Formation of an artistic image in color science painting

Abstract

The article examines the peculiarities of the construction of an artistic image in color science painting. An artistic image in art is built according to common patterms. The general factors of an artistic image include an idea, meaningful content, sensory load, emotional charge, dynamics and movement vector, rhythm, form, etc. The idea ensures the structural and functional unity of the system and the integrity of the impact on the viewer. The content carries out the semiotic design of the idea, fills it with a certain meaning. Sensory load creates a mental mood, emotional charge sets the level of psychological tension. Rhythm gives the image vitality – its breath and heartbeat. The dynamics and vector of movement define the evolutionary development of the artistic image. Form gives the image a material presence and opens a path to sensory perception. By color science painting we mean the artistic direction of modern fine art, where color is the main factor in the formation of an artistic image. Of course, this determines the associative nature of color compositions. The semiotic content of the composition is realized due to a certain choice of color palette in accordance with the design of the work. Each color has both symbolic and associative meaning. The author chooses colors in such a way as to realize his idea as much as possible. The task is complicated by the fact that each color has several meanings, which, moreover, may differ in different cultural traditions. It is also necessary to take into account the interaction and mutual influence of colors, so as not to violate the fundamental law of natural creation - diversity in unity, and unity in diversity. Sensory perception of colors also has a limitation expressed in Miller's physiological law. If there are not enough colors in the palette, this reduces the possibility of a sensory impact on the viewer and leads to monotony of perception. If there are too many colors in the palette, it leads to motley and sensory overload. Hence, the recommendation is to choose no fewer than five and no more than nine colors. To enhance sensory perception and focus attention on certain aspects, the maximum or minimum saturation of certain colors is chosen. To create a certain emotional mood in the work, a general color is chosen, which is achieved through the use of a dominant color. The dynamics and vector of movement in the composition is provided by the size and shape of the color spots, their mutual location, contrasting and nuanced relationships. The interaction of color movement vectors sets compositional rhythms. The form formation in the painting occurs thanks to the modular grid, the variations of which create various optical illusions. So, color turns out to be a minimally sufficient factor in the formation of an artistic image in visual arts due to its semiotic multifacetedness and emotional expressiveness.