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An Optical Color Mixture ? Improve Your Painting.

In a chromatics are stated three laws of the optical color mixture, which knowledge is necessary for artists in their practical work.

Small points, strokes or the strips of various colors put on a surface, from certain distance seem monophonic, and various colors merge in one color.

The first law of optical mixing consists in the following: to any chromatic color it is possible to choose another chromatic color, which at optical mixture with the first in the certain quantitative relation gives an achromatic color.

Colors, which in optical mixes can give an achromatic color, name mutually complementary colors. It can be only strictly certain colors. To ultramarine additional is lemon-yellow color, to carmine-red is bluish-green (color of emerald greens), to lemon-yellow is ultramarine and to bluish-green – carmine-red color.

The second law of optical mixture consists that at optical mixture of not complementary colors you will get the color tone intermediate between mixed colors. At mixture of yellow with red, you will get orange color, at mixture of yellow with green it will be dark blue color, etc.

The third law of optical mixture consists that colors, which look equally, in optical mixes give the same results irrespective of what physical structure of the light streams causing sensation of these colors. For example, identical on color monochromatic orange, which has length of wave 610 microns and the same tone the orange, got from waves of 590 and 630 microns, in optical mixes with other colors give absolutely identical results, though in one case color monochromatic, and in the other difficult. However results of an optical color mixture differ from results of mixture of paints, which use artists in painting practice.

Artists often apply in painting laws of optical color mixtures. It is known that at the heart of creativity of post-impressionists lie laws of optical summation of colors and contrast laws. Referring to laws of optical color mixtures stated in the book of Shevrel, Pol Sinyak insisted on advantages of an optical color mixture in painting in comparison with usual mixture of paints. In the program book of post-impressionism of Pol Sinyak, it was written: ?Any material mix leads not only to blackout, but also to the decolouration, any optical mix, on the contrary, leads to clearness and shine?.

At optical mixture of complementary colors and close to them also there is a color decolouration.

Laws of optical mixture in art practice knew not only a post-impressionists, but also masters of ancient painting, founders of Pompeii painting, masters of the Venetian school of painting of the High Renaissance, Diego Velasquez and many other artists.

In painting were used and will be used methods of an optical color mixture, but to consider them it is possible only as one of possible method of construction of a color system or color of a picture.

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