Tag: painting

Microkosmos at night


Illumination by 4 custom “Special warm-white” light fixtures:


…and on the diaporama below, the difference between day and night:

This slideshow requires JavaScript.


Work about to start in Brussels


Two pictures simulating the same wall-painting illuminated by daylight (bottom) and “Special White” (top)

It’s been nearly 2 1/2 years that I have been periodically working on a public installation for the new building of “Het huis” at Egide van Ophem n°46, Uccle, Brussels, BE.

Next week I will finally start making the permanent installation called “Microkosmos” which consists of a 7.5 x 21.5 meters wall painting, illuminated by custom LED white light sources that substantially modify the colors of the paints.


more information soon


This slideshow requires JavaScript.

glass prototype making

This slideshow requires JavaScript.

Next week we’ll finally be able to judge the result.

Wave Patterns @ LEVY.DELVAL, pictures



19/04 28/05/2016

Note: from April 20 to 24, the gallery will be open from 10am to 6pm.

On white paper sheets, grids of little colored squares are painted. For every composition, the two juxtaposed colors are complementary and the proportion of each color is calculated for the optical average of the grid to be a grey. The local probability for a square of the grid to be of one or of the other color is determined by two superimposed sinusoidal waves, whose frequency and direction are randomly chosen. The complementary colors amplify themselves mutually when we look closely at them: a light yellow is more light and more yellow next to a dark blue-violet and vice-versa. However, the resulting color of the patterns is light, balanced, and a bit faded by the paper whiteness.
Because the colors of the compositions interact with each other and with the colors on the walls, the pieces were placed in a random order. There was no good reason for any of them to be next to another one in particular. The two colors used in every piece were used only once in the series. Some of them are very similar – for example the Pigment Yellow 74 and the Cadmium Yellow dark n°9 –, and these small differences are made more perceptible when they are next to each other. The variety of the colors used in the series covers all existing hues: red, orange, yellow, green, blue-green, turquoise, blue, blue-violet, violet and magenta. There is no black nor grey in use. The name of the pigments used and the order in which the compositions were produced determines the titles.
The wallpapers behind the frames and the drawings were generated by a similar algorithm that works with physical color measurements done with a spectrophotometer. Every pattern is unique by its shape and colors, but is generated by the same series of rules and constraints. 50% of the paper is covered by paint, and the superficy of the little squares can be 4 mm², 2 square root of 8 mm², 16 mm² or 2 square root of 32 mm².

Adrien Lucca





A well-known fact about photograpy

IMG_2861 gamma

A picture taken at sunset in San Marino last week, processed for display on the screen.

While this was obviously common sense for important painters such as Georges de La Tour, Rembrandt, and probably – I believe – for Georges Seurat, few people realize how twisted pictures – and today’s digital pictures – have to be in order to be displayed or printed by our imaging devices.

Serious people in the field of photography know about this too, of course, since this is their daily routine problem – however, they usually don’t care.

I am talking about the fact that when we experience real scenes in the real world, outside – like me when I took this picture in San Marino at sunset – the colours we see are very bright, intense, and the contrast within the different visible parts of the landscape is very high. Ruffly speaking, the contrast ratio between the lightest and darkest parts of the scene in the photo was between one and two hundred here, and the colours in the sky were much more vivid than what we see in the poor picture above.

When we use a digital camera, the data measured by the sensor is converted: it is mathematically flattened to fit the limits of a computer screen, for example.

But if we keep the original data (what photographers call the “RAW” picture), we actually have access to a much more accurate light measurement – even if it doesn’t “look good” on the screen, the value of each pixel is actually proportionnal to the amount of light in the original scene, plus the electronic noise of the camera’s sensor, plus the distortion of the lens, plus the irregularity of the sensor itself (usually a bit more efficient from left to right, or the opposite).

This is how the RAW image looks like on the screen:

IMG_2861 linear

Raw linear picture: pixel’s values are theoretically proportionnal to the amount of light in the original scene, but noise and optics interfere a bit.

