Playing with Color Theory

Saturation and Illumination
Another color play that is often present in my paintings is identified by deep opaque saturation in contrast with bright illumination. To create depth and a dramatic contrast, I juxtapose flat, deep, and dark colors such as the indigo in Firefly, 2000, next to metallic or iridescently bright colors that form glossy layers of the firefly. Adding to this effect is the use of stencils to create negative space that accentuates the opacity of the indigo.

The origins of this color theory are most likely from the chiaroscuro technique of Michelangelo Merisi da Caravaggio, an Italian painter of the Renaissance. Caravaggio was credited for the technique that idealizes the dramatic contrast of deep darks to bright illuminated lights. The concept is based on the theory that an opaque surface seems more porous and able to soak up the rich deep colors of shadow, whereas a glossy surface is reflective and as such more appropriate for bright illuminating colors. Combined within the same painting, the opposites create a dramatic mood where the shadows seem darker than they actually are and the brighter colors seem electric.

Learn from History
As I have indicated, many of my color techniques are derived from well-known artists in history. The color theories of artists such as Gauguin, Seurat and Carravaggio made tremendous strides in enabling artists like us to benefit from the wonderful effects they can create. I’ve shared with you some (not all!) of my color concepts. I encourage you to learn more by studying the works of artists around you as well as those from the past.

Source: Web Museum, Paris

Next week’s article will discuss painting portraits.

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