Defining Some Terms in Color Theory

RGB: The combination of red, green, and blue light that forms a color. This is also called additive color (when you add more light, you get closer to white) and is what you'll see for digital cameras, televisions, monitors, and anything that emits light in general instead of needing an external light source to illuminate it.

CMYK: The combination of Cyan, Magenta, Yellow, and black ink or paint that will reflect a certain color. This is also called subtractive color (when you add more ink, you get closer to black) and is what you'll see for printers or anything else that uses ink, pigments, or paint. Theoretically Cyan, Magenta, and Yellow components would be enough to make all colors, but it's cheaper and faster to use dedicated black ink for dark colors and shades of gray.

HSL: A way to express a color in terms of its:
• Hue: is it red or blue or anything in between? If you consider spectrum of visible light, hue determines on which point of the spectrum the color roughly is.
• Saturation: Is the color purely, say, red, or is it muted down with some combination of gray? Totally saturated is red, totally unsaturated is gray (or white or black, depending on the…)
• Lightness: Is it closer to white, or closer to black?
You can play with an HSL color picker at MothereffingHSL.
In Photoshop and elsewhere you'll see HSB (for Brightness which is in practice the same as HSV for Value) and HSI, which are both similar but not identical to HSL.

Lab: This is a way to plot a color based on its Lightness, amount of green or magenta (a), and amount of blue or yellow (b), a model that closely approximates human vision. With Lab, you can plot every single color that's possible in RGB and CMYK, so it's useful as an intermediate step in converting digital graphics for print.

Tint: for a given color, make it lighter (basically, add pure white) and you'll have a tint of that original color.

Shade: for a given color, make it darker (basically, add pure black) and you'll have a shade of that original color.

Tones: I see "tones" used to describe ranges of discrete brightness/lightness/luminescence levels in images. You'll also see it used to describe combination of colors. Mariam-Webster gives the example of "gray walls of a greenish tone".

Chroma: Generally this is another term for saturation or a combination of saturation and hue. The Wikipedia article on colorfulness groups chroma, saturation, and colorfulness together as loosely similar, but chroma does have a specific definition in some color spaces.

Intensity: Could refer to the brightness of a color or the saturation (or a combination). Like a soda can could be described as intensely red, or a white point of light would be intensely bright. One quirk of human vision is the Helmholtz–Kohlrausch effect, which describes how we perceive highly saturated colors as appearing lighter.

*It should be noted that "Tone" generally refers to the quality of color, gradients, shading, etc. It also refers to the range of discrete luminance levels present in an image. It is not really another term for tints and shades. Chroma, or Chromaticity, refers to the color "vector", which would be its angle around the color wheel, and its distance from the center of the wheel towards the edge. Intensity generally refers to brightness, and has more to do with the luminance axis (remember, color is three dimensional) than anything.

Secret Lessons from Odd Nerdrum

Some notes from a recent online visit with Dustin Neece. (DustinNeece.com) Dustin has studied with Odd Nerdrum and has some “secret lessons” which he teaches to various groups.

Lesson: work from life.  With photography so prevalent these days, it’s increasingly important to remember that working from life is better than working from photos. It is easy to work from photos, and often the only option we have. But the preference and first choice should always be to work from life. Why is working from life better than a photo? That’s a topic for another blog entry.

Lesson: use a limited palette.  According to Dustin, Odd Nerdrum uses just a few pigments:  a red, a yellow, white and black. This is also the “Zorn Palette” of which many of us have used. I have used in the past Ivory Black, Titanium White, Yellow Ochre, Cad Red.  Dustin points out that the more pigments an artist uses, the more difficult it is to achieve overall harmony. A complex palette leads to complexity in our work. It’s better to keep things simple. Dustin’s palette:  Cobalt Green, Quinacridone Red, Cobalt Blue, Permanent Yellow Light, Cad. Yellow Deep, Black and White. Keep in mind that different manufacturers produce different pigments, so you have to experiment and find the pigment manufacturer you like. Dustin likes Michael Harding Naphthol Red, for example. He buys his pigments from Kremer Pigments in New York. (http://shop.kremerpigments.com/en/)

Lesson: open approach vs. closed approach.  An “open” approach to the painting process means you don't know exactly how you will get to where you are going. You have a goal in mind, a kind of painting you want to make, but you don't have a set of steps that you will take. You want to keep all the possibilities and techniques at your disposal as you work. You don't have a concrete plan in place.

