Transparency – A Key to Spatial Depth in Painting Part 2, Color

Transparency – A Key to Spatial Depth in Painting
Part 2, Color

This online tutorial is a transcription from a 2002 lecture I gave at the Courage of Your Perceptions Conference (Satellite to the EC’s Vision Scientists’ Conference) in Glasgow, Scotland.Given a two-dimensional surface, transparency and contrast are a means to place identities/forms through spatial depth.

In Part 1 I discussed how this theory works with gray tonal scales and in paintings with limited color range.  Let’s see what happens when we introduce intense colors.

 

colorwheel.JPG

It’s important to note that contrast in color is not so much about light and dark but, rather, it is about color opposites. For example here is a classic color wheel in which opposite colors, also known as complimentary colors, are juxtaposed. Three major contrasts are:
Red vs. Green
Blue vs. Orange
Yellow vs. Violet

yellowdot.JPG

 

In this diagram, blue-violet is the background color and the discs that come the  closest to it in color recede, while the yellow one, its opposite, pops forward.

vgcafe.jpg

Van Gogh, Cafe Terrace on the Place du Forum, September 1888
Oil on canvas, 81 x 65.5 cm
Rijksmuseum Kroller-Mueller, Otterlo

This Van Gogh painting has an intense blue background and the orange-yellow café comes forward. Notice the buildings beyond the café are variations on darks and blues. The window straight up above the café  is literally transparent but if you look closely you will see the blue sky winking throughout sections of the buildings, giving them a transparent quality as well.

Continue reading “Transparency – A Key to Spatial Depth in Painting Part 2, Color”

Integration, Part 2: Color

Integration, Part 2: Color by Michael Newberry

Newberry, Counterpose demo

Newberry, Counterpose, 1990, oil on linen, 36×42″
In the tutorial, Integration of Light, I mentioned that the theme of Counterpose is about a harmony of contrast. I showed how I painted extreme contrasts in light and dark. In this tutorial, I am showing how, keeping to the theme of contrast, I painted extremes of color contrasts.

The main color theme is about the contrast of her hot red hair and warm colors of her body with the cool blues of the futon cover.

Newberry, Counterpose demo

Perhaps more important than that, and perhaps much more subtle is the color contrast between the objects in the light and the objects in shadow.

The set up started with a yellowish-orange incandescent light bulb, which gave the objects yellowish highlights.
Here, in the areas circled with blue, I am showing the violet and blue-violet shadows on her body. Her foot is shaped with light and dark violets, yet her foot is essentially bathed in shadow; it is not touched by the direct yellow light.

Newberry, Counterpose demo

The contrast between violet shadows and yellow highlights is one of the most radical color contrasts possible. And yet, I believe, I have given them a natural-looking, harmonious glow.

To understand how color contrast works, a color wheel is indispensable. It is out of the scope of this tutorial to discuss how a color wheel is based upon natural visual phenomena; for the moment trust me on that.

Newberry, Counterpose demo colorwheel

The classic contrasts are red and green, blue and orange, and yellow and violet. One reason they are considered opposites is that when you mix them you get a non-color; something neither gray nor brown.

When you juxtapose contrasting colors they serve a bit like contrasting black and white, you get an intense burst of color vibration. If you put violet next to yellow, it pops and excites the eye.

Here I outlined a few of the highlights on the blue fabric. These highlights have a slight greenish tint to them because of the yellow light. If you add yellow light to blue cloth you get green.

Newberry, Counterpose
As we get further away from the direct yellow light that is smacking green at the front the futon, the blue of the futon merges progressively with the violet color.

Newberry, Counterpose demo
Whether it is a high contrast of color in the light, or the color contrast of flesh, cloth, background, and hair in this painting, you will find an endless kaleidoscope of pure color contrasts: blue vs. orange, yellow vs. violet, and red vs. green.

Newberry, Counterpose demo

As simple as Counterpose may look, it’s a very complex painting with many variations on the theme of a harmony of contrasts.

Next in the series on integration I will be discussing how her pose embellishes the theme.

Michael Newberry
New York, September 17th, 2006