Project #3: Simultaneous Color Contrast

Hold on a minute...continuation, figure-ground, and color contrast in the same composition? Have you gone MAD?!

What is it?

This third project introduced us to a new design concept, while also building upon what we've learned in the projects prior to this one. The main focus of this project was on simultaneous color contrast, which describes one color looking different based on the color behind it. This project utilized gray values to accomplish this, and also ended up utilizing some of our previously learned design principles, such as simultaneous figure-ground and the pairing of complimentary colors.

What makes it interesting?

Of course, one aspect of the composition that makes it interesting to the viewer is the use of the new design principle of simultaneous figure-ground. The artist has purposefully placed the series of gray lines over each of the colors present in the background of the image, making the gray value appear different depending on what color it falls on top of. This has been done in the most effective way possible thanks to the desaturation of the background complementary colors, as leaving them at their full saturation values would almost completely eliminate any sort of simultaneous color contrast. Another interesting element of the composition actually stems from the shape of the gray value lines, as they seem to cascade across the composition in a branch-like fashion. Although the lines are straight, they have been combined to create curvatures that establish movement through continuation in the composition. Also, by varying the line weight on the gray lines that branch off, an emphasis is placed on the center gray value line, implying that the other lines spreading through the composition stem from this one line in particular. Finally, the figure-ground present in the composition adds yet another layer of interest, as it is unclear whether the yellow or purple colors are describing the figure of the composition. It is also worth noting that if the artist were to swap the yellow for purple and vice versa in this composition, the leaves that were used to make this effect would be much too emphasized, and the figure-ground effect would either lose strength or diminish completely. Thankfully, since the artist used yellow (a color that holds a lot of emphasis) to describe the negative space between the leaves, the figure-ground effect remains in the composition, and is also notably strong.