7.2: Understanding Simultaneous Contrast

What is Simultaneous Contrast?

Definition: Simultaneous Contrast

a phenomenon that happens when two adjacent colors influence eachother, changing our perception of these colors. Simultaneous contrast is caused by the afterimage of the dominant hue washing over onto the smaller area as the two hues are seen simultaneously.

Figure \(\PageIndex{1}\): Stare at the black square on the left for about 10 seconds. Then, shift your gaze to the black square on the right. What do you see? (Hering's afterimage effect by Magica, CC BY-SA 4.0, via Wikimedia Commons)

We know that the after image produced by any color will be its optical complement, these are most similar to the complements found on the Munsell color wheel. After images are caused by retinal fatigue. Remember for a moment that white light contains wavelengths of all hues, and our photoreceptors can sense different combinations and ranges of wavelengths. These sensors are stimulated and eventually fatigued when saturated with an intense color. So, when we look at a white background, and all photo receptors are activated, the ones that were resting will overpower the ones that were fatigued, so the opposite hue appears like a ghost on our retina.

M. F. Chevreul

Simultaneous contrast is the basis of the M. F. Chevreul theory of color.  In 1839 the French chemist discovered this phenomenon also called reciprocal contrast. It is based on the principles of complementary colors.  It may also be called chromatic induction.  The publication “The Law of Simultaneous Contrast” set a basis for impressionist theories in using complementary and differing pure hues next to each other for visual excitement.

Impressionist interest in color and light is influenced in part by the research of scientists like Michel Chevreul. Specifically, the idea that an object of any given color will cast a shadow tinged with that of its complementary color and tinting neighboring colors in the same manner influences Impressionists. This theory was already known to earlier painters, such as Eugène Delacroix. A primary color such as red has green (the combination of the other two primaries) as its complementary. Similarly, blue has orange and yellow has purple as a complementary color.

The Most Relative Medium

Josef Albers wrote in the interaction of color that color is the most relative medium in art. It continually deceives. Published in 1963, Interaction of Color serves as a handbook or guide for the study of color perception and application. It is one of the most famous books on the applied understanding of the effects of simultaneous contrast. While the text and theory are written by Albers, the visual examples are largely student work from throughout his years of teaching.

Vibrating Boundaries

When placed next to each other two strong hues of contrasting temperature will produce very intense example of simultaneous contrast. The boundary between these colors will appear to vibrate as their after images vie for dominance. This effect has been sought after and used by designers of psychedelic posters, op art, and more.

Figure \(\PageIndex{2}\): Andy Warhol's style is a good example of varying intensity of simultaneous contrast. Here it is applied to a rhino illustration from "A Description of 300 Animals" by Thomas Boreman. Which rhino has the most intense SC? (Andy Warhol Style, by MrAlanKoh, CC BY-SA 4.0, via wikimdia)

In cases when legibility is important it may be wise to suppress the effects of Simultaneous Contrast. It can appear overwhelming if not desired. Incorporating strong value contrast between the two hues, muting one or both of them, or placing an outline between them are all ways to suppress the successive contrast between two colors.

Ways to Intensify Simultaneous Contrast

• Strong light.
• SC works best with unequal proportions, large on small.
• SC will increase with viewing time and with intensity or purity of dominant hue.
• Opposite hues give strong SC.
• Near opposite or split complements give stronger SC.
• Close values work to intensify SC.
• By placing or using distinct color areas near each other. (Not confused by line or form) Line, shape, and form are immediately recognizable to the eye.  They appeal to our intellect and are easily grasped as tangible visual elements.  SC affects our sense perception; it creates an apparent sensation, which works on visual reality.

Ways to Suppress Simultaneous Contrast

• Extreme value changes.
• Add some of dominant hue (admixture) to other hue so it cooperates with SC.
• Lower intensity of dominant hue.
• Make sizes similar.
• Use a line or ground to separate the areas from one another.  This will destroy SC because it acts as a pause.  The after image will be projected on the line or ground and destroy the dynamic and make it more stable.

Problem in Color Mixing

Painters must consider the relativity of color when mixing paint. The way a color appears on a white palette will be different that among the colors in a painting. To combat this issue, mixing one color on the palette to find it appearing out of place on the painting, artists may use a toned gray palette to more accurately gauge a colors value. Over time and with practice a good painter can anticipate and creat color mixtures to suit the palette they are working with.

Try it out: For fun, try using a RV or Yellow green painted ground or palette to create play with the temperature of your composition.