Saturday, January 30, 2010

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.

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.

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.

No comments:

Post a Comment