Color is the most ‘relative’ medium in art. You are already very much aware that ‘things’ are relative. When observing a litter of kittens, you may comment on how much larger one is from the rest of the litter, but when you take that same kitten to your friend’s house everyone exclaims how tiny he is! Next to a full-grown cat he is, in fact, tiny. Next to his littermates he is, in fact, large. Both are true facts…this is relativity.

The Relativity of Color

When dealing with color, colors tend to change as they are placed next to different other colors. Why is this true? The perception of color is a neurophysiological process, which means that it involves both the nervous system and the physiological apparatus of seeing. Color is light broken down into electromagnetic vibrations.

Josef Albers Philosophy

Josef Albers was a teacher of art in his native Germany and then in the USA in the mid-1900s. Although his earliest works were figurative drawings and paintings, he began to explore the abstraction of color, becoming obsessed with colors deceptive and unpredictable effects. Albers lectured and taught at various colleges and universities throughout the United States. Through his study of color, Josef Albers is considered one of the most influential 20^th century art educators in the United States.

What follows is taken directly from his book “Interaction of Color”.

In visual perception a color is almost never seen as it really is – as it physically is. This fact makes color the most relative medium in art.

In order to use color effectively it is necessary to recognize that color deceives continually. To this end, the beginning is not a study of color systems.

First it should be learned that one and the same color evokes innumerable readings. Instead of mechanically applying or merely implying laws and rules of color harmony, distinct color effects are produced – through recognition of the interaction of color – by making, for instance, 2 very different colors look alike, or nearly alike.

The aim of such study is to develop – through experience- by trial and error – an eye for color. This means specifically, seeing color action as well as feeling color relatedness.

As a general training it means development of observation and articulation.

Color Recollection – Visual Memory

If one says “red” (the name for a color) and there are 50 people listening, it can be expected that there will be 50 reds in their minds. And one can be sure that all these reds will be very different.

Even when a certain color so specified which listeners have seen innumerable times – such as the red of the Coca-Cola signs which is the same red all over the country – they will still think of many different reds.

Even if all the listeners have hundreds of reds in front of them from which to choose the Coca-Cola red, they will again select quite different colors. And no one can be sure that he has found the precise red shade.

And even if that round red Coca-Cola sign with the white name in the middle is actually shown so that everyone focuses on the same red, each will receive the same projection on his retina, but no one can be sure whether each has the same perception.

When we consider further the associations and reactions that are experienced in connection with the color sand the name, probably everyone will diverge again in many different directions.

What does this show?

First, it is hard, if not impossible, to remember distinct colors. This underscores the important fact that the visual memory is very poor in comparison with our auditory memory. Often the latter is able to repeat a melody heard only once or twice.

Second, the nomenclature of color is most inadequate. Though there are innumerable colors – shades and tones – in daily vocabulary, there are only about 30 color names.

Did you ever wonder …

Why do you have so much trouble deciding on the perfect color for your walls?    

The colors you see are affected by many elements. Looking at color in a natural light environment, it differs from indoor lighting. And it matters what kind of indoor lighting. Halogen, fluorescent and incandescent lighting all affect colors differently. And a combination of light has another effect. What time of day and from what direction the light is coming from also makes a difference.

So, how do you know what the color will change to?

If you place a neutral grey on top of a yellow background, the grey will take on a violet cast (the complement of yellow). If the same grey is placed on a violet background, the grey then has a tinge of yellow. This is a phenomenon of relativity that holds true for all the complimentary colors.

The same color will appear very different when placed against black then against white.

Two hues will react in varying ways when made into tints and shades.

Also dark against light and vice versa has some outstanding results.

There is a tendency for warm colors to come forward and cool colors to recede. Warm and cool colors should be put side by side to see what the results would be.

The Experiment

While there may be some rules to go by and certain results can be expected, the possibilities of color variations are limitless. Only firsthand experimentation will allow you to discover the infinite range of color at your command.

You can do an experiment. When I was teaching, I bought a number of packs of 5×7” colored papers that had hues, tints, shades and tones of every color plus black, white and greys. I think the pack contained 120 colors in it. Unfortunately, the company that made them discontinued the packs. They were perfect for teaching my Color & Design class.

You can use color chips from a paint store I suppose or make your own 5×7” colored papers. If you are going this route, then make sure it is heavy watercolor paper, so it doesn’t curl on you and make the paint as even as possible. Two or three coats between drying would be best.

• Step 1. Once you have collected or made the color samples, spread the papers out so you can see what you have and start experimenting with the different color combinations.
• Step 2. To make these observations, place two different colored papers side by side (A and B). Place the third paper C (the color you are trying to make appear different) on top of the other two positioned so you can see the two colors below, Then place a plain white piece of paper D on top of the top sheet so that you can see it as two different papers.
• Step 3. You will discover that certain colors are hard to change and that there are others more susceptible of change.
• Step 4. The objective of this experiment is to find a color combination that will make the one color appear as different as possible by choosing two different color backgrounds for it to react to.

This experiment is a class project that brings home the relativity of color, but is it practical for choosing something, let’s say, like wall colors in your home?

I’d say yes, if you are trying to see how reactive a color will be before buying gallons of paint. Usually, people tape up little chips on their walls and watch how the colors change throughout the day. Or they buy sample paint colors in small containers and paint the walls to observe the changes. This is one more way to do this experiment on relativity, but is maybe more practical. It won’t mess up your walls with patches of paint, plus you can move your experiment from one room to the next. You can also use this experiment to test what the color choice would look like next to upholstery or curtains.

Have fun with this, whatever your reason for doing it.

AND… If you didn’t see the beginner’s version of color theory, go to last weeks’ post on the color wheel, and more!