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.

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.

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