| An artist, inspired to paint the Gothic and Florentine | | | | blue", supported the warm, sunny part of the |
| architecture out on location in Prague, must choose | | | | composition and harmonized with the cerulean |
| among an almost limitless range of subtle colors to | | | | mixtures in the architecture. |
| use. In this medieval city there are cooler hued | | | | To see how easy it is to find and select |
| buildings of stone with grayed lavenders, greens and | | | | complementary, split complementary and other color |
| blue browns. There are also warmer toned surfaces | | | | combinations, Rod Cameron suggests to artists to |
| with ochre, yellows and oranges. Add to this an | | | | make or get a hold of a simple color wheel, found at |
| eclectic, no-rules range of color on many of the | | | | any art supplier. And just dial up a color. In the case |
| building's newly renovated surfaces, and you have a | | | | of Rod Cameron's painting of St. Michelos in Prague, |
| genuine, full palate field day! An artist needs to decide | | | | he pointed to orange on the color wheel, as his initial |
| how to achieve color harmony in the shapes and | | | | reference point, for the sunny surfaces of the |
| nuances depicting these historic treasures, if their | | | | Cathedral. The compliment of orange is ultramarine |
| next best painting is going to be a success. | | | | blue, but Cameron chooses the split complimentary; |
| Artist, Rod Cameron, reveals the secrets behind his | | | | the colors that you find on either side of blue. The |
| choices of color in the painting titled, "St. Michelos | | | | color wheel beautifully illustrates, lavenders on one |
| Cathedral - Prague". Notice how he breaks down | | | | side, and blues with a touch of viridian green on the |
| color into groups of "warm" and "cool". | | | | other side; the split complimentary colors that Rod |
| He tells students, "I saw the two towers in the sun | | | | Cameron uses in the painting. |
| as "warmer" mixtures: the thinner, taller steeple a | | | | Touches of your warm mixtures in your cool colors, |
| mixture of cerulean blue and burnt sienna with white, | | | | and visa versa, will slightly gray things down, and go |
| and the main domed building a mixture of yellow | | | | further to create great color harmony in your |
| ochre and burnt sienna with white." | | | | painting. The use of split complementary colors adds |
| Using these warm hues as a reference point, | | | | a greater range of color and more variety in your |
| Cameron uses a split complementary, which indicated | | | | painting without sacrificing harmony. |
| blues and lavenders, with touches of viridian green | | | | Color wheels are inexpensive and give the artist a |
| for the shadows and in the street buildings on either | | | | better understanding of the color families and how |
| side. These cooler shadow colors frame the scene | | | | they relate to each other. Even after you've |
| and provide exact compliments to the warm hues of | | | | memorized all the color combinations, it still fun to |
| the cathedral in the sunlight. | | | | refer to now and then, plus, the wheel just looks |
| To further enhance the warm atmosphere in the | | | | cool hanging on the wall. Every studio should have |
| sunny part of this painting, the artist mixed cerulean | | | | one! |
| blue into the sky. Cerulean blue, being the "warmer | | | | |