fallowhours

Learning color theory through oil painting is more difficult than learning it through gouache & watercolor, primarily because it takes way more time to find mass tone and mix everything and also it's much less obvious to easily and quickly discern if a paint pigment is highly staining or transparent.

Oil painters like to seem like they have the richest and most storied traditions in color theory to past down but also inevitably they are the most likely to retain an extremely limited chroma palette based on classical palettes for the sake of classicism and not always make that fact very apparent to a beginner aside from saying it's an "old masters palette" watercolor/gouache painters are bad at using paints that are not light-fast and clinging to them despite having better alternatives, but generally still understand chroma gamuts and pigment importance better or at least talk about them more.

When you're mixing paints, the earth colors (browns) don't need to handled and thought of as brown. Ask yourself if the brown is yellow, orange, red, or leaning towards a black (which would be treated as a violet or blue, depending on whether black is warmer or cooler).

Yes there are cool reds and warm blues

Any reference color wheel that places red on the very top hurts my feelings, stop doing this just because you learned "roygbiv". Yellow is at the top and the Indigo-Blue range is on the bottom because this also means the color with the lightest possible value is opposite the color with the darkest possible value, so you have the colors arranged with a value scale from top to bottom BUILT IN.

This makes me think makeup artists have good color theory, having to understand undertones of skin, warm v neutral v cool toned red lipstick....

Yes!!! I mean first of all, makeup artists are artists.

and they are ALSO ultimately just blending pigments to produce certain colors and effects, so yeah professionally do study the basics of color theory and then necessarily have to adapt it to their medium. And they tend to generally add like, what you talked about with recognizing cool/warm/olive/neutral undertones and such as a big consideration to their canvas.

And that IS why people will say "this is a cooler red lipstick" (although even cooler than that would be magenta or fuschia!).

I think the only thing I've noticed wrt to honestly mostly beauty influencers and not actual professional MUAs is that too many people buy an eyeshadow palette of cool tones in the palette and then put it on and complain it pulls "too warm for their cool skin." And it "isn't actually a true cool tone palette."

I just want to grab all these people by the face and say:

"Shhhhhh. Color temperature is relative. Although you have cool skin undertones, you ALSO have blood under your skin which will inherently make your base skin-canvas slightly warm no matter your foundation shade. So when you put any kind of pigment that isn't fully opaque onto your skin, the transparency WILL be warmed by your skin because you're alive and have blood still. The eyeshadow palette IS a cool palette. You're just not a vampire, which is why that cool taupe shade suddenly looks different from the mass tone in the palette."

These influencers would understand this better if they did some watercolor painting on pre-tintedpaper and then compared it to painting on pure white.

Handprint.com is hands down the most comprehensive scientific explanation of how different color wheels or palette choices work. It's big and dense and exceptionally thorough. I skim frequently and find myself always learning more. https://handprint.com/HP/WCL/water.html everything is done using watercolors as a reference point but a LOT of this translates to other mediums. For the record his CIECAM color wheel is what I consider to be the best (not 3 dimensional) color wheel for artists. Period.

He uses pigment numbers for some of the most common watercolors rather than specific paint brands or color names to place the pigments. It's also a case study in why yellow being at the top is the best because it also means you have a value scale from top to bottom (since black paints are just dark violets or blues, ultimately.)

When you look at this, you can start realizing more and more why the earth colors can be used as if they were like, straight red, or yellow, or orange. Like if you wanted to make a limited palette, you could use "burnt sienna" as your dark yellow (which will make the whole palette lean orange!) Or it could be your orange or you could use burnt sienna as your red. (Look at gamut masking links below)

Seriously it's good to try and swatch your medium (even really quickly!) Within a CIECAM Artist's color wheel. Below are two of my attempts:

From loose memory and then mapping pigments roughly.

He also discusses the difference between visual complements and mixing complements!

Anyways absolutely try to read bits and pieces. The whole site is amazing. Handprint is amazing.

Also:

https://gurneyjourney.blogspot.com and James Gurney's book: Color and Light: a guide for the realist painter. James Gurney is the dinotopia guy. That book is also amazing for painting fantasy with lots of fantastical examples. Here are two short videos on gamut mapping and gamut masking. Accompanying blog posts.

No surprises here! His book also charts pigments:

Actually these are my four favorite books hands down:

Color and Light: a Guide for the realist painter - James Gurney

Color for Painters: a guide to traditions & practice - Al Gury

The oil painters color handbook - Todd m casey

Artist's master series: Color & light - 3d total publishing. This one emphasizes digital!