When we print the picture, it’s even worse. While some colours will appear more intense than on the screen (cyan, yellow…) some others will fade, and the general contrast will drop. I have a quite good printer but still, the white of the media reflects 90.73% of the light that a pure white would reflect, and the pure black of the printer reflects 3.85% of it. That means the maximal contrast ration on a print is 23.56 – while for the original scene it’s between 100 and 200! It’s about 5 to 10 times less…

Now, what we can do and what nobody does, is to colorimetrically render – as exactly as possible – a fragment of the picture within the limits of what the printer can copy accurately. The amount of light will probably still be inferior to the one in the original scene, but the relations between the colours will be proportionnal to the ones in the original scene.

When we do this, we get as close as we can to making exact copies of (fragments of) the original scene. The better the camera sensor, the better the copy. What do we see? The colours are much closer from the original sunset. When we want the entire sky, we have to darken it, then the floor disappears more. Why? Because when we darken the sky more we ask the printer to print blacker than its black, which is impossible. Same if we want more floor: we ask the sky to become lighter than the media, which is unprintable…

La Tour understood this very well back in 1642… That’s why he hid the flame with the little girl’s hand. The fact is not a well-kept secret! :)

1 georgesdelatour_christinthecarpentersshop-detail

Georges de La Tour, Saint Joseph charpentier (detail), 1642, Musée du Louvre

Below are some examples of this, within the limits of my printer:

(Click on the pictures to zoom!)

Light Transformer Prototype 4.0, map


CLICK ON THE PICTURE TO ZOOM (be careful that’s big!)

This is the picture that will be printed on the wall at ISELP (opening March 13th).

The background will become completely uniform, so will do the 4 squares at the bottom-right. The small squares at the top will form a greyscale.

The ‘frame’ is there to isolate the ‘screen’ in the brain, it is also a tribute to Seurat:


D65 series 5 #2, colorspace sections, 2014

D65 series 5 n2




I decided to change my system of titles.

Since the D65 studies start to have several pieces for each number (n°5.1, 5.2… 6.1, 6.2…) there will be a series number, refering to the type of research (or the ‘family’,) and a serial number starting with a sharp ‘#’

series 5 #2:

– I avoided most pencil traces

– Done in one week (absolute speed record, thanks to computer programming)

– Two new pigments: DPP Red (PR 254), and a Gofun-based Japanese Magenta from here: gofun

Maybe my most beautiful piece so far (?)

macro photo on D65 6.1

macro D65 6 2

macro D65 6.1 1


part 2

work 09


work 06

work 07

work 08

work 05

When I see these photos I understand immediately that my future work will be about installing color fields in space, it’s really interesting to have a continuous gradient cut by borders like on these pics.

D65 n°6: the system

12 10 2013 system



An overview of the Turquoise territory, next to it: Magentaville


How does this drawing works?

There are +-20 different colors that occupy several triangular or quadrangular zones of the construction. In general (but there can be exceptions, each color is present in more than one zone.)

In each of these zones, the amount of color varies from a minimum to a maximum, when the minimum is ZERO, it’s the end of the color’s territory.

12 10 2013 frontier


The “border” between Turquoiseland and Cinland: each color is absent


Below are 3 examples of such territories: Cinland (the land of Cinabre Cadmium Red), Magentaville (the “town” of Magenta, very small), Turquoiseland (another big territory, Cobalt Turquoise Blue).

12 10 2013 cinland 12 10 2013 magentaville 12 10 2013 turquoiseland

For the curious ones, the colorsystem is a modified CIE XYZ

a good junction

DSCN0038 copie


To have a good (near invisible) junction between two triangular zones means succeeding, with different lines boldness and angles, to cover the paper with the same proportions of colors. If it is visually good, it means that the drawing instrument is well calibrated, and that all the calculus were correct.

In my next drawing D65 n°6 I will have a lot of junctions like this one, the challenge will be to make them all as good as this one! :)

second slice

SLICE 2 13 June 2013 Adrien LUCCA 01

SLICE 2 13 June 2013 Adrien LUCCA 02

SLICE 2 13 June 2013 Adrien LUCCA 03



still 2 small triangles left, this “slice” contains a neutral almost at the middle of it, it’s a pity that the paper doesn’t remains flat…

Little study: 2 triplets containing a neutral, 2013

wada2 8 June 2013 A LUCCA


a gift :)

slice in progress

adrien lucca D65 5 6 June 13 coupe


This will be a slice of the 6-primaries polyhedron at the level of the lightest neutral grey

<span>%d</span> bloggers like this: