Digital Drawing Request

Posted on 3rd September 2010 by lauren in Art,Video,paintings | Tags: , , ,

So I was messaged by Joeystar3chasebrown the other day on Youtube with a request to paint a portrait.  Joey’s channel is a makeup/blog channel.  Joey also writes music; the single “Higher” is featured in this video.

Here’s the final image:

For this painting I went with more of a sketched painted look rather then fully realistic. I used a hard brush and chalk brush – always set to pen pressure – and once I had all my colors down on the canvas, I smoothed them out a little with with the soft brush.

I’ve found a new method of drawing hair rather then just smudging – which I don’t like to do too much because it makes Photoshop slow and it takes forever for Photoshop to catch up with what I just did.  Instead, I’m starting to use the burn and dodge tools. I’ve used this method on the Laughing Octopus painting and I’ll get a tutorial on how I do it exactly to you ASAP. For now, enjoy the video:


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Learn to Digitally Render Cars!

Posted on 17th August 2010 by lauren in Art,paintings | Tags: , , ,

So lately I’ve been reading and sampling this product to teach you how to Render Cars in Photoshop – or any program like it. It’s called “How To Render Cars In Photoshop: Fast and Easy”.

I don’t know about anyone else, but sometimes written tutorials confuse me – even with pictures they seem to jump from one step to an another…I’ve read some bad tutorials that couldn’t explain how to do anything right! I did, however, find some I did like and am quite fond of. But I’d have to say video tutorials are best because you can see what the person is doing. This program has 4.5 hours of video content to teach you how to render cars – hallelujah!

I love photo realism but it can be quite difficult if you don’t know what you’re doing. And with cars…I HAVE NO IDEA WHAT I’M DOING! Check out this photo:

Yeeah this could be way better! I’ve always had a problem with drawing cars and rendering them in photoshop wasn’t any easier for me. But with a good teacher and plenty of detailed instruction I think anyone can learn how to render cars in photoshop.

If you’d like to learn more about this product, follow these links:

Render Cars In Photoshop

Draw Cars In Photoshop

Render Cars Fast and Easy


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Painting a Room: The Psychology of Colors

Posted on 1st September 2010 by lauren in Art,Guest Post,Tips | Tags: , , ,

Hello art lovers! Today is a special day because Philip Rudy, from Painting Contractor USA has offered to write a guest post on, you could probably guess, the psychology of colors when painting a room! Please enjoy this post!

Having a hard time picking a color for your room? It can be tough to settle on the endless shades of whites and greens or choose a pattern for your favorite bedroom or bathroom. However, there is a psychology to color that you can use to trick your guests (or even yourself) into thinking that your room is something that it is not. This goes well beyond thinking that bright colors make you happy and dark colors make you sad. The right color can give the illusion of size or depth as well as inspire emotions that you would like to feel while in the painted room.

Space Illusions

One of the prominent concepts of color psychology when painting a room is that bright colors make a room seem larger while darker colors will make it seem smaller. Why would you want your room to look smaller you ask? Well, if it is a size-able room without a great deal of furniture or other items within it, using a darker color could accent the items within it and make them more distinct – especially if those objects are bright. Another fantastic painting design idea includes a black room with glow in the dark stars or planets on the ceiling. Consider taking it one step further with a black ceiling and nighttime landscape on the walls – the perfect place for meditation or reflection.

Of course, most people would like smaller rooms to appear larger. If you have ever wondered why a popular pain choice for interiors is white, it is not just because it is plain. White is the ultimate light color that can add a great deal of space to a room. Other bright colors, when used tastefully, can add the illusion of space including yellow, orange and pink. Stay away from red for bedrooms or bathrooms – we’ll get to this nasty color next.

Psychology of Colors: Colors to Avoid When Painting a Room

There are certain colors most people try to avoid when painting a room and painting contractor will definitely tell you that these are their least profitable colors. While blue can calm and relax, red is a very negative color when it comes to room painting psychology. Not only does it increase your rate of respiration and blood pressure, it has the power to make you lose track of time. Some restaurants like to use plenty of red in their design because the color is known for stimulating appetite – or making you hungrier. This is another reason why you won’t see red used in many buffets.

Yellow is another color that you might want to avoid when painting a room. Both yellow and red are fine for accent colors – yellow blends well with blue in a kitchen and red can accent white or beige very well in a bedroom or bathroom. However, you won’t see many rooms painted almost entirely in yellow. This color has been known to enrage people in the room as well as making babies cry more often than normal. So, if you are hard set on a yellow baby room for your newborn, be prepared for a few sleepless nights.

You can visit Philip’s site here!

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Color Tone, Saturation And Lightness. Coloring In Painting.

Posted on 1st September 2010 by awnpromo in Art | Tags: , , , ,

Color tone is a quality of chromatic color, which we usually name red, orange, yellow, green, etc. It can be compared to one of spectral or purple colors. Color tone is designated by length of the wave expressed in micrometers.

All achromatic and chromatic colors are advanced by one characteristic – lightness, or relative brightness.

Lightness is a relation of a stream of light reflected or dropped by the object, to a falling stream; it is expressed in relative units. From here follows that than more close the color characteristic to unit, that it will be lighter: the darkest places have lightness, close to zero.

The color saturation is a degree of difference of chromatic color from achromatic of the same lightness.

In a chromatics often measure not a saturation perceived visually, and so-called cleanliness, or colorimetric saturation of color, which is advanced by the relation of brightness of a spectral component to the general brightness of color. Color purity – relative size also is usually expressed in percentage. Cleanliness of spectral colors is accepted for unit, or for 100 percent, and cleanliness of achromatic colors is equal to zero.

Knowing color tone, lightness and color saturation, it is possible to measure any color quantitatively. The slightest change of one of three sizes advancing color involves color change.

The method of definition of color under these three characteristics, convenient because it is possible to advance color quantitatively, is successfully applied in various areas of a science and engineering, including in printing industry, textile production, color television, etc. where to color measurement apply special devices – spectrophotometers and colorimeters of various systems. All methods of definition of color in colorimetry are based on comparison of colors, which lie in one plane and are in identical conditions of illumination.

In painting at work from location the artist should analyze and compare the colors inherent difficult under the form in volume objects or subjects, which, as a rule, are in an environment of the color environment or subjects of other color and which are possessed on several, sometimes rather removed from each other, plans and, hence, various conditions of illumination.

Coloring in painting.

Coloring in painting – the major element of the art form serving to disclosing of the figurative contents of works of art. The term “coloring” occurs from a Latin word “color” that means color or paint. Coloring in painting is a character of interrelation of all color elements of product, its color system as one of means of the truthful and expressive image of the validity. Throughout centuries, since XVI century, among artists there was a dispute on a primacy of the form or color, drawing (line) or color and painting, which was decided basically idealistically in search of the absolute, in a separation of one concept from other. Artists of Renaissance evaluated drawing as a painting fundamental principle, but during the same epoch along with linear school of Florentines, there was a pictorially-color school of Venetians – Titian, Veronese and some others.

Can’t live without abstract paintings? Searching for a place to talk about art? You are invited to go to this site – here you can view, make comments on, and purchase many abstract art paintings directly from the artists at the best terms available.

Luckily we live in the world of digital technologies. It wouldn’t be good not to use this truly unique chance. Modern online technologies give us a way to break the borders and search modern abstract art paintings all over the planet. Go to social networks, check respective topics, join discussions in niche forums. All this will help you keep abreast of the events concerning your hobby. Also, sign up for the RSS feed on this blog not to miss the latest publications on the topic.

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An Optical Color Mixture – Improve Your Painting.

Posted on 1st September 2010 by awnpromo in Art | Tags: , , , ,

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.

Are you fond of abstract paintings? Looking around for a spot to talk about art? You are welcomed to go to this site – there you can observe, make comments on, and purchase many abstract art paintings directly from the artists at the best terms available.

Luckily we live in the world of high technologies. It wouldn’t be good not to use this truly unique chance. Modern web technologies allow us to break the borders and look for modern abstract art paintings all over the planet. Check out various social networks, check respective topics, join online discussions in niche forums. All this will help you be well informed about the events concerning your interests. Also, sign up for the RSS on this blog not to miss the latest publications on the topic.

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    Role Of The Theory Of Color In Art.

    Posted on 31st August 2010 by awnpromo in Art | Tags: , , , ,

    Painting in some old manuals is quite often defined as drawing by paints that specifies in the basic sign of painting distinguishing it from other kinds of the fine arts, namely of work by paints, i.e. with color.

    Color problems under various points of view are learned at the present in variety of sciences and scientific disciplines. The physics studies the power nature of color, the physiology – perception process by human eye of waves of certain length and their transformation into color, psychology – problems of perception of color and its influence on mentality, the biology – value and color role in ability to live of lively and vegetative organisms, the mathematician develops techniques of measurement of color.

