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In Chapter 3, "Light & Color," the author examines color temperature, value, and simultaneous contrast (the optical phenomenon that, simply put, occurs when a hue is placed beside its opposite).
The neo-impressionists instituted a new form of impressionism based on two theories of color relationships presented by the French chemist Michel Eugene Chevreul: optical mixing, in which two juxtaposed colors can be seen to blend together to suggest a third, and simultaneous contrast, in which the perception of a particular hue is influenced by the ones that are placed next to it.
They became painters together, arranging shapes to provoke rhythm from the simultaneous contrast of certain colors.
Chromatic induction is simultaneous contrast based on chromatic adaptation (Brown & Macleod, 1997).
Through an examination of the phenomena of approximate color constancy, metamerism, and simultaneous contrast, as well as the mechanisms that underlie them, the present paper argues that although Tye's candidate for surface color, spectral reflectance, satisfies (P2), it does not satisfy (P1).
Possibilities for simultaneous contrast are enhanced - if not revolutionized - by the art of digital sampling so prevalent in hip hop and yet so seldom elaborated within the hip hop texts themselves.
Perhaps so we can't miss his point--that variation in scale necessarily alters our perception of a shape and how we relate to it--Smith multiplied the colors and textural modalities in the series: In some the paint is brushed with bravado, allowing the white ground to breathe through, and the color contrasts are gentle; in others the paint is applied as flatly as possible, the edges are sharp, and the optical, simultaneous contrast of color dizzying.
It offers a perceptual experience of illusory motion and fluidity, of iridescent mirages, of phantom colors born of simultaneous contrast and optical mixture, all underpinned by rigidly delineated, insistently repeated, progressively more and more "standardized" units (fabricated by Riley's studio assistants).
1) Kelly attempted to banish the contrast, or to defy the laws of simultaneous contrast, but he, too, was finally aware of the light of the object and its surround.
make up our harmony," and Delaunay, in 1912, writing about "pure painting," declared that "the simultaneity of colors through simultaneous contrasts .

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