Interacting Winter Color

Among the most influential color theorists of the 20th century is Joseph Albers. His instructive paperback, Interaction of Colors gives a sample of  his curriculum from  the Bauhaus, to Black Mountain College to Yale. How colors advance, recede, glow, expand, contract, luminesce, form transparency, affect the weight, sobriety or gaiety of a painting were all concerns of Albers. Selections of  his work are  on view in the Yale University Gallery.

To illustrate his color theories Albers used a square format. He placed three squares within one another, graduating their size. In our example he places the brightest color (yellow) in the center, then surrounds it with a paler color  (graying to violet) then, he surrounds this less intense square with a less color saturated and dimmer gray violet.  The complementary juxtapositions and the close proximity of the squares’ values create a soft glowing effect. We also perceive the smallest square appears to be hovering over the next square. The middle square also appears to be superimposed over background square. The composition not only creates luminance but, a sensation of space as well. With Alber’s example in mind I begin my first step (example 2). I am also enhance the glow with softly blurred edges.

example 1. Joseph Albers, A Soft Glow.

example 2. Step one, with a soft glow.

As I proceed notice the effect of the glow will be diminished as I introduce higher contrasts and more edges (example 3, step two). Higher contrasts tied to sharp edges reduce soft glow effects. Example 4 demonstrates that with more edges ( trees ) I gain more  legibility but, lose even more  glow. Now, I sustain a feeling of depth with linear perspective effects. The trees and rocks diminish in size and, their edge acuity diminishes over distance. I try to maintain some of the glow effect by using complementary colors ( yellowish gold trees-verticals against a field of violet gray). But, consider how adding information (shapes with sharp edges) sacrificed glow.

example 3. step two, first of the contrasting edges.

example 4. step three, more edges.

In the next examples I sustain a more edgeless shape in the center of the image and allow the masses on the sides to serve as both a  framing device and a source of edge information. Notice the middle column of light from sky down through the water avoids hard edges which helps generate a sensation of glow and space. Example 5. represents step one, just the sides bordering an empty field of exposed steel in the middle. Example 6 presents the soft glowing center with lighter values, closer values, and more indeterminate edges.

example  5. step one, the sides( historically referred to as the coulisse).

example 6. step two, Soft glowing center.

example 7 is another work on steel but, larger 36″x60″. I  continued to work on this image by increasing its glowing effects through dissolved edges. I  also expanded the area occupied by the brightest light. The larger the brightest area then the more diminished its brilliance but, the  soft glow effect is conversely increased. You have a choice bright sparkle or soft glow. Example 8 presents the work after the application of more light and softer edges.  Example 9 presents the latest version with even softer edges, smaller areas of dark, and larger areas of light.

example 7.  initial work on steel.

example 8. with diminished edge articulation.

example 9. more light eroding the dark areas.