    In the theory of painting art and picturesque practice are studied mainly aesthetic properties of color, law of creation of color system, color of picture, various receptions of use of contrasts, parity of color with other components of the art form, such, as line, plastic arts, treatment of light and shade, color role in composition picturesque work.

    The main criteria of estimation of color and color combinations in art practice of the fine arts are their beauty, conformity as to natural color and the color combinations existing actually, and creative plan of the artist.

    Laws of coloristic combinations in painting are processed by creative consciousness of the artist of certain laws of the objective validity.

    Color harmony, color, the contrasts existing actually, the artist in own way perceives, generalizes, interprets according to creative plan, and sometimes and considerably transforms, reconsiders.

    The knowledge of scientific representations of color can’t replace, of course, necessity of studying by the artist of the nature in all its variety and complexity of displays of forms and colors, but can essentially enrich art practice as it was repeatedly observed in the history of arts.

    Scientific knowledge of color is necessary for the artist and for development of technology of painting. The picture paint layer is perceived by the spectator thanks to variety of physical processes – to reflection, refraction, absorption, dispersion, radiation, etc.

    Conditions of exposition of products of painting also demand the accounting of many optical laws.

    In the fine arts, and particulars and in painting, in each specific case – the phenomenon unique, and it is impossible to reduce art creativity to the scheme. The artist creates not under recipes, almost each artist has creative technique, creative principles, the secrets of skill quite often based on intuition. In creative process rather important role belongs to intuition. In materialistic understanding of intuition, to sudden “inspiration” of the artist precedes the job of consciousness hidden from the author, organizing and subordinating certain laws external, apparently, chaotic impressions.

    Are you fond of abstract paintings? Searching for a place to talk about art? You are welcomed to go to this site – there you can view, make comments on, and buy many abstract art paintings directly from the artists at the best terms available.

    Luckily we live in the world of digital technologies. It wouldn’t be good not to take advantage of this really unique chance. Current web technologies help us break the borders and look for modern abstract art paintings all over the world. Visit social networks, review related topics, join discussions in niche forums. All this will help you keep abreast of the events concerning your interests. Also, sign up for the RSS on this blog not to miss new publications on the topic.

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    Light And Color In The Art Painting.

    Posted on 31st August 2010 by awnpromo in Art | Tags: , , , ,

    What does color represent from the point of view of physics and how this knowledge is applied in fine arts practice?

    All variety of world around we see thanks to the light and sight. Various heated objects – the sun, lamp filament, the heated metal, gases, oil lamp flame, fire etc., which are named light primary sources, radiate the light. The structure of light shining various subjects, appreciably influences on visible by the person color of these subjects.

    Under the influence of light waves, with fluctuations of different frequency, the person has various light and color sensations. Light extends waves of certain length. The length of wave is distance on which extends fluctuation for one period, i.e. for time necessary for one full wave. The length of light wave is designated by the Greek letter λ, and measured in micrometers. (Micron).

    The visible spectrum, i.e. the waveband perceived by the person, is limited by waves in length approximately 396-760 microns. Some researchers consider that the eye of the person is capable to feel light beams in limits of 802-950 microns, however sensitivity of eye to extreme visible beams in hundreds times are less, than to light beams with length of wave 396-760 microns.

    Direct light of primary sources (the Sun, etc.) falls on surrounding subjects and the objects, thus opaque subjects absorb part of beams, and reflect part of them. Color of opaque subject is defined by light, which from it is reflected. At transparent subjects or having in the structure gleams or micropores (for example, fabrics) part of beams is reflected, part is absorbed also the part is passed. As a result, all subjects and objects become source of reflected light, and enough considerable, as for example, the Moon, the Earth, heavenly bodies, etc.

    Thus, all subjects and objects in the nature are illuminated by both direct, and reflected light.

    Newton has formulated for the first time thought on difficult structure of white sunlight. If to put glass of trihedral prism on way of solar beam, instead of white light beam there will be color strip from the various colors, named spectrum. Colors in spectrum settle down in certain order: red, orange, yellow, green, blue, and dark blue, violet. Each color gradually, without sharp borders, by means of set of intermediate colors passes in other color. The same pure, bright, spectral colors can be seen in rainbow.

    The colors that differ by different chromaticity (red, orange, yellow, green, blue, dark blue, violet) are named chromatic (color).

    In spectrum there are no white, grey colors, and also black color. These colors, which are absent in spectrum, it is possible to distinguish only on lightness. Group of white, grey and black colors are named achromatic (colorless).

