|I should note that this demonstration is really only effective in slide form, where|
the environment is dark, as opposed to here, where the blog background is white.
The image on the right was created by extending the gray squares to encompass the entire background, thus revealing the dots' true relationship. Here's the original source of the image.This is a well-established phenomenon, but what does it mean for representational artists? First of all, it means that we have jobs. If this were not true, then paintings would be a very poor description of the surrounding world because the artist’s palette is so small a portion of the physical light gamut. We can’t even look at the sun without damaging our eyes, yet a daub of lead white can faithfully represent it (if placed in the right context). Second of all, we (meaning artists) shouldn’t think of colors the way they are generally taught to us. The names we assign to them can actually be a burden because it associates those colors with certain phenomena, implying an absolutism that mentally prevents us from seeing the reality and, therefore, reproducing it. However, paint is more or less absolute, so the trick lies in your orchestration of the available options. By formulating — and sticking to — a heirarchy of value, the mud you slap on a flat surface can create the illusion of space.
Labels: Paolo Rivera