behind the discipline is furthest away and hence the about unsaturated. At the same time the angle at which the light falls has too exist taken into business relationship. The light comes from acme right and apart from on the subject, falls mainly on the surface area to the left of it. This causes a greater contrast in brightness between the cast shadow and the footing. The cast shadow is the link betwixt course and the ground. The apply of the properties of colours helps to determine the infinite for the object casting the shadow. The colour of the cast shadow has been fabricated slightly lighter and unsaturated towards the back then that the shadow follows the spatial progression of the ground. The saturation of the bluish areas has been reduced somewhat towards the back and the colour of the lighter areas at the forepart has been made more yellow, and the blue of the dark surface area at the front darker. The foremost point now has a bang-up contrast in brightness and more warmth, and hence stands out more. The block itself is now more spatial and stands out from the background.

The proposition of infinite (sick. 44) through properties of colours always works. If the properties are used in a mode that runs precisely counter to grade perspective every spatial cartoon can be turned into a representation without the suggestion of infinite. In the illustration all the steps described above have been used in reverse.

The landscape (sick. 45)  tin can be divided into four parts: the mountain on the left, the mountain on the right, the view through to the landscape beyond and the sky. The representation is not very spatial. Both the colour temperature and the saturation and the contrast in effulgence are more or less the aforementioned everywhere. Only the sky recedes because of the low contrast in brightness.

The mountain in the foreground stands out more considering of the warm saturated colours. The mountain on the right at present seems further away, the nighttime colours take been made lighter and the lightest colours somewhat darker. The contrast in bright ness compared with the foreground is now conside rably less. The shadows at the foot of the mountain take been painted in with libation colours so that the valley seems deeper and distance from the foreground greater. In the view through the mountains the dark colours have been made lighter and cooler so that space is emphasized.

We can see changes in the heaven besides. Before nosotros deal with these let the states reverberate for a moment on how a sky should be seen in spatial terms. Skies are unpredictable. Depending on the weather condition conditions and the fourth dimension of day dark and lite sections may alternate and saturated, warm or cool colours can appear any-where. Nevertheless the laws of the properties of colours in relation to the suggestion of space use here as well. No sky is and so red that a dark shape will not stand out against it. We should encounter the sky similar the ceiling of a room. If nosotros await straight up the altitude to the ceiling is small. If we await further away at the ceiling the altitude is greater. In other words if we look directly upward at a clear blue sky the blue is dark and saturated. The further towards the horizon we focus our gaze, the lighter and more unsaturated the bluish will exist. The dissimilarity in effulgence in clouds immediately in a higher place us as a outcome of the event of lite and shadow will consequently be greater than the contrast of similar clouds farther away. Accordingly in the illustration we see the contrast in effulgence, saturation and the colour temperature of the sky reducing towards the horizon.

In the terminal examples the colours in a still-life are constructed footstep by step in such a fashion that each object is given its place in space. We practise this in 3 stages.

The painting (ill. 47)  lacks any suggestion of infinite. The red background dominates all other forms and the ground seems to be upright. The colourless grey bottle disappears into the groundwork and the green fruit cannot compete with the anarchism of colour around them.

The saturation of the background  (ill. 48) has been toned down, as has the saturation of the yellow ground towards the back. This defines the space in which the diverse objects must be located. The colours of the cast shadows follow this satu­ration progression and in addition accept been made a little lighter towards the dorsum. Side by side, use has been fabricated of the angle at which the lite falls to requite the shapes contrast in brightness. Information technology is impor­tant that the subjects should retain sufficient colour.

Information technology is not sufficient to make a colour lighter or darker with white or black respectively. The effulgence will change, simply so will the saturation. Unsaturated colours will recede in relation to the starting color and volition cancel out the spatial location of the object.

Depending on the color of the light and the colours of the environment the shadow colours and the calorie-free colours of an object go libation or warmer too equally darker or lighter. The night dish is given more color by repeating the yellow of the basis on the outside. Depending on the material of which the objects are made colours can be reflected back and forth in varying degrees.

The crimson ground (ill. 49) has been fabricated somewhat cooler and darker on the right, towards the bottom left-hand corner somewhat lighter and more unsaturated. Every bit a result the grey bottle and the bluish jug particularly stand out more. The bottle has become considerably more colourful by echoing various colours from the surround on it. The lightest areas of each object have been reinforced with warm colours. Compare, for example, the little blue jug in the previous illustration with jug at present. Thanks to the warm, light colours the jug itself has get more spatial and detaches itself more than from the background. As a terminal step attention was paid to the small details in the foreground.