64 Artists&Illustrators
1
CHROMATIC INTENSITY
Degrees of chromatic intensity
(or brightness of a colour) can seem
to cause areas to visually come
forward or recede relative to other
colour areas. For example, a brush
stroke of pure Cadmium Orange
surrounded by otherwise softer or
more neutral colours will cause the
bright orange to pop forward in a
painting. The same Cadmium Orange,
if broken or neutralised by a
complementary or another neutral
colour, will seem to recede into the
background relative to brighter
colours. Relative to each other,
brighter more chromatically intense
colours will appear to move forwardoptically compared to colours
that are more neutral in their
chromatic intensity.
Changes to chromatic intensity
occur in many ways. Colours that are
greyer, will optically recede next to
colours that are less grey. Cooler
colours tend to recede next to ones
that are warmer. Colour mixtures that
have more white pigment in them will
seem to recede next to colours that
are purer and so have less white
pigment in them.
Note that adding white pigment
to the mix can weaken the chromatic
intensity and brightness of almost any
colour. A little white may enhance a
vibrant colour, but too much willweaken the colour’s intensity.
A way to think of this is putting too
much cream in one’s coffee: a little
supports the overall flavour, too
much and it is no longer coffee.2
EDGE RELATIONSHIPS
A stroke of colour in a painting
that is brighter may indeed come
forward relative to softer, less
chromatic strokes, but other
elements are needed to enhance that
visual effect. The quality of edges in
brushstrokes and their description of
objects in the painting need to be
modified to strengthen depth. The
edges of a colour stroke or colour
object will come forward more
effectively if the edges are sharper
and clearer than those around them.
A general axiom is that: sharper,
clearer, more definite strokes, colours
or marks come forward while softer
less defined strokes with softer edges
recede by comparison. If you combine
that with colour, one can say that
colours that have sharper edges
and clearer strokes come forward
compared to those that have softer
edges and less clear strokes.
In addition, colours that are also
brighter, more highly chromatic, and
have clearer edges and strokes and
shapes, will come forward relative to
colours that are darker less chromatic
and have softer edges, strokes and
shapes. This combination of clarity
versus softness, in combination
with chromatic levels is essential
in artwork where true depth and
aerial perspective is needed.
In reality, a colour or stroke can be
made to come forward even if it is
muddy and dull in colour. As long as
the patch, stroke or mark in question
is clearer than those meant to recede,
depth will be achieved.
This is also true of colours that are
dark. A dark colour can be kept in the
background or distance as long as its
edges are soft relative to colours or
strokes in the foreground.
In other words, illusions of depth in
colour can be manipulated via edge
differences, whether the colours are
bright, light, dark or dull, all in
relationship to each other.3
SCALE AND SIZE
If we take into account that
strokes, marks and shapes of colourABOVE Al Gury,
Portrait of a Man,
oil on panel,
41x30cm
The strength of
the planes and
brushstrokes
describing the
near side of the
face helped give a
sense of structure
and depth.