These are documentation from my studio. I've been working with red and blue pigments since last summer. It wasn't until beginning this project that it occurred to me how much I like this combination. The irony is that at first I was going for a virtual effect but realized I didn't have as strong an interest at looking at the work with the glasses as opposed to without. This project has helped me learn more while limiting my palette. Briefly when I started it felt like I forgot how to paint. But getting back to the irony: the technology of anaglyph glasses is they work best with B/W images. There is an offset with red and blue filtering true, however the gels
aren't designed to function effectively with full color and in fact have poor perception of the hue red.
In solidarity with this project I plan to work with these pigments until this summer, which would be a full year. After that I think there are interesting things to be discovered with red/green. This is intriguing because as far as a pure chromatic combination juxtaposed with anaglyph technology, these two colors are both complimentary and dichromat, being exactly opposed. The theories of color and color blindness have provided interesting research opportunities.
For example, complimentary colors and dichromatic colors aren't synonymous. In the case of red/green it is the case, however, red/blue or red/cyan on the contrary, are not complimentary but are dichromatic pairs. I suppose a third wrinkle in this equation is that though red/blue-cyan are dichromatic pairs but are not complimentary colors, they also are examples of complimentary and simultaneous contrast.
The best explanation is found in the theories of contrast, in that primaries are always found in all complimentary pairs and necessitated by the phenomenon of simultaneous contrast. But dichromatosis? My research has found that those who are color blind or are dichromatic, perceive often a color-usually a primary- and its compliment, or its dichromat-often another primary, or gray.
Right now this makes me wonder about how gray is essential to the anaglyph photographic process as well as our understanding of color theory and dichromatosis. Complimentary colors are those when mixed together make gray. Black/white is an example of value contrast, which is how we perceive light and dark, and are connected by a string of grays and chromatic gray hues. Anaglyphs function most effectively in black/white. Moreover, in medical research, gray is often one of the colors associated with dichromatosis. But gray is actually a value yet has chromatic qualities in the realm of painting color theory.
Perhaps the important element to anaglyph is the exaggerated perception of value.
Push / Pull in deed, Mr. Hoffman.
Even in relation to a Munsell color sphere, i.e.: 3D, the black/white value represent a tubularly or string that act as the core.
However, that doesn't account for the fact that there is no anaglyph hardware that functions with the secondaries orange and violet.
I guess that means green is unique. Warm, cool, and the only hue The Color Kittens didn't have.
"Green as cat's eyes. green as grass, by streams of water, green as glass."
I'm trying to be Wise with color.
Here's some references
and further reading:
Sometimes the grass is green and some times the grass is Blues
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| Bruegel |
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