    Chromatic colors differ from each other to three signs: to color tone, saturation and lightness.

    Learn more about colors and your paintings will become better! Good luck!

    Are you fond of abstract paintings? Looking around for a place to discuss art? You are welcomed to check out this site – there you can review, comment on, and purchase many abstract art paintings directly from the artists at prices that are affordable to most people.

    Luckily we live in the world of digital technologies. It wouldn’t be wise not to use this truly unique chance. Modern web technologies give us a way to break the borders and look for modern abstract art paintings all over the planet. Visit different social networks, review related topics, join discussions in niche forums. All this will help you be well informed about the events concerning your hobby. And, subscribe to the RSS on this blog to keep track of new publications on the topic.

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    Still Life Always Has Special Place Into Art Painting.

    Posted on 31st August 2010 by awnpromo in Art | Tags: , , , ,

    Peering into world around, getting by inquisitive mind into its laws, solving fascinating secrets of life, the artist better and also the multilaterally displays it in the art. He doesn’t only represent the world surrounding him, but also passes the understanding, the relation to the validity.

    The history of addition and development of various genres of painting is the live certificate of indefatigable job of the human consciousness, aspiring to capture infinite variety of activity, aesthetically to comprehend it.

    Still life is rather young genre. In Europe it has received independent value only in the seventeenth century. The history of development of still life is interesting and instructive.

    Especially full and brightly the still life has blossomed in Flanders and the Netherlands. Its occurrence is connected with those revolutionary historical events in which result these countries, having received independence, in the beginning of seventeen century have taken way of bourgeois development. For Europe of that time it was the important and progressive phenomenon. Before art have opened new horizons. The historical conditions, new public relations directed and defined creative inquiries, changes in the decision of problems facing to the painter. Directly without representing of historical events, artists have in a new fashion looked at the world, have found new values in the person. Life has appeared before them from new relevancy and completeness. They were involved with features of national life, the native nature, prophetic, storing on them mark of works and days of simple people. From here, from conscious, deepened, system of the prompted interest to people’s life was born the isolated and independent genres of household picture, landscape; there was also still life.

    The art of the still life, which has developed in the seventeenth century, has defined the basic qualities of this genre. The picture devoted to the world of things, told about the basic properties inherent in subjects, surrounding the person, opened the relation of the artist and the contemporary to that is represented, expressed character and completeness of knowledge of the validity. The painter passed material life of things, their volume, weight, the invoice, color, functional value of subjects of use, and their live communication with activity of the person.

    The beauty and perfection of house utensils were defined not only their necessity, but also skill of their founder. In still life of revolutionary epoch of winning bourgeoisie was reflected the respect of the artist for new forms of national life of compatriots, respect for work.

    Formulated in the seventeenth century, genre tasks in general existed at the European school up to the middle of the nineteenth century. However it doesn’t mean that artists didn’t put before themselves new tasks, mechanically repeating ready decisions.

    Throughout epoch, varied not only methods and ways of the picturesque decision of still life, but art experience collected, in the course of formation developed more difficult and constantly enriched sight at the world. Not one subject as that, but its various properties became object of transformation, and through disclosing of again understood qualities of things was expressed the own, modern relation to the validity, revaluation of values, measure of understanding of reality.

    Like abstract paintings? Searching for a spot to talk about art? You are welcomed to visit this site – there you can observe, comment on, and buy many abstract art paintings directly from the artists at the best terms available.

    Luckily we live in the world of digital technologies. It wouldn’t be wise not to use this truly unique opportunity. Modern Internet technologies allow us to break the borders and look for modern abstract art paintings all over the world. Go to different social networks, look through related topics, participate in online discussions in niche forums. All this will help you be well informed about the events concerning your hobby. And, sign up for the RSS on this blog to keep track of the latest publications on the topic.

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    History Of A Still Life As A Genre.

    Posted on 31st August 2010 by awnpromo in Art | Tags: , , , ,

    In the fine arts as a still life (from French “natur morte” – “the dead nature”) is accepted to name the image of the inanimate objects united in uniform composite group. The still life can have as independent value, and to be a component of composition of genre painting.

    In still life is expressed the relation of the person to world around. In it is that understanding of perfect, which is inherent in the artist as to the person of his time.

    Art of object for a long time, even long before transformation into independent area of art creativity, was integral part of any considerable product. The still life role in picture was never settled by the simple information, casual addition to the basic maintenance. Depending on historical conditions and public inquiries, subjects more or less participated in creation of image, shading this or that side of plan. Before the still life has developed in independent genre, the things surrounding the person in ordinary life, only to some extent entered as attribute into antiquity pictures. Sometimes such detail got unexpectedly deep relevancy, received own sense.

