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I’m gonna do a “lamp simulation” (a circular gradient with constant tint and varying brightness, based on the abstract model of a “perfect lamp,”) based on 11 colors: 3 times RGB with 3 levels of brightness (I dont enter into the detail of how I choosed them) and Black/White.
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Light ON/OFF, hi-resolution orthographic panorama made with Hugin.
For me, there’s not much difference between such a work (the prototype, made of laserprints on paper) and a “traditionnal painting.”
I’m really starting to think it’s just the same thing, like Richter includes amateur photography in the field of “painting.”
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D65 Normlicht light tubes mounted with an aluminium reflector
”Table-Tops Room,” Jan van Eyck Academie, Maastricht, NL, 2011
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I just came back from a long journey, the blog will be re-updated regularly soon.
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Fine-tuning of titanium-White and carbon-Black to “match’ the lightness of the grey background. Bizarre: following my measurements it was supposed to disappear in the middle, maybe a mistake…
detail below, click to zoom!
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Fine-tuning of titanium-White and carbon-Black to “match’ the lightness of the grey background.
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étude D65 #2, équivalences / dégradés / disparitions, 2012
hand-made drawing: pigments, indian ink & pencil on paper
162 x 110 cm
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One more layer of color and the entire section will appear grey, and the circular zones will disappear.
Details below
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This is the final test: does grey circular samples made of bright colors and their grey surroundings made of black lines appear the same, or: visually equivalents. In other terms: do the color-made samples disappear?
It works quite well for these 3 first ones. 5 to go with the opposite problem: black-made samples, colored-lines made surroundings…
After this the question could be: what is the exact distance at which such optical colors mixtures become a “color field,” and how to know (calculate, predict…) it?
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below details:
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Well made measures: no visual difference between the circular zone in the center, made of 4 colors, and its direct surroundigs made of black lines. :) :)
(blink if you dont see it!)
detail below:
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The 8 circles are “metameric,” they share the same visual values. Well… they share color parameters: Hue, Brightness, Saturation, and are as I say “visually equivalent” at a certain distance (here something like 2-3 meters.) However, at a close distance they’re very different:
2 3 4
1 5
8 7 6
Sample #1, two colors: cadmium Yellow n°2 + Ultramarine Blue greenish extra
#2, 3 colors: cadmium “cinnaber” Red + a mixture between Turkish Blue Light & cadmium Yellow n°2 + Ultramarine Blue greenish extra
#3, 4 colors: cobalt Violet light brilliant + the Green + “cinnaber” + Ultramarine xtra
#4, 5 colors: cob Violet LB, mix Green, “cinnaber,” Turkish dark, Ultramarine xtra
#5, #6, #7, #8: all made of “lamp Black,” in different geometrical configurations
(All pigments are from the Kremer catalogue)
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below: detail