A “closed” approach means you have a way to work and you don't vary your method. You have a certain way of doing what you do and so you do it.  Everything is planned out and predetermined ahead of time. It is a “linear” approach to work.


Dustin suggests, if you want to paint like Nerdrum and him, you want to keep your painting “open” as long as possible. Experiment, play, try new things out as you work. If something doesn't work, scrape it off and start over. Feel free to fail. Look for the “happy accidents” that occur when you work without a net. It is a “non-linear” approach to work. Sure, it involves risk. Yes, it takes time. But the rewards of working this way are enormous.

Lesson: tear down, then build up.  This is the “destructive method” that brings a lot of expression and feeling to the work. Using your hands, sand paper, palette knife, whatever, destroy your work, then come back and rework it over and over again until you achieve what you like. You tear down, scrape off, dismantle a layer of work then apply another layer of work on top of it. Slowly the layers begin to build up. Amazing effects begin to appear as you work layer after layer after layer of tearing down and building up. It’s a great deal of fun to work this way, too. You have the freedom to explore and fail and make mistakes because you know you can destroy it and move on to another layer. Destroy to create. Work in a mental state of “not-knowing” what is coming next.

In this photo of a recent painting, you can see first my initial block-in. I let the layer dry completely, then using sandpaper and my palette knife I scraped and sanded the painting, destroying much of the work I had done. I applied a a subsequent layer of paint next, looking for ways to improve the overall drawing and details. If I desire, I can continue to destroy a layer and rebuild it as I go. Maybe a section of the grey coat needs to be deconstructed and rebuilt. I don't know. That is the point. I don't know. The painting is still "open" for me to continue the process.

I'm Eliminating Solvents from Studio

Artists are continually talking about making their studios safer and non-toxic. It makes sense. Why not have a safe working environment if you can do it? 

I have been using surgical gloves for over a year now when I paint. I mainly do it to avoid washing my hands. Clean up is so much easier when you don't have to wash your hands, especially if you often stop while working (answering the phone, going to the restroom, getting coffee, etc.). I grew tired of getting paint on my hands and having to wash them off each time I needed to take a break. Now, I just remove the gloves. Plus, they are safer. Any cuts or scratches on your fingers allow toxins to enter your bloodstream. Why take the chance? If I feel the need to use my fingers, I just remove the gloves. No big deal. 

Solvents have been used for hundreds of years to clean brushes and thin paints. But they are toxic. They also hinder the binding of pigment to the surface and are not the only way to thin paint. There are better alternatives. Eliminating solvents entirely from the studio is not that hard. Solvents are different from some mediums like Liquin or Oleogel. Solvents break down the pigments and hinder adhesion. Mediums like Liquin suspend the pigments in solution and shouldn't interfere with pigments sticking to the surface. Too much solvent will cause problems in adhesion. So eliminating solvents is a good idea unless you really like the effects of using it in underpainting or in other techniques. However, nontoxic mediums now exists that will do the work of solvents, so why not use them?

What about cleaning brushes? I have recently followed the advice of many artists: I no longer clean my brushes at the end of each working session. I simply suspend them in safflower oil. I also use safflower oil to clean the brushes while working. I use Rublev Oleogel and linseed oil as mediums to help me work the paint. I no longer use OMS like Gamsol while I work. 

For now, this seems to be working for me. I like having a solvent-free environment. If we carefully dispose of our toxic wastes and protect ourselves from toxins while we work, we should be hedging our bets against harmful health issues. 

