Contrast (and Edges)
Contrast is a topic way down on the list of things artists often discuss, but the concept is so intertwined with my understanding of edges that I think it deserves a closer look. I suppose the term is used for all sorts of off-label purposes, however in this context I'm referring to contrast as strictly a value metric. With high contrast the values are far apart and with low contrast the values are close together.
I pretty much paint things as I see them so in my paintings the edges correspond to the contrast. Where there's a greater difference between light and dark the edges are sharp. Softer edges naturally appear where the value notes are closer together. Therefore, having a painting with an interesting variety in the edges depends on having an interesting variety in the way objects come together within the composition, and that's one of my goals as I'm setting up an arrangement. By focusing on this from the very beginning, there's a freedom in the sense of not having to work so hard to get the objects to talk to each other when it comes down to putting paint on the canvas.
To illustrate what I'm talking about I'll use a recent painting called Orange Poppies and below you'll see a detail of the main flower in the center of interest.
At the bottom leading edge (6 o'clock position on the flower) you can see the contrast
which provides an opportunity to define the hardest edge. In this area, or directly
adjacent, are the elements for creating a strong center of attention --- lightest light,
darkest dark, hardest edges, and strongest chroma. The detail in the flower's center
and the illusion of depth also help to draw the viewer's eye to this part of the composition.
While some of these same elements appear in other areas of the picture plane, there is no
other spot in the composition where all of them are this close to each other.
If all of the notes around this poppy were the same dark value as the teapot, that would indeed make for even more contrast, but this isn't one of those situations where if a little is good, a lot is better. Hard edges all the way around can easily create a flower that looks cut out and pasted on and not connected to anything else in the arrangement. That's where having some low contrast edges with values that are closer together can be very useful. At 1 - 2 o'clock on the flower above you can observe notes that are very similar to each other creating lost edges that provide a path for the eye to travel to other areas of the bouquet. At the 8 o'clock position are two shapes close in value but distinctly different in color, where the orange of the flower comes up against the foliage. Because of the color change, this edge still has some definition but the close values make these notes form a relatively soft edge compared to most of the others on this flower. The variety and quality of these edges, going from very defined to very soft and every nuance in-between is not something I could successfully invent easily and this is why paying attention to contrast is so important to me from the very beginning. In other words, a lot of 'edge work' is done before I ever pick up a brush and not something I make up as I go along. It's right there in the arrangement, so when I start applying paint, as far as edges go it's more a matter of correct observation and trusting my eye. This frees up some of my brain to focus on the countless other decisions that go into creating a work of art. Just like painting a wall, good prep work can make all the difference and saves time in the long run.
For anyone who is wanting to use contrast in a more efficient way, here are few notes that might be helpful;
--- The lightest light, darkest dark, and brightest chroma don't have to be (as they are in this painting) the most extreme statements your paints are capable of . As long as they are the strongest statements within the painting, you will have a good chance of pulling the viewer's eye to that area.
--- When identifying the areas of contrast that will form the center of interest, I'm generally not taking into account accents or highlights. What I'm concentrating on are typically the bigger patterns of light and shadow where objects come up against one another or against the background.
--- Once I've established a compelling center of attention, I may subdue or play down the contrast or color in other areas that I feel might compete with it. At that point I am painting the other areas as though my attention is where I want the viewer's attention to be, rather than how those areas would look if a stared directly at them and didn't bother comparing them to the parameters I've already established.
You can see a clear example of this in the figure in the upper left corner of the background. It'a an easy thing to follow your brain's logic that black ink calls for black paint. Carefully comparing that black ink to the black teapot and keeping in mind the original concept of the arrangement can help prevent overemphasizing an area that will work better as a supporting player.
--- Controlling contrast and color can be one of the most effective ways to convey what it is you want to be the most important story of the painting, but within that there is still a lot of room to experiment. Rather than being rules, I think of these guidelines as principles of how people see and observe -- knowledge of what will attract their attention. Composing with the concept of contrast in mind doesn't have to be a strict formula or a series of boxes to check off, but it could actually be a good idea to use a checklist for a while if you aren't yet in the habit of considering where the viewer's eye will go and why.
"Painting is just like making an after-dinner speech. If you want to be remembered, say one thing and stop." --- Charles Hawthorne
Questions or suggestions for future blog topics can be sent to me at [email protected].
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