Hue, saturation and tone are referred to as the three attributes of color which enable the identification and classification of colour (Adams, 2008). Flexible application of color attributes changes is the base of color design. This essay will specifically discuss how Hue and Tone relevant to colour theories and applications in the Middle Ages and Renaissance.
Firstly, during Middle ages, Christianity was an obviously influence not only to art, design, architecture, but also on colour theories and application. Due to heavily affected by Christian Church’s power and hierarchy, expensive pigments were applied for religious images and key figures like Popes, Church hierarchy, wealthy and nobility (Allen, 2013). An example of painting ‘Barbarigo Altarpiece’ form artist Giovanni Bellini, some costly pigments like Ultramarine blue, vermilion have been used in painting (Nalezyty,
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Chiaroscuro technique relates to significant attribute of colour-tone, which utilize darkness and lightness to reveal complex qualities in a hue or combination of hues, and are more true to the way to understand colors in the real world (Adams, 2008). Da Vinci used this technique to great effect in his paintings, his another famous painting ‘Benois Madonna’ is a great reflect (Asmus, Parfenov & Elford, 2016). Actually, during Renaissance, not only Da Vinci use chiaroscuro, but also used by Caravaggio. Caravaggio’s product ‘The calling of St Matthew’ uses chiaroscuro, utilize tone of colour can help to create focus or atmosphere where existing limited palette of pigments (Stoichita, 2013). Those examples show the perfect use of hue and tone by these artists in Renaissance to form a contrast, to strengthen their want to convey the artistic