Теория и методика профессионального образования | Мир педагогики и психологии №05 (94) Май 2024

Цветовая гамма как средство создания гармонии в живописном изображении

Максимов Глеб Владимирович
студент факультета дошкольного, начального и специального образования, Белгородский Национальный Исследовательский Университет, РФ, г. Белгород, gleb.maksimov.00@bk.ru

Аннотация: Данная статья посвящена систематизации общих знаний о цветовой гамме. В статье раскрывается понятие «цветовая гамма» и её место среди средств создания гармонии в живописном изображении. Также, в статье анализируются особенности реализации в живописи пяти видов цветовых гамм. Все пять видов цветовых гамм описаны в последовательности увеличения сложности их реализации в живописном изображении. Ближе к завершению статьи объясняется отличие между понятиями «цветовой гаммы» и «колорита» в живописи. Статья может быть полезна как для расширения кругозора студентов художественно-педагогических вузов, так и для преподавателей художественных школ.
Ключевые слова: колорит, цветовая гамма, живописное видение, художественное развитие, методика обучения живописи.

Maksimov Gleb Vladimirovich
a student of the Faculty of Preschool, Primary and Special Education, Belgorod National Research University of the Russian Federation, Belgorod, gleb.maksimov.00@bk.ru

Abstract: This article is devoted to the systematization of general knowledge about the color scheme. The article reveals the concept of "color scheme" and its place among the means of creating harmony in a pictorial image. Besides, the article analyzes the features of the implementation of five types of color schemes in painting. All five types of color schemes are described in a sequence of increasing the complexity of their implementation in a pictorial image. Towards the end of the article, the difference between the concepts of "color scheme" and "color" in painting is explained. The article can be useful both for expanding the horizons of students of art and pedagogical universities, and for teachers of art schools.
Keywords: color, color scheme, pictorial vision, artistic development, methods of teaching painting.

Many books by various authors, who are both teaching artists, physicists, art historians and philosophers, are devoted to the study of color. In their works, they pay great attention to light, because only thanks to it we can observe the shape of objects and their color. For example, Johann Goethe in his "The Doctrine of Color" writes: "When you are going to talk about flowers, the question arises of itself whether it is not necessary to mention light first of all" [1, p. 6]. But practicing artists, based on careful observation of color changes under the influence of the environment, independently discovered pictorial patterns. Pictorial patterns create contrasts in a pictorial image and, at the same time, can harmonize them. The color scheme as a means of harmonizing the pictorial image is of some interest from the point of view of the methodology of teaching painting, but it is a less studied concept and needs more detailed consideration. Moreover, there is a discrepancy in the very concept of color scheme, as well as some confusion between the concepts of color scheme and color. The color scheme occupies a significant place in the system of pictorial knowledge and therefore must be studied at a deeper level.

Our article is devoted to this problem. The purpose of the article is to systematize the currently known knowledge about the color scheme in a pictorial image. We assume that by systematizing knowledge about the color scheme, we will be able to apply it in our educational, creative and pedagogical work.

In our opinion, we need to start with the place of the color scheme in the system of pictorial knowledge, as well as the specification of the basic concepts that will be mentioned in the article. In the context of the article, we will talk about a pictorial image as any image created by means of color in a certain system of harmonies. In painting, harmony is considered "... consistency, proportionality, unity of parts and the whole, in particular, in an artistic work, which determine its internal and external harmony, its artistic perfection" [2, p. 88]. Understanding and the ability to create of harmony in a pictorial sketch is one of the main tasks on the way to forming a holistic pictorial vision.

If at the first stage of the formation of a pictorial vision, the differentiated development of pictorial patterns of the image is considered, then at the second stage all attention is focused on the formation of ideas about the functions of these pictorial patterns: "If at the beginning of learning pictorial patterns were perceived as a means of creating a reliable object-like image, then at the second stage they should be perceived as a means of creating an expressive pictorial image. Patterns acting as contrasts and harmony allow you to create an expressive image. However, their selection at this stage should be carried out consciously. Therefore, first the student must master the patterns of the image in the function of creating contrasts, then in the function of creating harmony" [3, p. 56-58].

