AL TINNIN VAULT
Wednesday, June 29, 2011
Thursday, December 2, 2010
The Colour Citrine
REAL CITRINE
The stone citrine is actually amethyst which formed in a warm or hot environment over many years. What is often sold as citrine is actually baked amethyst, very nice, but it is most likely not the right colour.
So the stone is actually a light grayish-yellow, and quite pale.
The orange we are used to seeing with a slightly caramel colour is the baked amethyst, which is essentially an artificially heat-treated stone.
BAKED AMETHYST (CITRINE)
Sunday, January 31, 2010
Moon Wall
New Al Tinnin Vault Moon Wall
By Frater YShY
Original is 5' x 8'
Media is a Photoshop file and True Type Fonts
January 31st, 2010 ev.
By Frater YShY
Original is 5' x 8'
Media is a Photoshop file and True Type Fonts
January 31st, 2010 ev.
The only real innovation I have made that I feel obligated to take note of is that I have changed the squares of the Supernal Triad from the directions in The Book of the Tomb, as depicted in my original Study using the M.'.M.'. colours, to make them flash properly. It is interesting that I hit a few of the same colours as Moina Mathers does with the Luna Wall, but she doesn't carry the pattern of the Supernals through in the same manner. Opposing white and black does make the image jump, but as soon as you add any colour to white or black, it now has the capacity to flash if the opposite charge is coloured at the right contrast. I also like how the light descends from white in the spirit square through the slightly pastel white Kether, into the tint of coloured gray in Chokmah, and finally the dark Mother, or Binah.
Mercury Wall
New Al Tinnin Vault Mercury Wall
By Frater YShY
Original is 5' x 8'
Media is a Photoshop file and True Type Fonts
January 31st, 2010 ev.
By Frater YShY
Original is 5' x 8'
Media is a Photoshop file and True Type Fonts
January 31st, 2010 ev.
I invite you to continue to follow along in this experiment with a new media. While all Inner Order Vaults are hand-painted and therefore naturally are different, to my knowledge this will be the only Vault of its kind that uses the new philosophy and methods behind colour blending, and has been made in Photoshop.
So, I have been meaning to mention that this method I am using is a fusion of the Brodie Innes flashing colours that was supposedly in his Vault, and the juxtaposition method of Whare Ra. To those unfamiliar, the first method is of the M.'.M.'. that the ZAM uses to paint his or her Elemental Weapons. The second is the full 50:50 juxtaposition method as described in the Book of the Tomb.
As I have already mentioned elsewhere, how this works is that I use a 20:80 ratio of Wall colour to Square colour, and the same for the complimentary symbols. This utilization of the two methods is intentional, and while I may try other methods in the future for other Vaults in the Order, I am going to follow this one through consistently on all seven walls for now. My plan is to create a juxtaposition-coloured wall that really flashes, and so far, these three walls flash just as well as the Study using the basic twelve colours which are commonly termed the primary, secondary and the tertiary colours.
As I continue on in this project, I actually find I prefer to eyeball a few of the colours, as the number values sometimes need to be tweaked a little. Some may notice I re-posted the images a few times as revision caught a few minor mistakes. For those of us who like to arcive things of interest we find on the net, I recommend you check back here periodically for adjustments and new versions of the Vault. This is a work in progress, and I will continue revising as I see fit, removing old versions that are not quite right. I will eventually post when I am finished revising, and that is when I suggest you re-save the images and erase any incorrect archived posts of the images that may have been made.
I also will make available the larger files and printing instruction to make your own Vault to anyone who: a) sends me an email request; and b) can handle waiting for me for as long as it takes to finish the other 4 walls, ceiling and floor.
Whatever the case may be for the differing methods of painting, the varying levels of correctness and the virtues this supposedly brings to the Vault; there is something valuable and to be cherished about the effort we put into these pursuits, for regardless of the differences in the end results, the quality of the effort and the care in the finishing work speaks for itself.
So, I have been meaning to mention that this method I am using is a fusion of the Brodie Innes flashing colours that was supposedly in his Vault, and the juxtaposition method of Whare Ra. To those unfamiliar, the first method is of the M.'.M.'. that the ZAM uses to paint his or her Elemental Weapons. The second is the full 50:50 juxtaposition method as described in the Book of the Tomb.
As I have already mentioned elsewhere, how this works is that I use a 20:80 ratio of Wall colour to Square colour, and the same for the complimentary symbols. This utilization of the two methods is intentional, and while I may try other methods in the future for other Vaults in the Order, I am going to follow this one through consistently on all seven walls for now. My plan is to create a juxtaposition-coloured wall that really flashes, and so far, these three walls flash just as well as the Study using the basic twelve colours which are commonly termed the primary, secondary and the tertiary colours.
