19 SPATIAL IMPACT OF COLOR

The spatial impact of color may depend on various components. In the color itself there are forces capable of revealing depth. This is due to the contrast of light and dark, as well as the possibilities of changing the color saturation and the area of ​​its distribution. In addition to this, changes in spatial sensations can be achieved with the help of diagonals and all possible intersections.

When the six colors — yellow, orange, red, purple, blue, and green — are located on a black background one near the other without intervals, it is quite obvious that the light yellow color appears to be protruding, and the purple color sinks into the depth of the black background. The remaining colors form intermediate steps between yellow and purple. When using a white background, the depth impression changes. The purple color is pushed out by the white background and appears protruding forward, while the yellow color is held white as “close and relative”. These observations prove that to assess the impression of depth, the overall background color is just as important as the actual color. Here again we have to deal with the relativity of color effects, which was already mentioned in the sections on the physical reality of color and color effects, simultaneous contrast and color expressiveness.

Back in 1915, I conducted many studies related to identifying the possibilities of color to reveal the depth of space, as a result of which I came to the conclusion that the six primary colors on a black background correspond to the proportions of the golden section according to the degrees of manifestation. The principle of the golden section is based on the fact that the smallest segment refers to the largest, as the largest to their total amount. If the distance AB is divided according to the principle of the golden section at point C, then this means that the AU refers to the CB as CB kAА.

In the area of ​​color, this means the following: if we place an orange between yellow and red, each of which has its own degree of depth, then the difference in depth between yellow-orange and orange-red will correspond to a “lesser” to “greater” relationship. The same relation of “lesser” to “greater” exists between yellow-red-orange and red-orange-blue. In the same proportions of the golden section are yellow-red and red-violet, as well as yellow-green and green-blue.

Yellow, red-orange, and blue on a black background have the following burial pattern: yellow protrudes heavily, red to a lesser extent, and blue seems almost as deep as black. On the white background, the opposite impression arises: the blue comes out strongly forward, the red-orange remains almost in place, and the yellow only slightly moves forward. The relationship of the depths between yellow and red-orange, red-orange and blue corresponds to the relationship of “more” to “less”.

All bright colors on a black background will come forward in accordance with the degree of their lightness. On a white background, the impression will be the opposite: the light tones remain at the level of the white background, and the dark ones gradually come forward.

As for cold and warm colors of the same lightness, warm colors will come forward, and cold ones will go deeper. If there is a contrast of light and dark, then the feeling of depth is either enhanced by color, or neutralized, or it will act in the opposite direction. Equally bright blue-green and red-orange behave on a black background as follows: red-orange comes forward, and blue-green goes deep. If the red-orange is brightened, he will come forward even more. If you slightly lighten blue-green, then it will produce the same impression of depth as red-orange, and if it is brightened even more, it will come forward, and red-orange, on the contrary, will step back.

The contrast in saturation causes the following sensations in the perception of color: pure, saturated colors will come forward in comparison with colors that are close in lightness, but faded. As soon as the contrast of light and dark or cold and warm is added to this contrast, the impression of depth changes again.

The contrast of sizes of color spots plays a big role in creating the impression of depth. When there is a small yellow spot on a large red surface, then the red color becomes, as it were, the background and the yellow color in this case comes forward. If we increase the area occupied by yellow color and reduce that occupied by red, then there may come a time when yellow color will play a more significant role than red. Yellow color can become a background and force red forward.

If we wanted to consider all possible options from the point of view of changing impressions regarding the depth of color, this would not give us any confidence in the correct creation of the spatial balance of each color composition. Here you can count on the personal taste of the artist and his goals.

In order to observe the spatial possibilities of the diagonals, you need to place yellow, red-orange and blue on a black and white background in two diagonal directions, in one case - from left to right and in the other - from right to left.

The problems of creating pictorial depth illusions can be studied by comparing, for example, yellow and blue rectangles in various vertical and horizontal positions, intersections and overlays using a white and black background.

If they want to judge color as a force capable of providing a pictorial depth, then for this you need to exercise your vision in perceiving the possibilities of color in the construction of space. “Do not make windows, do not make holes in the picture,” said Koro, urging painters to be attentive to the overall integrity of the scenic space.

A particularly strong sense of the depth of the picture can be achieved using the interaction of color, vertical and horizontal directions, and spatial plans of the composition among themselves. As a rule, the space of the picture is built by two, three or more plans. For example, Claude Lorrain builds his landscapes on the use of five plans. But the most common version of the flat-graphic transfer of space is based on two plans.