End of an era?
Tomorrow is the final session of one of the two annual bead shows I’ve attended. Although I did get today off of work (surprise!), and I did get one homework assignment done (surprise?), I still feel behind enough so that I don’t want to spend my time tomorrow buying beads…which I won’t, then, have the time to use.
I was initially drawn to beadwork because of being able to play with color combinations; unfortunately, though, the “consumerism” aspect of beadwork seems to have heightened recently, which is a bit of a turnoff. Even though there are a lot of really interesting new beads being put out right now (particularly two- and three-hole beads), there are some shapes I’m drawn to (much) more than others; and most of the places to buy beads, in general, have migrated to online format.
I also am feeling time pressures which weren’t there when I was stably working an 18-hour week and going to the Art program at a local Community College…grad school is much more intense than that. I’m kind of wondering if it’s going to be like this for the rest of my foreseeable life, you know: with a 40-hour work week?
For tomorrow, I have at least two readings to do (one of which is in-progress), a response post, something to listen to, a slew of forum responses (which I’m supposed to be moderating) and some group work; not to mention my weekly Web Design homework. It’s just…not looking pretty.
Not to mention that I still haven’t set a firm dividing line as to whether my Web Design Final project will be based on color dynamics; or Buddhism’s focus on impermanence, as applied to archives (and living/surviving in general).
The former is dependent on good daytime light quality for photos; the latter should be heavily based on introspection and study (ideally, also, meditation; but I get impatient, meditating. The problem is that it’s hard to grapple with existential topics and Buddhist concepts without being destabilized to the point of needing meditation).
But if I look at it, I’m not sure either of those topics are really well thought-out: I was kind of broadsided with the request for topics, because I hadn’t read ahead. I know the Buddhist topic will calm me, and I’ve had to pare down the content of the color dynamics outline so much that it no longer appears “fun.”
Most of the rest of this is a tangent where I’m exploring what content I might use with my Web Design project, re: Color Dynamics.
Add to the latter that I’m translating painter’s color (subtractive color) into digital photography (additive color) and then showing it in additive color. It would be much simpler if I were working with an RGB (Red, Green, Blue: the colors that are projected from most computer monitors) color gamut, but I don’t entirely understand that model yet.
I’m not even working with CMYK (Printer’s colors: Cyan, Magenta, Yellow, black [Key]) either; I’m working from a split-primary model…which will probably go over most of my reader’s heads, so I guess I should define it.
Basically, if you’re looking to make brilliant tones from which to mix all other colors (including muted colors and chromatic greys [greys with a hint of color]), there are two factors to take into consideration: masstone and overtone. Masstone is something which I don’t think was ever explained to me, but essentially I believe this is the basic color which is reflected. It’s not always easy to parse, especially with non-prismatic colors.
Prismatic colors…are bright, pure, vibrant colors, such as one would see from the rainbow projected by a prism. (The above color wheel was painted entirely in gouache, a.k.a. opaque watercolor, on cold-press watercolor paper.)
So, say, on the far left of the image above, those two colors both have a blue masstone. But they have different overtones. The upper blue is “Ultramarine Deep,” and has a violet overtone. The lower blue is “Intense Blue” (Phthalocyanine Blue), with a green overtone. It’s very subtle, especially in this photo: the Phthalo Blue was kind of shading itself, and I had applied it very intensely.
However, try mixing that shade of green with Hansa Yellow Deep (the dark, orange-leaning yellow just below the intense orange on the right) plus Ultramarine Deep. It turns into a dirty-olive mix, because you’re mixing a violet overtone with yellow, and an orange overtone with blue: violet and yellow are complementary colors, just as are orange and blue (they are across from each other on the color wheel, roughly reproduced in the first photo) and cancel each other out when mixed, meaning the entire mixture is dulled out.
If you want to mix an intense violet (which you can’t really tell I did in the above photo, because the violet is too dark and dense to be able to read as more than a purplish-near-black; violet has the darkest innate value [it is closest to black in its pure mixed form] of all colors), you need to mix a violet-leaning blue with a violet-leaning red. In this case, I mixed Permanent Rose Red with Ultramarine Deep.
Similarly, if you want a vibrant green, you want to mix a green-leaning blue with a green-leaning yellow; and for a vibrant orange, mix an orange-leaning red with an orange-leaning yellow. This is the easiest way to think about it, I’ve found.
This is because overtones matter, and they will either enhance or detract from your mixes — if you’re after those pure-looking tones. A lot of people aren’t, as without further mixing, they look very simple. In addition, there are tons more ways to mix your primary colors than I’ve shown above. They just all come out slightly muted, to very muted, to nearly-neutralized.
I figured this out by painting six color wheels with all possible “warm” and “cold” split-primary combinations with my set of primaries (which I should list on the site; I also haven’t defined “warm” and “cold”). This was just (surprise!) the most intense result, after having cut all of them apart and reassembled them.
But once you have the prismatic colors, you can then play around by mixing other colors, using them: mixing a little across the color wheel (which I didn’t define, and would need to) will mute them. Mixing hardcore across the color wheel will give you a chromatic grey. (Mixing to the side, e.g. green with orange…not sure.)
I just didn’t have the time to do that, this time.
Maybe I should do my final project on color…it just seems so…not-academic…
I get freedom, and I just…throw it away…WHY?
I just hate to have to deal with a neutral Web layout, when I otherwise have few limitations on color, except for usability purposes. For this project, I would have to make a relatively boring/very neutral layout in terms of color, because the background a color is seen against, alters the human perception of it (this is something put forward by Josef Albers, and in my perception, holds true). I should have some examples of this from my Color Dynamics portfolio; and even if not, it’s easy enough to reproduce on Photoshop.
I will also be getting very, very familiar with the <float> tag…
What I have been doing so far is utilizing one of the nearest topics to me, in order to populate my learning documents; and that is self-care. Buddhism isn’t far off from that, but neither is painting.
Maybe I just feel guilty that I’m working some fun into my assignments?