How are the dots actually created?
Scharein sets each dot by hand with a brush. He uses acrylic paints and hard foam panels for this.
With each color family that occupies him, Scharein tries to fathom the specific qualities of each color. "What power and mightiness is inherent in red, for example?
And blue? "The various shades of blue take the viewer of my paintings into the cosmos and at the same time into the deep blue, endless sky, the depths of light. Or of the universe. Here, too, one finds the movement, the flickering, swinging and floating of light."
There are good reasons why yellow is so difficult and complex: yellow has the flattest dark-light value potential and the lowest saturation potential of any hue. Pure yellows are very sensitive to shading or tinting; in fact, “uptight” would probably be the better word. High yellow hues are unforgiving. Their reaction to even the smallest addition of other shades of yellow is generally frantic. This meant that I had to keep calm, especially since my technique requires so much work in detail. Any mistake in shading would immediately stand out as an optical rupture in otherwise finely sequenced color gradients. The real challenge is to paint color fields that are very lively, vibrant, and tense nevertheless.
