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Posted: 09 Aug 2024 08:10 initial question | |
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Durability of color
With the exception of fuchsia, all the colors I use are durable under normal conditions. What I mean by normal conditions, the first is to observe the procedures for protecting the painting, including the use of Vari water light; The second is not to let the painting directly exposed to sunlight or gas corrosion, not on the radiator or other heat sources, do not let lay people to wipe it. I tested all the colors (exposed to direct sunlight for months), and only the fuchsia changed somewhat and faded when applied thinly or combined with other colors. Fuchsia should therefore only be used in sufficient concentrations.
Make color charts
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In art school, a series of color charts are used to learn about the various properties of color, such as concentration, drying time, color implanting power, blending properties, and so on.
The first chart includes all ten pigments extruded directly from the hose. Draw fifty small squares on a small canvas, ten squares in each column and five squares in each row. Compare the previous column with ten colors from light cadmium to black. Then, add white to the following columns, increasing the amount to form five shades. That is, the first column is a solid color, the second column is a lighter color, the first column is a middle tone between a solid color and white, and the fourth column is another lighter color, which is closer to white than the next column.
Then prepare nine charts, nine squares per column and five squares per row. In the second chart, the first color of light cadmium is blended with the remaining nine colors, mainly color, compared with the first grid of the previous column is light cadmium and earth, the second grid is light cadmium and cadmium vermilion. The grid is light cadmium and rose earth red, and so on until black. Then, as in the first diagram, the mixture is made into five shades. In the fourth diagram, earth is used as the main color, and the remaining nine colors are blended in the same way. After the ten charts are made, each one has a color as the main color.
The purpose of these charts is to find out all the colors that can be produced by the combination of these colors and their five different shades, and the ten color charts can produce 455 mixtures in order. If other colors are added in addition to the ten basic colors, the resulting mixture can exceed 00. The number can even be increased, because those very dark colors can be divided into nine shades instead of five.
The above production procedure is admittedly very tedious, but when the chart is made, the knowledge of color is very rich. The whole process took several weeks, and when I got bored with it, Professor Mosby encouraged me by saying that someone at the High School in Antwerp had made over 1,000 color watches in the past (probably in the 1820s).
If color is difficult to talk about, then the comparison of composition is almost impossible to talk about. Part of the reason is that after nearly a century of so-called modern movement, most of the traditional laws and regularities about composition seem to have been abandoned. Because of its long history and importance, I think the modern movement can properly be regarded as the academic art of our time (somehow, the National Academy of Modern Art is quite interesting to me, although some people find it not interesting at all).
After all, there are some strict definitions of composition that no longer exist, at least for the time being (and by composition I mean paintings, not decorative patterns). Some day, after two generations, they will surely be revived and praised, as such things often are. But now, many of them are not lost, at least not by me. In painting, pay attention to symmetry, asymmetry, symmetry of force, golden law, balance, rhythm, advancing color, fading color, diagonals, concentration lines, payoffs, equal areas, repeated parallel lines, and all the other rules, laws, and formulas of classical art.
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