Contrast

Te word ‘contrast’ comes from the Latin Principle: ‘contra’ and means being ‘against’ CONTRAST ><

Principle: CONTRAST

Labyrinth, oil on canvas, 44 x 42 in., Elizabeth Niles Stockton

Contrast depends on opposing forces

Contrast, or confict, is the area where the two greatest opposite elements (line, shape, value, mass or color) clash. It’s like the edge-of-the-seat moment in a movie when the hero fghts the mother-of-all-demons. Too much confict fries your nerves. Too little is a snoozer. Tere’s a wide range between the two extremes. Te question is: how much confict? Opposites excite each other when placed in proximity. In fact, you never fully get a real sense of an element without a hint of its opposite. Te contrast of the two create a relationship that’s stronger than the individual pieces, building a experiential space that can’t been seen but has to be felt.

Untitled, charcoal on toned paper, John Amoss Principle: CONTRAST

What can be contrasted?

Te real question with contrast is, what mood do you want to set? High key, low key or high contrast? (See page 33) Remember that you have the option on the value range you are using. Below are a few contrast examples:

Texture Contrast

Rough and smooth are the two basic types of texture, with countless variations in between. Te greater the diference in texture, the greater the textural contrast.

Color Contrast

Complementary colors contrast, as well as vivid colors compared to muted colors.

Size Contrast

Large shapes contrast with small shapes.

Shape Contrast

Geometric shapes contrast with bio-morphic shapes. Long shapes contrast with short shapes.

Direction Contrast

Vertical, horizontal, oblique and circular marks vie for attention in the composition.

LEFT: Hurt Park guy, watercolor, Jim Chapman