Notes for visual thinkers.
252 Byte Demos of P01
You can view these experiments in your browser (listing the above examples):
A full list of releases can be found here, which all including documentation on the technical programming details for each project.
I would like to make a public service announcement on this piece of shit information floating around the internet. I’m NOT going to take pot shots at an artist’s personal palette but this is just misinformation to thousands of other people out there who may or may not know better.
Number one. IF YOU ARE PAINTING, YOU’RE NOT REFERENCING A DIGITAL SWATCH. So first of all, you need to know where paint comes from. I dont even know where to start with this. I mean seriously, the statement about not being able to make pure, strong colours with cadmiums is just so full of ignorance, I don’t even know where to start.
If you need visual evidence, let’s take a look at this picture
This picture was invented before CMYK ever came around, tbh. Too bad Klimt is dead or else he would attest to this just like EVERY OTHER TRADITIONAL PAINTER will.
Mixing colours is not magic nor is it as easy as picking colours from a digital swatch. It takes practice to understand how certain colours react with one another, employ painting techniques such as not mixing white with every goddamn colour to lighten a hue.
Let’s take another look at a somewhat LESS brightly paintedpiece.
The saturation is not nearly as bright but the chroma is pure. There are no muddy colours, nothing is brown where it was not meant to be. Because Kandinsky knows how to mix colours. It didn’t happen overnight nor was he born with that knowledge. It was years and years of practise and work.
Even Klee knew what was up. He was not a master artist by any means but he worked goddamn hard at it and look what he created.
Here’s another Klimt because we all love him so:
CMYK exists because it does not know how to replicate the natural pigments of paint that can reflect light. It’s a beautiful, beautiful fake at best. I love CMYK. I even want to get a tattoo that says CMYK. But it is by no means the one and only.
So PLEASE. PLEASE EDUCATE YOURSELF AND CROSS REFERENCE YOUR COLOUR THEORY BEFORE YOU BUY INTO THIS GARBAGE. NEWTON KNEW WHAT HE WAS TALKING ABOUT WHEN HE MADE THE COLOUR WHEEL GUYS.
PAINTERS SPEAK OUT FOR OUR BELOVED COLOUR WHEEL! REBLOG AND REPOST! Whoo!
EDIT// Additionally, I re-read that ignorant infographic or whatever and have come to realize that the artist classifies pthalo blue/green and hansa yellow as CMYK. That is not CMYK guys. CMYK is used for digital prints because you can’t use paint. Duh. God, that information is so wrong, it wasn’t even worth making this post.
EDIT 2// Wow this took off like crazy. I’d like to clarify that CMY(K) is a printing process not Cyan, Magenta and Yellow in painting processes. I totes understand the necessity to use the more vibrant hues of CMY but in context to the original post, I would like to state that I understood that to be in reference to CMYK from design/pantone based inks that don’t necessarily work in a traditional paint format. And I love electric colours just as much as the next person but RYB is not to be entirely discounted because it’s old!
Let’s not forget that limited palettes work beautifully in RBY or whatever traditional paints you are using if you understand how to mix the paints.
Anders Zorn usually had a palette that only had Ivory Black, Yellow Ochre, Red and white. With these few colours he could mix amazing moody images without relying on every primary. Although he did mix in some other highlight colours like blues occasionally he became a master at it, and his palette is still used today.
Claude Monet and the rest of the impressionists were capable of creating incredibly well lit and “realistic” feeling works just by figuring out that brightness comes from placing two complementary colours beside each other. Yellows would have strokes of lilac in it, reds with greens, etc. You needed these subtle tones traditional paints give you to achieve these colour balances. The impressionists were the ones who figured out the bulk of colour theory! Look at them and learn!
Isaac Levitan could create any mood he pleased by playing off warm and cools. Bright sunny days or dark damp nights, it didn’t matter. He could paint it all simply because he knew his palette (and most of his work was created before magenta was even created for the printing press). He knows exactly which colours to pair with each other in order to make you feel what he wanted, like how this is a foggy, cold, early morning.
Even current artists like Ruan Jia can paint amazing landscapes using incredibly limited colours because he knows how to deal with it. You can’t get these colours from something as limited as cmyk paints - you *need* to have the warm and cools in order to pull it off properly, something that mode lacks! Knowing this translates into the digital realm too! Look at how the bright accents of oranges and greyed out greens/reds really push the ground and trees into looking like a three dimensional image.
Even someone who paints abstract, like my fave Matthew Ritchie, can pair certain colours to give it that bright feel without resorting to cmyk or premixed neons.
Just think about everything you know about colour theory, throw it out the window, and start mixing some paints. You’ll be surprised at how beautiful the world around you is and what pigments mixed together can create what. These are all the colours you can get from a zorn palette alone; what kind of colours could you mix if you had the full spectrum of reds, blues and yellows in your paintbox?
Howells didn’t realise his mistake until Friday. Since then, he said, “I’ve searched high and low. I’ve tried to retrieve files from all of my USB sticks, from all of my hard drives. I’ve tried everything just in case I had a backup file, or had copied it by accident. And … nothing.”
He even went down to the landfill site itself. “I had a word with one of the guys down there, explained the situation. And he actually took me out in his truck to where the landfill site is, the current ditch they’re working on. It’s about the size of a football field, and he said something from three or four months ago would be about three or four feet down.”