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What is the relationship between the physical extent of a colour and the effect it produces on the perceptual organization of a drawing? This article examines this question through a situation encountered in my own practice: a very small amount of yellow noticeably alters the balance I perceive within a drawing as a whole. This observation becomes the starting point for a practice-based investigation. Adding, removing, reducing and then relocating the yellow constitute a sequence of operations through which variations in its perceptual action can be observed. he experience is considered in relation to research on the contextual dependence of colour perception and chromatic induction, as well as Josef Albers’s experimental approach to colour. It is not presented as a psychophysical experiment and does not allo generalization to other observers. Rather, it provides an opportunity to examine how a perceptual phenomenon can become, within the drawing process itself, an instrument of decision-making and knowledge. The hypothesis explored here is that drawing practice can produce situated knowledge of perception when it makes observable the relationships between material transformation, attention and decision-making involved in the construction of an image.
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