Color choices

1. The color wheel What is a color wheel? My color wheel specifically Colors on the Quiller wheel Table of colors and paint manufacturers Locating colors on the outside of the Quiller wheel Primary, secondary, and tertiary complements Other pure complementary colors that create beautiful semineutrals Locating colors on the inside of the Quiller wheel Earth colors and their complements How to find colors not on the wheel Using this color information for other media Mixing fresh, vibrant color Organizing a workable palette Paintings based on a pure color palette 2. Monochromatic and complementary color schemes The monochromatic color scheme Value and color relationships The range of the monochromatic scheme Black White Organizing values in a monochromatic color scheme Six studies Paintings using the monochromatic color scheme Workshop : monochromatic color schemes The complementary color scheme Complements in nature Warm and cool complements Creating balance through warm and cool colors Ways to mix a neutral Applying color to create semineutrals Semineutrals make pure color sing Dominant and subordinate color Six studies Three paintings Workshop : complementary color schemes

3. Analogous and split-complementary color schemes The analogous color scheme Using analogous colors in a study Selecting analogous colors Analogous color schemes create harmonious color The full range of the analogous scheme Using dominant and subordinate color An analogous scheme in a high-key relationship One pure accent, with two semineutrals Analogous semineutrals Analogous colors of full intensity Six studies Three paintings Workshop : analogous color schemes The split-complementary color scheme Selecting colors for the split-complementary color scheme Color relationships in the split-complementary color scheme Mixing semineutrals with the split complement Mixing semineutrals with direct complements Color proportions in the split-complementary color scheme Applying split-complementary color in a transparent-opaque manner Interaction of transparent, translucent, and opaque Glazing with split-complementary color Six studies Three paintings Workshop : split-complementary color schemes 4. Triadic color schemes Choosing colors for a triadic color scheme Dominant, subordinate, and intermediate color The primary triad, yellow, blue, and red Secondary triadic color schemes Tertiary triadic color schemes Other possibilities of pure hue triads Triads using pure hue and semineutral true colors Semineutral triadic color schemes Three paintings Workshop : triadic color schemes

5. Going beyond structured color

Working on location

Using the Quiller wheel to set up a palette

My painting approach on location

Altering the traveling palette

Other palette arrangements

Developing studio paintings from on-location color studies

Four paintings

Paint applications

Glazing methods for transparent and translucent color

A controversial combination : transparent and opaque color

Tips for combining transparent and opaque color

Interaction of transparent, translucent, and opaque color

Energizing the painting surface

Inner vision

Workshop : going beyond structured color schemes

6. Master colorists

Dutch painters

Rembrandt van Rijn

Jan Vermeer

English painters

J.M.W. Turner

William Blake

Samuel Palmer

Impressionists

Claude Monet

Edgar Degas

Mary Cassatt

Postimpressionists

Paul Cézanne

Vincent van Gogh

Paul Gauguin

Henri de Toulouse-Lautrec

Pierre Bonnard

Later 19th- and early 20th-century painters

Joaquín Sorolla y Bastida

Winslow Homer

John Singer Sargent

John Henry Twachtman

Arthur Melville

The eight and its school

Robert Henri

John Sloan

The Taos School

More American painters

Newell Convers Wyeth

Edward Hopper

George Bellows

Georgia O'Keeffe

Andrew Wyeth

Wayne Thiebaud

Wolf Kahn

Historical perspective on color theory.