The concept of local color in the photo and film technique is the average color value of several multi-colored, located close to each other parts of an object. Such an effect is often used deliberately in order to reduce the color contrast of scene objects, the color differences of which can distract the observer from the elements of the picture that are important for the plot.
How does it arise
During filming, the effect is reproduced using specialized nozzles. When working with photographs using digital methods to achieve the localization effect, it appears when blurring color difference images.
The effect of local color in painting or in color photography can occur due to the following reasons:
- With a lack of sharpness in the corresponding image area or with a lack of sharpness in the picture as a whole.
- Due to powerful light scattering, for example, with a lens or haze.
- When shooting objects far away, that is, with a small image scale.
- If the photo has a lack of resolution.
Art of the old world
The very same concept is first encountered by Leonardo da Vinci, on the pages of his "Book of Painting". Its use can be considered dominant in many samples of art of the Ancient East or the ancient world.
Stained-glass windows and paintings in the Middle Ages are characterized by harmony in comparing the local color and its shades. Adherents of impressionism in art, who worked without looking at the canons of the classics, did not want to use this effect while working on their paintings.
Nowadays, this technique with flowers is used as an experimental one quite widely in various genres and directions of art.
Simply put
So what is local color? In order to easily understand the essence of the term, just look at almost any children's drawing. On it you will find the yellow sun, trees with green leaves or the blue sea.
This is how the understanding of the main color of any part of the picture takes place, not taking into account the shades of chiaroscuro.
Thus, you can look at any graphic image and apply a certain color, choosing colors, on the objects of this image. The white trunk of a birch, an orange of orange color, lying on a plate or in a vase, all this is evidence of a local color.
The location of the object relative to the chiaroscuro does not matter. Thus, in bright sunshine or on a cloudy day, the color of the object will not change.
What does it consist of
It is not at all necessary that the local color contains all seven rainbow colors. Its components can be a variety of shades of colors. Any language of mankind contains words that directly indicate both the color and the object containing it. Examples include lemon, pink, lilac, pistachio, emerald, olive and so on.
At the same time, in order to demonstrate the full perception of an object next to the local color, other tones will take place.
Application Techniques
In order to enhance the volume or emphasize the shape of the object, shadows can be applied around it using dark colors. So did the work with ancient icons. In addition, this technique is in use by many folk artists.
Also, local colors can be used when working with landscapes. This unusual art style is called pointel. The execution of work with the technique involves applying to the canvas only those paints that cannot be mixed together. They are applied with small but frequent strokes of a rectangular or round shape.
Such art will look from close range like chaos from colorful dots. Moreover, from a distance, the picture is perceived much more holistic.
Local color and nuance
A nuance is called a barely noticeable color cast, a transition. It can also be in sound or form.
In relation to painting, this term is used to explain the relationship of color with tone. The creator does not have to go to any object with a brush and try to choose a color for an exact match to occur. It is only necessary to make a selection of the shade, which is shown in the figure, among other colors. This will be most convincing in the quality of accurate color perception of the object.
For practice in such transitions, it is worth starting with color searches. You need to think about exactly where any particular color will fit. When performing such an exercise, it is not at all necessary to be limited to sketches; you can completely finish your work, making up the necessary shade pieces.
Use in still life
In order to understand the term in a still life, you can try to consider objects in your room, or just look out the window.
Everything that you see will have not only its own shapes, but also color. It can be identified with ease. For example, an apple is red, a plate is blue or white, curtains are green, and walls are pink or turquoise.
The local colors in the still life are pure tones that were not mixed or refracted. They in human terms should be associated with specific objects, as their immutable and objective properties.
Local color is the main color for any object, not taking into account various influences from the outside. It can be either one tone, or consisting of several shades.
You may notice that roses are mostly red or white, with each individual flower showing several different shades of local color. When drawing from nature, some features that are characteristic of the natural color of an object, changes in light, in shadow, or limited shade should be transmitted from memory.
Given the influence of air, lighting and connection with other colors, the same local color and its shades are converted into completely different tones.
Shadow effect
In sunlight, the color of objects is best seen in penumbra locations. The local color of objects is seen worst of all in those places where a complete shadow falls on it. It discolors and becomes lighter in bright light.
When the development of the theory and practice of using primary, complementary and composite colors ends, an extremely simple transfer of the local color of the object, as well as its shades in the shade and under lighting, will become available.
In the shadow that is cast by an object or located on it, there will always be a color that complements the color of the object itself.
For example, in the shade of a red apple, green will certainly be present as a complement. In addition, each shadow has a tone that is slightly darker than the subject, as well as a bluish tint.
It should not be forgotten that the environment will also have an effect.