For this exercise, we
will build the piece by linking one color to the next and so forth. We will not
use the 3-color combination technique for this exercise. Choose any of our nine
harmonic progressions (below) to execute the piece. Try the Fifth Progression
if you like. It is based on the Golden Mean.
The Almond Tree by the French master Pierre Bonnard is widely considered one of the great masterpieces of 20th century art. The sparkling harmonies are reminiscent of the pearlescent gems of 16th century Dutch master Johannes Vermeer. In fact, Bonnard kept a small reproduction of a lovely little street scene in Vermeer’s hometown of Delft tacked to his studio wall, along with a Gaughan, a Picasso, and a small oil painting given to him by Renior. How did Bonnard achieve such unprecedented virtuosity with respect to his color compositions?
Bonnard jotted down this perfect summation of the essence of color composition in one of his sketchbooks, where he would from time to time note one of his deep insights into the art of painting next to his exquisite 6B pencil sketches, which are mostly no larger than a postcard.
It’s hard to believe he was able to produce so many
masterpieces over the last 30 years or so of his career, when it became clear
to the art world that the master was exploring harmonic complexities of
extraordinary power and beauty in his paintings. American masters like Rothko,
DeKooning and Stella and others were all devotees of Bonnard, although because
of the fashionable modernist thinking of the time, tended to keep a low profile
on their feelings. The master had taken painting to a whole new level. You get
the feeling Bonnard was just beginning to explore the aesthetic and expressive
power of color composition. He has left the rest for today’s artists to explore.
Toward the end of his life Bonnard wrote: “I am just beginning to understand.” And, “ I feel I am on the verge of attaining the Absolute in my painting.” Bonnard died in January 1947 on a rare snowy day in Le Cannet.
First, hide all the layers except for the bottom one. Then, as you color each, un-hide the layer above to move onto the next one.
Have the layer you want to color selected in the layers window.
Hold Apple + and click the layer in the layers window. (Clock the icon part of the layer, not the text.)
Create a new layer. (The little icon at the bottom of the layers window looks like a page.)
Pick the color you wish to use, then use the paint bucket to fill the selected area. Then hit Apple+D to deselect it, so you can see it better.
Now hide the layer just underneath (the one you just selected.) This is important, because the old color shows through the new color significantly.
That’s it. Move on the next layer above and continue.
COLOR KEYS BY MASTER
COLORS
FIRST PROGRESSION
5, 10, 15, 20, 30, 40 and 80.
SECOND PROGRESSION
6, 12, 20, 25, 40, 50, 80.
THIRD PROGRESSION
5, 10, 20, 25, 40, 45, 90 (88).
FOURTH PROGRESSION
10, 15, 20, 30, 40, 60, 80.
FIFTH PROGRESSION:
THE GOLDEN MEAN
5, 10, 15, 25, 40, 65, 88.
The Golden Mean, otherwise known as the Fibonacci sequence, has been used for centuries in art, architecture and science. This is the first time we have been able to see what this useful and beautiful harmonic scale looks like in color. Give it a try with one of our templates.
SIXTH PROGRESSION
5, 10, 15, 20, 30, 60, 88.
SEVENTH PROGRESSION
5, 10, 20, 40, 80 (black and white), This is the progression offered by the HVC Color Composer’s Auto-Range palettes.
EIGHTH PROGRESSION (THE WHITE PROGRESSION)
5, 10, 20, 40, 50, 60, 80 plus.
Recommended for color compositions on a white field. Perfect for page designers.
NINTH PROGRESSION (WHITE PROGRESSION, 1ST VARIATION)
5, 15, 30, 40, 50, 60, 80 plus
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