The first two have been out for awhile now and you can more easily find them cheaper/used online than the latter two which are relatively newer and hefty hardbacks.

Also, from personal experience: al gury is a sweetheart angel who is a huge crazy cat man. I adore him, he's so kind and helpful. I think it's a little late to join the current session (although they did only start Jan 28, so you can always ask! Class videos are recorded), BUT he frequently offers a class on color that is fully online through PAFA continuing education, as well as other classes. I haven't taken it yet, but I HAVE taken other classes online with Al and he's really great.

Oh also online gamut masking tools:

In krita: https://docs.krita.org/en/user_manual/gamut_masks.html

https://claudiamatosa.com/resources/gamut-masking simple tool

https://mypaintingclub.com/blog/post/39-The-Gamut-Mask-Tool another tool with more complexity

Ancient Sea Creature Diorama - Anomalocaris (Cambrian Period).

古代海洋生物ジオラマ - アノマロカリス (カンブリア紀)。

HAVE YOU EVER WANTED TO MAKE A MEDIEVAL STYLE TIE ON POCKET? WELL, AFTER MANY YEARS AND MUCH REQUESTS I HAVE FINALLY SAT MY ASS DOWN (with the help of a friend) AND TURNED MY VERSION OF THIS BITCH INTO AN ACTUAL SEWING PATTERN!!

Look at that bitch!! This is the new one that I made so that I could take in progress shots of the whole thing, but I made my first one in 2021, and that bitch is still going strong! It's had to go through a few repairs at this point (cause I switch between it and 4 other ones almost every single day) so rest assured these bitches at STURDY!

This is also like, my idea how many times attempt at making a pattern but THIS, yes THIS BITCH, THIS TIME is when I have finally succeeded in getting all the way to the end of the process! So if you'd like to make one of these motherfuckers head on over to the link (aka my kofi shop) to purchase the PDF printable pattern!

assuit (also called tulle bi telle) is a unique fabric which originated in Egypt in the late 18th c. that combines a mesh bobbinet base fabric (usually cotton, but sometimes linen) with an 'embroidered' technique where very thin strips of metal are interwoven by hand into the mesh, folded back on themselves and and creased flat.

the metallic designs are, by nature of the technique, very geometric and the fabric (unsurprisingly) had a moment in the 1920s, and for early movie costumes for stories set in ancient Egypt.

According to the company’s website, “Baking Pitchfest 2024” offers a product edition geared toward baking brands founded and owned by people of color across the U.S., and a bakery edition, which focuses on people of color-owned bakeries in the Northeast and Washington state. “Half mentorship, half competition, Baking Pitchfest is an accelerator program designed to foster greater inclusivity and creativity in the baking world by providing equitable opportunities for People of Color entrepreneurs,” the website states, adding that winners will receive financial support, mentorship, and exposure. But the initiative has generated outrage amongst conservatives online, who have blasted the competition eligibility rules as discriminatory against white people.

Also they actually are working on regenerative agriculture:

Also they do blog articles about adaptive baking:

MELVILLE SWEATER DONE I AM CAPTAIN AHAB THIS IS MY WHITE WHALE

I was planning on embroidering a couple scattered stars on the fabric to tie it into the band, but things quickly got out of hand.

Several days and many, many, podcasts later, this is where I'm at. The embroidery is done, and I've very roughly mocked up the bag so I can plan out the rest of it. The starry fabric to the left will be the bag's lining.

@thescrapwitch you NEED to see this I saw it and immediately thought of you

Latvian braid knitted in the round

A Latvian braid is made in 3 rounds.

Rnd 1: k1 with CC, k1 with MC, carrying the strands across the back as in ordinary stranded knitting.

Rnd 2: P1 with CC, stranding the yarn across the front, twist yarns clockwise and bring yarn in front, p1 with MC.

Rnd 3: As rnd 2, but twist the yarns anti-clockwise.

Love from loss WIP 2024

So you remember those pockets I wove into this fabric couple months ago? Back then I was charmed by the idea that I could hide a small item in there - I could give this fabric a secret that is part of its structure and impossible to get out unless you break the fabric itself.

So I wrote this little poem, a gentle call out for being curious enough to break my beautiful hand woven linen fabric and messaged my lovely sculptor/jewel smith friend.

Chimney swift doing what a chimney swift does best…clinging to stuff