Simultaneous contrast is a natural phenomenon of the mind's eye.

In effect, simultaneous contrast exaggerates any difference between the color properties (hue, value, and intensity) of two adjacent colors to some degree in the mind's eye.

What happens is the mind's eye of the viewer instantly draws an "exaggerated" conclusion about the relationship between two neighboring colors or color areas. There's no thinking... it's an automatic visual response. And, it has nothing to do with being an artist, but it has everything to do with the way our eyes and mind works.

Let's take a look at the following two simple diagrams.

Diagram 1

In Diagram 1, the gray circle on the black background looks lighter than what it really is and the gray circle on the white background looks darker than what it really is. In reality, the "gray" in both circles is identical.


Diagram 2

In Diagram 2, the green circle on the yellow background looks cooler than what it really is and the green circle on the bluish-green background looks warmer than what it really is. In reality, the "green" in both circles is identical.

So, what does this all mean?

It means that color perception is relative and not absolute. And, since color perception is relative, we are always subject to these effects. In other words, it's in our mind not our eye.

Now to the artist, this can be a good thing or it can be a bad thing. For amateurs, it is usually a stumbling block because they are not aware of it or they underestimate it's influence or importance. However, to the professional, it is an opportunity for creative expression.

What's the impact?

One consequence (or opportunity) of this effect is that our mind's eye is tricked into seeing colors that are not really there and not seeing colors that are really there (see Diagram 2 - the circles look like two different greens). In other words, the appearance of a "hue" and it's temperature is altered or exaggerated depending on the amount of differences in the neighboring hues.

Another consequence (or opportunity) is that the "value" and "intensity" properties of colors are misread. The "value" in colors look lighter or darker than what they really are and the "intensity" of colors look richer or duller than what they really are.

So, what happens overall is the artist who is not aware of this influence tries to paint what they think they see. If they don't know that their mind's eye is fooled, they will keep trying to paint what they think they see... often scratching their head wondering why they just can't seem to get the color right. It's unfortunate really. These are such simple things to know about and overcome, even at an elementary level.

At an advanced level, these effects provide opportunity for the budding artist. The old masters were aware of phenomena like simultaneous contrast and were skilled in using it to creative advantage. They were able to use minimal colors (hues) to create the effect of more color than what was actually there.

Sunny Snowscapes, No Yellow

Let us tell you about a lady who painted northern glaciers and snowscapes. She did not use yellow on her palette, yet she was able to use her knowledge of "simultaneous contrast", and another phenomenon called the "after image" effect, to create the effect of sunlight in the snow and ice. The more the viewer studied her paintings, the more intense the sunlight became. By skillfully placing "blues" and "blue purples" near "more neutral tones "at controlled "value" levels, she was able to create the effect of sunlight in the snow.