    As the certain kind or genre of painting, still life knows its raising and falling in the history of art.

    Severe, intense-ascetic art of Byzantium, creating the immortal, is monumental-generalized, loftily heroic images, with unusual expressiveness used images of separate subjects.

    In Old Russian iconography also played big role those not numerous subjects, which the artist entered into the strictly initial products. They brought spontaneity, vitality, and at times it seemed open expression of feeling in the product devoted to in abstracto mythological plot.

    Also the still life played the big role into pictures of artists of XV – XVI centuries in Renaissance. The painter, who has paid steadfast attention to the world surrounding him for the first time, aspired to specify place, to define value of each thing serving to the person. Household articles got nobleness and pride relevancy of their owner, the one to whom they served. On the big cloths the still life took usually very modest place: glass vessel with water, graceful silver vase or gentle white lilies on thin stalks huddled in picture corner more often. However in the image of these things there was so much poetic love to the nature, their sense is so highly spiritualized that here it is already possible to see all lines, which have defined further independent development of the whole genre.

    Subjects, material element has received in pictures new value in seventeenth century – during the epoch of developed still life genre. In complex compositions with literary plot they have taken the place along with other heroes of product. Analyzing products of this time, it began possible to see what important role still life played in picture. Things began to act in these products as the main characters, showing that the artist can reach, having devoted to this kind of art the own skill.

    The subjects made skilful, hardworking, wise hands, bear the impress of thoughts, desires, inclinations of the person. They serve to him, please him, and inspire real pride.

    Love abstract paintings? Looking for a place to discuss art? You are invited to check out this site – here you can review, comment on, and buy many abstract art paintings directly from the artists at the best terms available.

    Fortunately we live in the world of high technologies. It wouldn’t be wise not to take advantage of this truly unique chance. Current online technologies help us break the borders and search modern abstract art paintings all over the world. Go to social networks, check respective topics, join online discussions in niche forums. All this will help you be well informed about the events concerning your interests. Also, subscribe to the RSS on this blog to keep track of new publications on the topic.

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      Contrast And Its Role In Painting.

      Posted on 30th August 2010 by awnpromo in Art | Tags: , , , ,

      Contrast is one of the major shape-generating elements of painting. Color harmony, color, treatment of light and shade in painting are constructed frequently by contrast principle. The contrast symbolics is used often in painting for transfer of the certain philosophical, world outlook maintenance.

      Artists used the contrast phenomenon from painting occurrence. But the first it was described by Leonardo da Vinci: “From colors of equal whiteness and equally removed from eyes that will be the purest by sight, which is rounded by the greatest darkness, and on the contrary, that darkness will seem to the most gloomy which will be visible at the purest “whiteness”, each color is distinguished better on the contrast”. At studying of the phenomena of contrast from the scientific point of view allocate two aspects of problem – psychophysiological and aesthetic. The conclusions received at studying of the phenomena of contrast by psychologists and physiologists, can form objective scientific basis for studying of the theory of contrast in art practice as one of means of art expressiveness in painting.

      The artist in creative practice studies laws of displays of contrast: he observes and studies, first, contrasts in constantly changing nature and, secondly, on image plane (paper, cardboard, canvas) contrast influence of two or several color tones, or dabs. Subject of studying for artists is also dependence of contrast on the areas of color calling this phenomenon. Contrasts are divided on two groups – achromatic (light) and chromatic (color). In each of groups distinguish three kinds of contrast: synchronous, consecutive and boundary (or regional).

      Synchronous light contrast.

      Artists often are faced the phenomena of achromatic, or light, contrast, which essence consists also that the light stain seems lighter against a dark background, and dark on light is more dark, than it is actually. In the first case contrast name positive, in the second, case – negative. Conditionally clearly, surrounded with more light or dark tone, name “reacting field”, and background – inducing field.

      Researches of simultaneous light contrast have revealed that the reacting field always changes lightness more considerably, than inducing that at excessively big brightness the contrast phenomenon weakens that the effect of simultaneous light contrast depends both on absolute brightness, and from difference of brightness reacting and inducing field. At very low or high distinctions in brightness contrast is absent or is rather insignificant. Simultaneous light contrast depends on the size of the areas of reacting and inducing field. The less reacting field, the more strongly owing to contrast it lightens. At equal brightness the big area of reacting field always seems more darkly of the smaller area of inducing field.

