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.
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
Continue reading “Transparency – A Key to Spatial Depth in Painting Part 2, Color”
The inter-connectivity of form, light, and space how they support one another.
Titian, La Schiavona, 1510
As a teenager, I traveled a bit and got great pleasure going to art museums. I would quickly move from one room to another, skimming all the paintings at a glance, until one caught my attention. Then, I would stop to satisfy my curiosity or pleasure in that painting.
Only after I had my fill would I look at the signature or the identification card. The painters were names like: Manet, Rembrandt, Rubens, Picasso, Titian, Van Gogh, Monet.
I had a particular way of cataloging my experiences with those artists–I sought out the common “things” that drew me to them. There were stunning and mysterious visual components that I wanted to understand.
Continue reading “3 Visual Axioms: You’ve Got It If You Get It”