The second stage of the formation of a pictorial vision considers the functions of pictorial patterns in a pictorial image. That is why at this stage the patterns of creating a color scheme in a picturesque sketch from nature are considered. The color scheme acts as the easiest way to harmonize the image. Besides, at the second stage, the question arises of solving the contradiction between the plane and the space of the painting. Based on this, the ways of creating harmony in painting can be divided into two groups: ways of creating harmony on the plane of the canvas and ways of creating harmony in the space of the painting. Vladimir Mogilevtsev in his methodological manual "Fundamentals of painting" talks about the essence of a painting: "Any painting consists of a plane (base) and colorful spots applied to this plane" [4, p. 16]. However, the image itself is either subordinated to the picture plane, or creates the illusion of space. It is the colorful spots that create, in turn, the picturesque plane and space of the painting. Harmony in the space of the painting requires the spatial integrity of the image, which can be created through the spatial arrangement of the image, aerial perspective, transmission of the nature of lighting and color-tonal relationships in the work. Harmony on the painting plane of the canvas presupposes the color integrity of the image, which can be created by using one of the five types of colors. The color scheme creates harmony in the work, reducing the entire image to a single color denominator, however, each of the color schemes uses different means for this.

In the Art and Pedagogical Dictionary, the color gamut is defined as follows: "The color gamut is the main relationship of color tones that prevail in a work and determine the nature of its pictorial solution (for example, the painting is painted in a cold scale, etc.)" [2, p. 88]. James Gurney defines it as: "The whole spectrum of possible colors of a particular painting" [5, p. 124]. We will stick to the definition of the color scheme, which indicates the predominance of any color tone in the picture. In this regard, we believe that the color scheme is a certain spectrum of prevailing color tones that unite the picture plane.

The color scheme can be distinguished by the colors of the spectrum (red, orange, yellow, green, etc.). In turn, the color spectrum is divided into warm and cold color tones. In this regard, they talk about warm (consisting of red, orange, yellow tones) or cold colors (consisting of blue-green, blue and purple tones). The analysis of paintings allows us to identify the following types of scales:

- color scheme created in a full-scale production by objects of the same color of different tonality and degree of lightness,

- color scheme due to a color filter,

- color scheme based on the dominant color in the production,

- lighting color scheme,

- achromatic color scheme.

It is important to note that the color scheme is one of the easiest ways to create harmony in a pictorial image, as it allows you to solve the conflict between the contrasts with which the artist creates form and space in the painting, and the need to create color integrity on the canvas. Moreover, in each of the five ways of creating a color scheme, pictorial patterns "work" in different ways.

For example, you can create harmony with the help of a color scheme by assembling a statement of objects, things of the same color. These can be red objects placed against the background of the same red draperies. Such a still life, created by objects of the same color, but of different shades and degrees of lightness, will already be artificially harmonized (the color scheme arises in nature itself), thereby provoking the artist to work in the same color scheme. In this case, in a pictorial sketch, according to the law of optical contrast (sequential contrast), colors appear that are opposite to the main color of the production. And due to the emergence of consistent contrast in a pictorial sketch, it will be legitimate to use achromatic gray. This will enrich the color palette.

A similar effect can be achieved by passing any setting through a color filter. Despite the fact that the colored glass through which the artist looks at nature will color the entire still life, in the process of writing the eye setting, it will still adjust to the filter effect, and we will be able to guess the local color of the object. In this case, the pictorial patterns are significantly adjusted. For example, heat-cold contrasts may not be used at all, or they may be significantly weakened. The still life will turn out to be harmonized, since the local color of the object or drapery will already be distorted by the overall color of the filter. The artist can only transfer the existing color relations to the plane of the canvas, while the color of the filter will dominate in the picturesque sketch.

The color scheme of the dominant color will be more difficult to perform, since in this case the color scheme will not be laid down in advance in the still life and the artist will have to create it himself already in the sketch itself. In such a operate, all the pictorial patterns work in the same way as when writing an ordinary sketch from nature. However, color reflexes will play a special role, since the gamma of the dominant color will be realized with their help. Besides, for a more visible effect, this pattern should remain leading in relation to other pictorial means. When writing a sketch, the artist must convey how the subject of the production chosen for the dominant colors all other objects of the production with the help of simple and complex reflexes. In this case, the color scheme will be created by the fact that the dominant color through complex and simple color reflexes will combine all the colors of the full-scale production and create a sense of harmony and integrity in the sketch.

The color scheme created by lighting can be staged. To do this, nature can be illuminated with the light of a colored lamp. However, the color of the lighting may also be of a natural nature. For example, sunlight, depending on the time of day (morning, afternoon or evening), may have a color that varies from shades of lemon to orange-red. In this case, the color of the lighting will color all the illuminated parts of the full-scale production, while absorbing the local color of objects and surroundings, and thereby creating the overall color coloration of the sketch. In this study, special attention will need to be paid to the transmission of chiaroscuro relations, heat and cold, as well as the nature of the lighting of the production. As mentioned above, the color of the lighting can be staged, then colored lighting is directed to a pre-prepared production, which also colors the areas of the production covered by it. However, changes will occur not only in the illuminated part, but also in the shadow part. Along with the light, the color of the shadows of the entire production will change, according to the law of contrasts, the shadows will acquire a color opposite to the color of the lighting. For example, if the lighting color is red, then the shadows will turn green, creating an "additional color contrast" in the work. This contrast should be further harmonized by introducing a large number of gray spots into the work. As a lighting color, for a more visible effect, it is better to choose one of the three main colors: red, yellow or blue.

