@@nicosmith706 gosh, thank you kindly, Nico, I’m flattered! I hope the lecture proves to be helpful to you!

@@Swinton12fv79c thank you kindly for such positive feedback! I’m really glad you found it useful!

Thanks for the feedback. It’s great to know people find it useful!

I’m really pleased to hear you found this helpful. Thanks so much for taking the time to leave feedback!

Thank you @womenwotreads ! It’s great to hear you found this lecture useful & I appreciate you taking the time to post positive feedback! 🙏

You’re very welcome. I’m pleased it was of interest to you.

Thanks for the feedback. I’m very pleased to hear you found this useful!

Thank you for the positive feedback! I’m very glad to hear you found this useful.

Thank you! I’m very pleased to hear you found it useful.

Thanks so much for your positive feedback! I’m really pleased to hear you found it useful.

Glad it helped. Thank you.

You still don't know what he was talking about. I was like you, what did all that rhetoric actually say? That so called push and pull has been a part of painting since it arrived. Was it all that important that it took someone in the 1940's to theorize it? And for all those otherwise intelligent American painters to make an incessantly quoted hero of him? Talk about a sale of goods! I think you were ahead of the game when you didn't understand. Good for you. You didn't buy the emperor's clothes. (And by the way, I brought my questions about Hofmann and "push and pull' from some of his original students.)

Thank you very much. I’m delighted to hear you find them useful!

Thank you, I’m pleased you like it. I’m interested to read your observation regarding the orange- Something I’ve learned from doing this exercise over the years, is that there is often a quite a varied response as to which colours students perceive as ‘pushing’ and which colours they see as ‘pulling’ back. Colour is always relative, so whatever it’s next to will influence it (Hofmann’s paintings are a great example of this). According to the science of perception, Orange is a bright colour, so it should seem ‘close’ to a light background, on darker grounds it should appear to be further ‘forward’. However, many factors can alter this, such as it’s size (like you mention) but also it’s saturation, relative to the other colours. On a final point, I’ve noticed that the colour relationships in the slide show can look surprisingly different depending on what monitor I’ve viewed it on. In a class room setting, I normally do this exercise using coloured paper (as did Albers), so it could also be down to the difference between subtractive and additive colour mixing.

@@thebridgeartschool2727 That's really interesting. I could see how any of these factors could influence how the objects are spatially perceived. I always forget about how much the monitors can impact colors. The in-person use of paper definitely would control most of these variables. Thanks for your thoughtful reply.

I’m delighted to hear you found this useful! Thanks so much for the positive feedback!

You’re very welcome. Glad you found this useful!

Glad you enjoyed it! Many thanks for the feedback!

You're very welcome. I'm pleased to hear you fond it useful!

Thanks for the positive feedback! I’m really glad you found this to be useful.

Thanks. Yes, this is true, he did; as was also the case in early Flemish oil painting. However, It’s worth noting Tintoretto was an early adopter of the dark ground popular in the 17thC, a notable example of which being ‘Christ Washing His Disciples Feet’ in the National Gallery in London. To clarify my point, I don’t mean to claim the white ground was ‘invented’ in 19thC, but rather it became important to how artists after Cezanne used colour to define space, particularly in 20thC abstract painting.

Many thanks, Maria!

Thanks, I’m glad you found this interesting. With regards to your question, the ‘warm-cool’ spatial effect is most pronounced when there is a similar level of brightness. At full saturation the ‘push-pull’ depends on the property of the individual colours in question. As with all colour relationships, different combinations of colours will yield radically different results. If you’ve not read it yet, try and get a copy of Joseph Albers’s ‘Interaction of Colour’, it’s extremely good at getting this across. Thanks again for your feedback!

Thank you Jordan. I’m pleased you found it interesting. Really like how Hofmann’s ideas play out in your own practice too! Thanks for the feedback!

Thank you for you kind words & feedback Stephanie! Part 2 is here... kzbin.info/www/bejne/o37NYqyoaNmDadU I’m still getting to grips with the technology, so haven’t compiled them into a playlist yet!

Part 3... kzbin.info/www/bejne/bJuZmaaKnseLqJo

Great! Glad you found it useful. Thanks for the feedback.

Glad to hear it was useful Phil. Thanks for the feedback!

Thank you for your feedback. Glad you found it to be useful.