2. Working with Chiaroscuro
Whatever the number of colors involved, contrast is a result of the opposition between clear and dark tones. The more radical the opposition between background and subject, the more the subject gains in relief and importance in a decidedly theatrical composition.
- In an entirely somber scene, a very bright subject, bathed in an almost supernatural light, attracts the eye: this is the essence of chiaroscuro, as it was defined by Rembrandt. In the Matthias Braun watercolor, opposite: The foam and the clear part of the sky are created with a sparing technique (the paper is left blank).
- You can achieve the opposite effect by strongly darkening your subjects to underscore the richness and luminosity of the background. In the work of Mathias Braun, opposite: the cloudy mass or the waves.
- Work carefully with intermediate nuances, because contrast does not equal rupture. In the work of Mathias Braun, opposite: The green of the sea is composed of several shades. For the first layer of green, which is rather diluted, he has added less-diluted points of color.
- Consider decreasing color density and the strength of their opposition as you approach the horizon.