I've started compiling a webpage of things I'm trying not to forget from painting at university for the past few years. It's important for me to write these things down because my mind is a grapefruit that is a little too sour and it rejects the sweet stuff (ie. forgets the best parts of my life) and it's a small world I live in. Why didn't they ever encourage us to take notes?
http://www.mutagenics.com/painting/methods.html
It's still in progress, (oh yes, it will look like shit and have broken links until I give a damn) but here's a snippet..
Part A
Colour - Fundemental Colour Methodology For Oil and Acrylic
1. The Basic Palette
Rather than owning a full armoury of every hue and tint in production, only a basic set of colours is required for painting. At some point, for convenience, or due to the special nature of a needed colour, a painter will expand this palette. For example, in some circumstances, especially for paintings in abstract expressionism, basic and non-basic palette colours "straight from the tube" preserve the value and luminosity of the paint, especially for high value colours. But with a basic palette, a painter should be able to mix the widest variety of colours possible and still arrive at a near perfect proximity of any desired colour. It is more than pragmatically useful (where it is wise if a painter is trying to conserve funds with a basic palette instead of paying for each and every odd tint they can use) because the ability to mix paint sensitizes the hand and eye. For a basic palette, common sense might dictate that a painter needs only at least one of every major hue (Red, Orange, Yellow. Green, Blue, Indigo, Violet and Magenta) and White and Black. Or maybe only the primary colours (Red, Yellow, Blue) with White and Black. Or, like a printer, CMYK (Cyan, Magenta, Yellow, Black) and White. From these simple palettes you might guess that a painter could mix any possible colour. But you'd mostly be wrong because the answer is counter-intuitive. The truth is that a painter requires a very large basic palette that includes both a warm and cool variation of every major hue at their brightest and purest saturation. As well, some earth pigments would constitute a waste to mix when they are so readily available for cheap, so they must be included (Ochres, Siennas, and Umbers).
The rest is on the webpage. You'll find...
2. The Importance of Brightly Valued Hues...
3. Warm and Cool Colours...
4. The Basic Palette Colour List (for when you go to the art store...)
I don't get into the psychology of painting until Part B (that better explains things like contrast of extension, and warm-cool relationships).
http://www.mutagenics.com/painting/methods.html
It's still in progress, (oh yes, it will look like shit and have broken links until I give a damn) but here's a snippet..
Part A
Colour - Fundemental Colour Methodology For Oil and Acrylic
1. The Basic Palette
Rather than owning a full armoury of every hue and tint in production, only a basic set of colours is required for painting. At some point, for convenience, or due to the special nature of a needed colour, a painter will expand this palette. For example, in some circumstances, especially for paintings in abstract expressionism, basic and non-basic palette colours "straight from the tube" preserve the value and luminosity of the paint, especially for high value colours. But with a basic palette, a painter should be able to mix the widest variety of colours possible and still arrive at a near perfect proximity of any desired colour. It is more than pragmatically useful (where it is wise if a painter is trying to conserve funds with a basic palette instead of paying for each and every odd tint they can use) because the ability to mix paint sensitizes the hand and eye. For a basic palette, common sense might dictate that a painter needs only at least one of every major hue (Red, Orange, Yellow. Green, Blue, Indigo, Violet and Magenta) and White and Black. Or maybe only the primary colours (Red, Yellow, Blue) with White and Black. Or, like a printer, CMYK (Cyan, Magenta, Yellow, Black) and White. From these simple palettes you might guess that a painter could mix any possible colour. But you'd mostly be wrong because the answer is counter-intuitive. The truth is that a painter requires a very large basic palette that includes both a warm and cool variation of every major hue at their brightest and purest saturation. As well, some earth pigments would constitute a waste to mix when they are so readily available for cheap, so they must be included (Ochres, Siennas, and Umbers).
The rest is on the webpage. You'll find...
2. The Importance of Brightly Valued Hues...
3. Warm and Cool Colours...
4. The Basic Palette Colour List (for when you go to the art store...)
I don't get into the psychology of painting until Part B (that better explains things like contrast of extension, and warm-cool relationships).
takora:
ah, so that is why you disappeared from my friends list? hope all is well... 'Loveless' and some headphones should fix any problem. i'm convinced. no, seriously!