optical mixtures the bezold effect. bridget riley

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Optical Mixtures the Bezold Effect

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Page 1: Optical Mixtures the Bezold Effect. Bridget Riley

Optical Mixturesthe Bezold Effect

Page 2: Optical Mixtures the Bezold Effect. Bridget Riley
Page 3: Optical Mixtures the Bezold Effect. Bridget Riley

Bridget Riley

Page 4: Optical Mixtures the Bezold Effect. Bridget Riley

Optical Mixtures

• Two or more colors next to each other to create a blending, blurring , or neutralizing effect.

Page 5: Optical Mixtures the Bezold Effect. Bridget Riley

Blending: Two colors placed next to each other in small amounts will

seem to create their mixture, Blue+red= violet

Page 6: Optical Mixtures the Bezold Effect. Bridget Riley

Size of color area and value of adjacent colors will determine how successful the illusion is.

Page 7: Optical Mixtures the Bezold Effect. Bridget Riley

Blurring: Two colors of similar hue, value and saturation will seem to blur into one another, making it difficult to determine their edges. This works best with ANALOGOUS colors—

Colors next to one another on the color wheel

Page 8: Optical Mixtures the Bezold Effect. Bridget Riley

Neutralizing: two complements will optically mix to produce gray. This

was the theory pointilists followed.

In actuality, it doesn’t always work. Many times complements produce OPTICAL VIBRATIONS, rather than

optically mixing

Page 9: Optical Mixtures the Bezold Effect. Bridget Riley
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Page 11: Optical Mixtures the Bezold Effect. Bridget Riley

Why use optical mixtures rather than just mixing paints?

Page 12: Optical Mixtures the Bezold Effect. Bridget Riley

Creating Optical Mixtures using additive primaries creates an effect

similar to the light-based color system.

Red and Green seem to create yellow

Blue and red seem to create magenta

Blue and green seem to create cyan

Page 13: Optical Mixtures the Bezold Effect. Bridget Riley
Page 14: Optical Mixtures the Bezold Effect. Bridget Riley

• Additionally, more luminosity is created than with pigment mixing----similar to the additive system.

• This was the intention behind movements like Pointilism and Impressionism—to create a sense of light by placing colors next to one another rather than mixing colors.

Page 15: Optical Mixtures the Bezold Effect. Bridget Riley

Monet, Haystacks

Page 16: Optical Mixtures the Bezold Effect. Bridget Riley

Monet

Page 17: Optical Mixtures the Bezold Effect. Bridget Riley

George Seurat, Bathers

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Chuck Close, Agnes

Page 20: Optical Mixtures the Bezold Effect. Bridget Riley

Chuck Close

Page 21: Optical Mixtures the Bezold Effect. Bridget Riley

Chuck Close, Studio shot

Page 22: Optical Mixtures the Bezold Effect. Bridget Riley

Richard Anuskiewics

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Page 25: Optical Mixtures the Bezold Effect. Bridget Riley

The Bezold Effect

• Wilhelm Bezold, a textile designer discovered that by changing one dominant color in a pattern or composition, it is possible to change the entire ‘look’ and ‘feel’ of the composition.

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Does the size of the red bricks seem to change? The size of the grout between the bricks? What about the white square?

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Which seems ‘softer’? How is the Bezold effect related to simultaneous contrast in this example?

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• The Bezold Effect will be most effective if the changing colors are very different in hue and/or value—which is why so many examples showed a black/white change.