As I continue on in this project, I actually find I prefer to eyeball a few of the colours, as the number values sometimes need to be tweaked a little. Some may notice I re-posted the images a few times as revision caught a few minor mistakes. For those of us who like to arcive things of interest we find on the net, I recommend you check back here periodically for adjustments and new versions of the Vault. This is a work in progress, and I will continue revising as I see fit, removing old versions that are not quite right. I will eventually post when I am finished revising, and that is when I suggest you re-save the images and erase any incorrect archived posts of the images that may have been made.
I also will make available the larger files and printing instruction to make your own Vault to anyone who: a) sends me an email request; and b) can handle waiting for me for as long as it takes to finish the other 4 walls, ceiling and floor.
Whatever the case may be for the differing methods of painting, the varying levels of correctness and the virtues this supposedly brings to the Vault; there is something valuable and to be cherished about the effort we put into these pursuits, for regardless of the differences in the end results, the quality of the effort and the care in the finishing work speaks for itself.
Saturday, January 30, 2010
Mars Wall
New Al Tinnin Vault Mars Wall
By Frater YShY
Original is 5' x 8'
Media is a Photoshop file and True Type Fonts
January 30th, 2010 ev.
By Frater YShY
Original is 5' x 8'
Media is a Photoshop file and True Type Fonts
January 30th, 2010 ev.
As I am putting this together, I am having little mini-revelations about the R.R. et A.C.'s various uses of colour. The painting instructions in Book of the Tomb are not wrong, per-se, but they could be improved with 20th century techniques that many artists do with paint, which I may get into later in a future post. All of the experiences I have had over the last 19 years with paint pigments are irrelevant with computers, end of story, full stop.
Even without computers, there are new advancements with colour theory that artists have known about for 70 years, but the GD magical community has yet to catch on to. I have had to learn Photoshop for this project, and I have a few advanced colour artists to guide me. I would also like to thank Samuel Scarborough, whose impetuous and tenacious nature has suited this project well when he jumped on-board as a volunteer colour editor.
Colours behave differently in computers, it is more like mixing light. Computers can make colours flash where paint would look like mud. Another way to describe this using mathematical terms is to say they take a colour "mean" between the wall and square colour values as expressed by number, and not doing a paint blend of all the pigments which creates a visual cacophony of different shades of brown. This is not a mix, so there is no murk. Next I do the opposite for the symbol colour, and shift it towards its complimentary colour.
There is only one colour wheel, and for this project we are staying on it. Call it an experiment, but my ethic is to try and flash with a bright and nearly exact complementarity colour on almost every square that isn't gray or black.
The tomb is supposed to be prismatic, with seven walls. Most painting methods I have seen and read being discussed online create some very effective, but murky rainbow variant of brown. This happens whenever you mix all three primaries together, whatever the actual colour or proportion you use. I see brown as representing Malkuth in the QCCS, based on the M.'.M.'.
All this talk is perhaps too much for what amounts to a subtle difference in the end result. Of course when I repeat brown over and over, I run the risk of being misunderstood or labeled an exaggerator! Because we are talking about the rainbow colour scales, when I use the term brown, it is only to describe a quality that could be present in any square or symbol, and I mean that the colour is only slightly unclear or muddied; to a non-artist it would be just a peculiar red or green, not even rustic enough to be relegated to an earth tone. Nonetheless, for those that are interested in the little details of construction, this was the full explanation.
I believe I am being more faithful to the original intention of the tomb as a multiplicity of the seven prismatic colours with this slightly different approach.
Even without computers, there are new advancements with colour theory that artists have known about for 70 years, but the GD magical community has yet to catch on to. I have had to learn Photoshop for this project, and I have a few advanced colour artists to guide me. I would also like to thank Samuel Scarborough, whose impetuous and tenacious nature has suited this project well when he jumped on-board as a volunteer colour editor.
Colours behave differently in computers, it is more like mixing light. Computers can make colours flash where paint would look like mud. Another way to describe this using mathematical terms is to say they take a colour "mean" between the wall and square colour values as expressed by number, and not doing a paint blend of all the pigments which creates a visual cacophony of different shades of brown. This is not a mix, so there is no murk. Next I do the opposite for the symbol colour, and shift it towards its complimentary colour.
There is only one colour wheel, and for this project we are staying on it. Call it an experiment, but my ethic is to try and flash with a bright and nearly exact complementarity colour on almost every square that isn't gray or black.