The Head versus the Heart

In a recent discussion online with another artist about color theory, I was promoting the idea that two kinds of artists exists: those who love the scientific and technological side of the work, and those who do not. Some artists are scientists in disguise. They love to talk about pigments and mediums and theories of color and composition in scientific, logical terms like a CSI unit looking at a crime scene.

On the other hand, many artists are not scientifically inclined at all. They are more practical in their use of materials, and just want to learn enough to get the job done. They don't read books on color theory or delve into the chemical composition of a tube of Rublev Oleogel. They want tools that work and don't give much of a damn of how it works. "Just show me what works," they say.

What I'm writing about here is the head and the heart. In my discussion with this artist about color theory, I was promoting a balancing act between the science of art and the spirit of art. Both are important. The head and heart need to be in balance, I believe. But if I had to choose one over the other, give me the heart.

This artist writes, "There is no real separation between head and heart since, in reality, it is all head. The rest is illusion." I disagreed.

My response.  "The real issue is that much of the contemporary art world doesn't give a damn about skill, technique, or about the issues you and I are discussing. Look at the crap that is selling these days. We should talk about color theory and helping students develop skills, and it is right. But we also must face the reality of the current art market and its de-emphasis on skill-based work. Skill and technique will only get you so far. But show some heart, some backstory, some personal narrative, some personal slant on your point of view, and the market eats it up."

It is an old debate, the role of the head and heart in making art. Is it all "head"? Is our heart really a product of the brain and its activity? Is the "heart" an illusion? Should we talk in terms of the head and heart being separated? I don't know. I'm not that smart.

Organizing My Brain: Planning a Work Day That Makes Sense (To Me)

Being self-employed is great, but it certainly has risks. One of the biggest hurdles to overcome is planning a day of work. With most jobs we know what our day looks like: arrive at 9 a.m., have coffee, say "hi" to the boss, do our work, have lunch, do our work, go home at 5 p.m. However, being responsible for my own schedule, I risk going through the day doing nothing.

As an artist and writer, I am responsible for my work schedule. Being unique and quirky in my own way, I must find a way to schedule a work day that fits me, makes sense to me. We are different. What works for me may not work for you. The goal is to find a schedule that works for me and then stick to it.

As both a writer and artist, I have two jobs. I must paint, I must write. While both are creative endeavors that have much in common, they are also quite different. Painting and creating visual art is both physically and mentally draining. After a long session at the easel, I am physically tired and mentally drained. Writing, however, tends to make me mentally alert and drained without the physical pain. After writing for a few hours, I often feel the need to do something physically active, like riding my bike or taking a walk. After painting in the studio, all I want to do is rest.

I am faced with scheduling a work day that needs to address my uniqueness, the way that I like to work. For now, I am trying this: I am splitting my day into two parts. I reserve my mornings for writing and reading and research. After lunch I paint, draw, create in the studio.  I am finding that if I keep my two jobs separate, art and writing, I have a better chance of staying on track.

My writing workplace is often this coffee shop.
Today, the scene is pretty hectic, being Friday.

For the longest time I was approaching my work day like a day off. That is, I had no real plan or idea of what I was going to do that day. I would write when I felt like it, then paint. I might go through a day and not paint at all. I might go three days without writing and just paint. While this might be a fun way to work, it can be counterproductive. I have goals to reach and a business to run. I cannot afford to just work when I feel like it. I have two jobs, both very demanding and both requiring discipline. I have to paint and write each day, even if I don't feel like it. I have to remind myself that I have two jobs, not hobbies.

When deadlines call for more attention to a particular project, then I make adjustments. But I still need to pay attention to both jobs and not neglect one, because of the work required for the other. For example, I have an art fair on my calendar in two weeks. The temptation will be to focus on preparing for the fair and neglect my writing. But this is a problem. I might need to cut back on my writing schedule, but I must not neglect it. I still need to write, even if its just for a few minutes.