      Simultaneous light contrast depends also on configuration of reacting field (the circle, ring, square or the letter on the same background on an equal illumination are accompanied by contrast of various force) and from distance between reacting and inducing fields. Force of contrast usually decreases at distance increase between contrasting fields. Simultaneous light contrast is shown not only in dimness or lightening of reacting fields, but also in seeming change of their sizes. The light stain against a dark background seems more than it is actually and on the contrary, the dark stain on light background seems less. Seeming change of the linear sizes at simultaneous light contrast is called irradiation. Leonardo da Vinci, who also paid attention to the irradiation phenomenon, said: “From the subjects equal on darkness, size, figure and distance from eyes, that will seem smaller, which will be visible on the brighter or white field”.

      Can’t live without abstract paintings? Looking for a spot to discuss art? You are welcomed to check out this site – here you can review, comment on, and purchase many abstract art paintings directly from the artists at the best terms available.

      Luckily we live in the world of high technologies. It wouldn’t be good not to take advantage of this really unique opportunity. Current Internet technologies help us break the borders and look for modern abstract art paintings all over the world. Check out social networks, review related topics, join online discussions in niche forums. All this will help you be well informed about the events concerning your interests. And, sign up for the RSS feed on this blog to keep track of the latest publications on the topic.

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        Psychophysiological Influence Of Color And Its Symbolics.

        Posted on 30th August 2010 by awnpromo in Art | Tags: , , , ,

        For the artists, working in the area of painting and decorative and applied arts, the great value has the knowledge of psychophysiological influence of color on the person caused by laws of its perception.

        Many experts and theorists of art were interested in questions of emotional influence of color on the person – Leonardo da Vinci, I. W. Goethe, E. Delacrua, M. Deribere, M. Alpatov, I. Grabar, N. Volkov, etc.

        About influence of color on mentality of the person and its use in medical practice writes M. Deribere: “Green color influences nervous system. It is soothing, hypnotizing color. It is effective at nervous irritability, sleeplessness and weariness, it lowers blood pressure, improves tone: it creates sensation of heat, expanding capillaries. Facilitates neuralgia and the migraines connected with the raised blood pressure. Green color calms, and its use don’t give any harmful consequences.

        Blue color is antiseptic color. It reduces suppuration, can be effective at some rheumatic pains, at inflammations and even at cancer treatment. The sensitive person facilitates the blue more than the green. However, from too long irradiation by blue light occurs some weariness or depression.

        Orange color stimulates feelings and slightly accelerates blood pulsation. Doesn’t influence blood pressure: creates feeling of well-being and fun. Has strong stimulating action, but can tire you.

        Yellow color stimulates brain. It can be effective in case of intellectual insufficiency. The long irradiation interferes with fluctuations in clinical course.

        Red color is warm and irritating. It stimulates brain, is effective for melancholy.

        The violet color influences on heart, lungs and blood vessels, it increases endurance of tissues. Amethystine color has stimulating action of red color and tonic action of blue”.

        For a long time of historical development in consciousness of people were fixed certain associative connections of various colors or color combinations to the different vital phenomena.

        During the separate periods of history of the fine arts the color symbolics possessed the important role, for example in the Middle Ages art.

        In religious West European art were applied white, red, green, black and blue colors. White color personified cleanliness and purity, red – blood sacred, green – hope of immortality of soul, blue color symbolized grief.

        It is known symbolical value of each color in Russian iconography, caused by various art currents, both local, and introduced of Byzantium and from southern Slavs.

        Various colors and their combinations in art of the different people symbolized pleasure and grief, life and death. However, the same colors at the different people personified often various emotional and reality situations. For example, if at the Slavic people color of mourning is black, at some east people color of mourning is white, etc.

        In art works separate colors were allocated with certain symbolical semantic loading during the various periods, but it appeared unstable even during the same historical epoch.

        Are you fond of abstract paintings? Looking for a spot to discuss art? You are invited to go to this site – here you can view, comment on, and purchase many abstract art paintings directly from the artists at prices that are affordable to most people.

        Fortunately we live in the world of digital technologies. It wouldn’t be good not to use this really unique chance. Modern online technologies provide us with a way to break the borders and look for modern abstract art paintings all over the world. Check out various social networks, look through respective topics, join online discussions in niche forums. All this will help you be well informed about the events concerning your interests. Also, sign up for the RSS on this blog to keep track of the latest publications on the topic.

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