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March 11th, 2014 #1Registered User
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Example of color that 'glows'. How/why does this work?
"Glowing Colors" by Tom Brown
I want to understand how and why the values and colors seem so intense and glowing here.
I thought maybe the 'overspray' effect was the key, but I took it into photoshop and erased that and it barely diminished the effect.
Then I switched it to greyscale to see if it had anything to do with the semi-complementary colors offsetting but that didn't change it much either.
The only other things I can think of are the value scale, contrast, and those firm edge value transitions.
The difference between the darkest shadow and brightest highlight isn't all that severe.
The contrast is strong in places, especially above and below the blue ring of the cup that does glow very strong.
I wonder if the effect would be so strong if the value shifts were smooth and natural instead of the firm transitions, especially on the orange. That contrast may be key.
I just know somebody is going to tell me it's all of the above. Still, any insight would be cherished.
Hide this ad by registering as a memberMarch 12th, 2014 #2
Somebody who really knows this stuff may well pop in and tell me I'm full of it, but here's my take on it..
First it's essentially an orange and blue composition with a little green thrown in, and there's more orange at high saturation than there is blue. But there's more going on than that to aid that glowing effect. Look at all that orange/yellow light reflecting onto the side of the teacup for one thing. And down on the tabletop. The colors of that peach (or whatever it is) are worked in all over really, as are the blues of the teacup. And even when you turn the saturation down to look at it in black and white, there's still reflected light bleeding into every shadow. That gives a strong impression of bright light bouncing around between all the visible surfaces in a room where the background is dark.
"Figure drawing prepares you for painting at a high level" - Jeff Watts
March 12th, 2014 #3Jester
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It is a clever use of hue, complementary, cool/warm, value, saturation, simultaneous and extension contrast. So, yes, it is all of the above. I suggest you read up on Johannes Itten's colour contrasts...
Grinnikend door het leven...
March 13th, 2014 #4drinker of h8orade
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Another question might be whether the technique actually creates an interesting painting. This kind of loose brush work certainly has bravado to it, but the colors here are, in my opinion, too formulaic to sustain interest.
March 16th, 2014 #5
It's more having the pure unadulterated colour next to greyed down ones that give that glow.
April 19th, 2014 #6
April 19th, 2014 #7
Last edited by krysjez; April 19th, 2014 at 09:15 PM.
April 19th, 2014 #8
April 20th, 2014 #9Registered User
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any light value will glow when surrounded by darker values....
It's all a game of contrast.....
And also the high saturation plays a big role in making that orange really shine...
And also the orange is surrounded by it's complement.....
It's the ultimate contrast!!!
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April 25th, 2014 #10
These diagrams should help anyone who thinks the glow can be explained purely in terms of contrast. (Sorry, I can't at the moment remember their original source!). The two diagrams are made of identical pieces differently arranged. The diamond shape on the left has more contrast at its edges, and this can make it look whiter (particularly when printed out), but it's the diamond shape on the right that seems to glow. I believe this glow results from the value gradients radiating from the shape, which give the impression of the halation of light that occurs when we look at bright lights surrounded by darkness. (Of course, the value of the diamond shape necessarily has to be higher than the surround, so contrast is involved in that sense).
A similar effect of halation is a major contributing factor to the glow of the fruit in the painting. Another factor is the presence of colours in the shadows that can be visually interpreted as light reflected from the fruit, as Darkstrider said. Yet another factor is the desaturation of the most brightly lit zone of the fruit, which gives the impression that this area is beyond the level of adaptation of our eyes. (When our eyes are fully adapted, the most brightly lit area is the most strongly coloured). It's this combination of visual cues consistent with the lit area of the fruit radiating large amounts of light that lead us to visually read the image that way.
April 27th, 2014 #11
Nice analysis Briggsy,
well, last week I brought the picture to my pupils. Explain' to them the wise choice the artist did, I find out some intersting relations. The orange and the blu of the cup are complemetary, that's sure. But, look at the deep violet of the cup basament. That's in relation with the yallow top of the orange. This generate a chasm relationship of complemetary, and that's a powerful combo. But still the artist had the last complementary couple, and here comes the green leaves in opposition with the red heart of the orange. That's why this orange is so bright: because is sorrounded by its complementary in different directions. I'm not sure if this artist make all this istinctually or with intellectual process... But sure this is a perfect study on simultaneous complementary.
April 29th, 2014 #12
If you look at the RGB colours in the image quantitatively (second attachment), the harmony or gamut essentially involves a broad range of analogous hues centred on orange-yellow (i.e. yellow-green to orange-red), and the middle blue complement of orange-yellow, seen in the stripe on the cup, and also at very low chroma in some of the greys. This complementary gamut certainly gives a liveliness the colours of the picture, though I think it's mainly the subtle blue in the shadows that assists the other factors promoting the actual illusion of luminosity.
The orange/blue, red/green and violet/yellow complementaries are part of a very simplistic and antiquated approach to colour theory that was revived in the 1970's when the teaching of the technical elements in art education reached its lowest point. The sooner they are dropped entirely the better!
April 29th, 2014 #13
Love the brush strokes.
April 29th, 2014 #14
@Briggsy - Oh, the shadow was my first answer upper in the this discussion =) I was charmed by the complementary cross I found out... But it seems to be not a big surprise at all =) I'm charmed by your theory knowledge... I will check the link you suggest, thanx for wisdom!
April 30th, 2014 #15
You're very welcome!
http://www.huevaluechroma.com/043.php (on additive complementaries: see attachment)
http://www.huevaluechroma.com/062.php (history of concepts of primary colours)
http://www.huevaluechroma.com/072.php#Itten (on one of the main texts of simplistic seventies colour theory)
May 6th, 2014 #16
This page has some additional examples of dramatic "glow" created using specific quantitative colour/value relationships (as opposed to contrast per se):
The apparent brightness of the one below actually causes observers' pupils to contract temporarily, even though the apparently glowing white in the middle is physically identical to the white around the outside.
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May 27th, 2014 #17Registered User
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This is good color contrast!! You can use various oil and water colors which makes much more realistic contrast. Good knowledge about colors helps you to make better color contrast.
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