In the achromatic color scheme, contrast in additional color plays a fundamental role. The production is assembled in such a way that it contains objects and draperies of contrasting (opposite in color circle) colors (red and green, blue and orange, yellow and purple). Subsequently, the contrasts we created in the production should be harmonized, but already in the sketch itself. The harmonization of contrast by additional color will be solved by introducing a large number of gray shades into the pictorial image, as a result of which the image will be calm and pleasant to consider. The achromatic scale arises as a result of the interaction of additional colors in the full-scale production, for example, red and green. Pairs of contrasting additional color tones cause the optical illusion of a gray achromatic color. In this case, the entire pictorial sketch can be solved through achromatic color. Johannes Itten explains this effect as follows, referring in his book to the remark of physiologist Ewald Goering: "Medium or neutral gray corresponds to that state of optical substance in which dissimilation - the expenditure of forces spent on color perception, and assimilation - their restoration - are balanced. This means that the average gray color creates a state of equilibrium in the eyes." [6, p. 22]. The introduction of gray tones will create an achromatic color scheme in the pictorial image.

Thus, the color scheme is a way to harmonize the color environment of a picturesque sketch. The subject and the environment in such an image merge, creating a complete pictorial picture. Harmony in a pictorial image through a color scheme is always created by introducing the predominant color into the work, however, five types of color schemes open up a lot of room for different approaches to solving pictorial tasks and creative experiments.

Having dealt with the definition of the color scheme and systematized its five types, you can begin to distinguish between the concepts of color and color. Color, as well as color scheme, acts as a means of creating harmony in painting, however, it is more difficult to understand and implement on canvas. The color scheme may imply the presence of a color scheme, since it is a broader system of pictorial patterns, but the color scheme itself is not yet a color scheme. A more detailed study of the color is reflected in the article by D.E. Starichenko "Continuity in the development of pictorial perception in a student of a secondary and higher educational institution", in which the author defines color as: "harmony of contrasts" [7, p. 198]. Color is a system of adding certain pictorial patterns with the dominance of one of them. The systems of color were formed gradually in the history of the development of painting, as artists discovered pictorial patterns. So, in the modern painting system, there are three types of color: local, light-tonal and optical. The local color system is carried out by the interaction of three pictorial patterns: object color, chiaroscuro and a complex color reflex, moreover, object color is the dominant pattern. The same patterns are involved in the light-tonal color, but chiaroscuro acts as the dominant. All six pictorial patterns mastered at this stage participate in the optical color: object color, chiaroscuro, simple color reflex, contrast in heat and cold, aerial perspective, as well as contrast in additional color. At the same time, any of the patterns can be dominant in the optical color. In this article, we will not consider in detail the essence of each color system. But already from this small piece of the text it is clear that the color scheme and coloring are different, deeply different concepts from each other.

Summing up, it should be noted that knowledge about the color scheme is of great importance for the formation of a holistic pictorial vision at the second stage of mastering the system of pictorial patterns. Being one of the simple means of harmonizing a pictorial image, the color scheme gives rise to a more serious idea of creating harmony in painting. The materials of this article will definitely be useful both for students of art universities and for teachers.

1. Goethe I. The doctrine of color. Access mode: https://bookzip.site/reader/15124/ (Date of request: 03/15/2024)
2. Artistic and pedagogical dictionary / Comp. N.K. Shabanov, O.P. Shabanova, M.S. Tarasova, T.D. Pronina.- M.: Academic Project: Triksta, 2005. - 480 p.
3. Starichenko D.E. The formation of a pictorial vision for future teachers of fine arts at a pedagogical university / by the example of a still life/: Dissertation for the degree of Candidate of Pedagogical Sciences - Moscow: 2009. - 238 p.
4. Mogilevtsev V.A. Fundamentals of painting: Textbook. - St. Petersburg: 4 art, 2012. - 96 p.
5. Gurney J. Color and Light / James Gurney; [trans. from the English by I.Yu. Naumova]. - M.: Eksmo, 2019. - 224 p.
6. Itten J. The Art of Color /Translated from German; 14th edition; Foreword by L. Monakhova. - M.: D. Aronov Publishing House, 2021. - 96 p.
7. D. Starichenko.E. Continuity in the development of pictorial perception among students of secondary specialized and higher educational institutions // materials of the regional scientific and practical conference continuity in education: experience, problems, prospects - Belgorod: 1999. - S. (196-198)