I have never liked working for someone else. Being self-employed is a choice I made and I know it has risks. Scheduling my work day is a continuous struggle. Switching gears between art and writing is not easy, but necessary. I have two jobs that both require my attention. Organizing my scattered brain is a constant problem, but I'm trying my best to make it work.

Online Print Houses

I have been looking at online print houses to order high quality posters of my digital art, and it's not easy. I first went to Mpix.com and ordered a 24x36 full color poster. I receive it yesterday and was disappointed. Their "low weight paper" is just awful. They offer no other papers. My total cost was $37, which included basic shipping. The low quality paper is just a deal-breaker. I will not use Mpix for my poster prints.

The next site I visited was PosterPrintShop.com. I ordered today a 30x30 customized poster with a high gloss finish. Total cost to me was $43, including shipping. I am hoping the quality of the paper stock is much better. Once I receive it, I'll let you know what I think. I am impressed at the easy user-friendly interface this site has to offer. It was a quick and easy matter to upload my image, crop, and place the order. They test the quality of your image and give you an idea of how large a print is best, given the size and quality of your image. I have found that an image of at least 2400pix is necessary for a 30 inch print.

I also visited FineArtAmerica.com. For quality poster prints, this site is also limited and I was unable to crop my uploaded image on the site. They only offer standard sizes and one kind of paper. So far, this site doesn't seem to be what I'm looking for.

I went to VistaPrint.com and ordered a 24x36 glossy poster. I will be eager to see the quality of this one, too. Total cost was $42, including shipping. They only offer standard sizes, and card stock is only available for an 11x17. They do have a useful cropping/editing interface that is helpful.

These are the images I am using as test cases for posters. I am developing a series of digital prints to sell as posters, if I can just find a good price for a quality print on a paper stock that is better than a roll of toilet tissue.

Hi Girls, Miss Me?

Writing a screenplay can be as fun as painting a picture. While distinct similarities exists between the two, my brain seems to be working from a different place while I'm writing dialogue. In both cases I'm painting a picture. I'm using words to paint dialogue, hoping to find some rhythm and texture just as I would when applying oils to a canvas. But the process, the brain activity, seems to be different. I cannot explain it. I'm not a brain specialist. I love doing both, writing and painting, and they are great compliments to one another. Both are creative practices, apparently exercising different parts of the brain.

Below is an excerpt from a screenplay I'm writing. It is fun to do this kind of thing after a week of painting in the studio. It's all about expressing what it means to be human.

(Excerpt from a current screenplay...)

INT. LAUREL GROVE HIGH SCHOOL, BOY’S RESTROOM, DAY

Brando is staring into the mirror of the restroom. He has a bloody nose.

SAM

                          You okay? Your nose looks crooked.

BRANDO

                           It hurts like shit. But I’ll survive. That prick was lucky. I didn’t see him.

SAM

                          Why do you put up with it? Why don’t you beat his ass?

BRANDO

                          He’s the size of a buffalo. I wouldn’t have a chance. He would break more than my      
                          nose.

SAM

                          If you don’t do something he’ll keep it up. I’ve been picked on my whole life. I’ve
                          gotten used to it. But you. You can do something about it. Your dad’s the sheriff for
                          God’s sake!

BRANDO

                          So...you want me to run to daddy. Is that it? I’d rather get beat up.

SAM

                          Your Dad would throw him in jail.

BRANDO

                          But then what? I’d look like an idiot. Running to Dad to fix my problems. My dad        
                          already thinks I’m a pussy.

At that moment the bathroom door opens and Satchel walks in. He’s tall, well-built, but still has baby fat around the waist and chin. His hair is long and messy, like he just got out of bed. He’s laughing to himself. He notices Sam and Brando in front of the sink and mirror. They both turn as he walks in.

SATCHEL

                          Hi, girls. Miss me?