| | Merlin,
It’s a little complicated. I am combining 2 issues–but they both deal with comparing and contrasting 3 things.
Lets say we are looking at a white plate, a white wall, and a white frame. I am comparing those three whites, and arranging them according to bright, brighter, brightest. That’s one part. The other is I am comparing them in atmospheric perspective–front, mid-ground, background–here there will be nuance of brilliance that I will be sensitive to.
The same goes for the darks: dark, darker, darkest. The combination of arranging the lights and darks this way quickly sets up the dynamic of creating light. Creating light in painting is, among form, space, and the anatomy of light and shadow (god, a whole book is in here–there are different kinds of shadows: reflected light into the shadowed area; core shadows–they are the dark parts that round off a form in the shadowed area; casted-shadows–which are the shadows that fall on something; then there is mid-tones and highlights...blau blau blau, anyway, there is a hierarchy of lights and darks, you can’t have them whoring around indiscriminately if you want to give a sense of light in a painting...this triangulation idea organizes the entire range in very quick and easy (!) to do manner.
There is no where that I know where to find out about this, as far as I know I am the one developing it–I gave a talk once at the European Vision Scientist’s Conference, with leaders in the field attending. My insights there, about spatial depth in painting, was taken up by Dr. Jan Konderink as been new and insightful...
Its funny, these tools can be all very scientific but the thing I am interested in is simply bringing the work to life.
Michael
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Three Cry Babies