The tomb is supposed to be prismatic, with seven walls. Most painting methods I have seen and read being discussed online create some very effective, but murky rainbow variant of brown. This happens whenever you mix all three primaries together, whatever the actual colour or proportion you use. I see brown as representing Malkuth in the QCCS, based on the M.'.M.'.
All this talk is perhaps too much for what amounts to a subtle difference in the end result. Of course when I repeat brown over and over, I run the risk of being misunderstood or labeled an exaggerator! Because we are talking about the rainbow colour scales, when I use the term brown, it is only to describe a quality that could be present in any square or symbol, and I mean that the colour is only slightly unclear or muddied; to a non-artist it would be just a peculiar red or green, not even rustic enough to be relegated to an earth tone. Nonetheless, for those that are interested in the little details of construction, this was the full explanation.
I believe I am being more faithful to the original intention of the tomb as a multiplicity of the seven prismatic colours with this slightly different approach.
Venus Wall
New Al Tinnin Vault Venus Wall
By Frater YShY
Original is 5' x 8'
Media is a Photoshop file and True Type Fonts
January 30th, 2010 ev.
By Frater YShY
Original is 5' x 8'
Media is a Photoshop file and True Type Fonts
January 30th, 2010 ev.
This is the Venus wall of the Vault, which seemed like a logical place to start. To construct this, I have taken my instructions faithfully from The Book of the Tomb by Brodie Innes, as recently published by Nick Farrell.
I have generated the colours using a computer, using the previous Study of the square and symbols colours only, which was posted on January 28th and 29th. For each of the seven walls, one of the seven prismatic colours are used as the basic tint or wall colour.
The colours of each square or field on this wall are tinted with the emerald green of Venus, while each symbol or letter is tinted with an equal proportion of green's complimentary colour, which is red. This makes most of the symbols flash with their fields, and of course the wall and complimentary colour will always flash the best in its own squares, an effect that is characteristic of the Tomb. Primary and secondary colours will always flash the best, in paint, but the computer produces more accuracy. The exception of course being the squares which incorporate black, white and gray, which do jump out when mixed, but will never truly flash.
The green border is simply a frame, and is not replicated when the wall is printed.
I have generated the colours using a computer, using the previous Study of the square and symbols colours only, which was posted on January 28th and 29th. For each of the seven walls, one of the seven prismatic colours are used as the basic tint or wall colour.
The colours of each square or field on this wall are tinted with the emerald green of Venus, while each symbol or letter is tinted with an equal proportion of green's complimentary colour, which is red. This makes most of the symbols flash with their fields, and of course the wall and complimentary colour will always flash the best in its own squares, an effect that is characteristic of the Tomb. Primary and secondary colours will always flash the best, in paint, but the computer produces more accuracy. The exception of course being the squares which incorporate black, white and gray, which do jump out when mixed, but will never truly flash.
The green border is simply a frame, and is not replicated when the wall is printed.
There are two slight differences of note to The Book of the Tomb.
The first being that I have elected to mix exactly 20% wall colour, in this case green, to 80% square colour. The symbols are done the same way, so the complimentary red is blended in the same ratio. There are no clear instructions on proportion of colour mixing in the Book, but even with the faded nature of an old document, it looks like it was done somewhere between 20:80 and 50:50. This is no fault of the artist in The Book of the Tomb, for pigments are difficult to mix, and it would take a lifetime of working with colour to create the consistency produced in a few hours with the computer. I have chosen the lower end of the ratio to create some continuity, and while paints need to be done by eye, computers are happily consistent.
The second difference, is that when you mix with a computer, you can easily get most of these strange tints to flash. This is something I have ensured occurs by going with the lower end of the acceptable ratio between wall and square colour. Paints get muddy as you mix multiple colours into them, as they are particles of suspended pigment. Meanwhile the computer can add and remove colour values as need be to get the correct proportions, without leaving unwanted miniscule amounts of blended pigments on the canvas to go muddy in the tint, thus making Photoshop my first choice in the 21st century for such a project.
Thursday, January 28, 2010
New Al Tinnin Vault Wall
New Al Tinnin Vault Wall
Study by Frater YShY
Original is 5' x 8'
Media is a Photoshop file and True Type Fonts
This version posted
January 29th, 2010 ev.
Study by Frater YShY
Original is 5' x 8'
Media is a Photoshop file and True Type Fonts
This version posted
January 29th, 2010 ev.
Many thanks to all the assistance I have received with the fonts from the Yahoo "Golden Dawn Group" and its members. Those who wish the clean and large original 5' x 8' file are encouraged to email me for a copy, as it is too large to post here.
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