While I'm looking for jobs, Knut is looking to buy a place instead of continuing to rent. So we drive around town from for sale sign to for sale sign and have been working with a cool friend who is a realtor. Together we are in parallel collaborative and supportive states of lifestyle change.
Meanwhile I stopped reading Dorn's Thinking in Art after 4 chapters because it was too, too, too theory-driven. I applied to some art education jobs but I am realizing I don't want to teach teachers about art; I want to teach directly to students of art about art, thus, I'm reading through art foundations texts. Now I'm reading Itten's The elements of color, a passionate and scientific exploration. "The primeval essence of color is a phantasmagorical resonance, light becomes music," from page 8. I want to read some Bauhaus teaching texts too. I've read some Kandinsky...and gathering more artists on art writings - any suggestions? I also started a little abstract color series of the earth tones contained/restrained by primaries, secondaries, and bleeding (wet on wet) pure colors.
Screw theory
Re: Screw theory
Re: Screw theory
Did any of these come out? interested to see. Esp. b/c you are putting the garlic cloves on earthtones, so to
Did any of these come out? interested to see. Esp. b/c you are putting the garlic cloves on earthtones, so to <a href"http://www.livejournal.com/users/honoriartist/130517.html"> speak </a>
Re: Screw theory
Burnt Sienna is literally the burnt earth of Sienna.
[Short for terra-sienna, from Italian terra di Sienna, earth of Siena, after Siena.]
n 1: a shade of brown with a tinge of red [syn: reddish brown, sepia, Venetian red] 2: a reddish-brown pigment produced by roasting sienna
oh oh - Venetian red????
Venetian red, a brownish red color, prepared from sulphate of iron; -- called also scarlet ocher.
What about Raw Umber? you ask.
raw umber
Umber \Um"ber\, n. [F. ombre ocherous ore of iron, terre d'ombre, It. terra d'ombra, literally, earth of shadow or shade, L. umbra shadow, shade. Cf. Umber, 3 & 4, Umbrage.] 1. (Paint.) A brown or reddish pigment used in both oil and water colors, obtained from certain natural clays variously colored by the oxides of iron and manganese. It is commonly heated or burned before being used, and is then called burnt umber; when not heated, it is called raw umber.
ochre
Ocher \O"cher\, Ochre \O"chre\, n. [F. ocre, L. ochra, fr. Gr. ?, from (?) pale, pale yellow.] (Min.) (a) A impure earthy ore of iron or a ferruginous clay, usually red (hematite) or yellow (limonite), -- used as a pigment in making paints, etc. The name is also applied to clays of other colors. (b) A metallic oxide occurring in earthy form; as, tungstic ocher or tungstite.
I want to find out more about the earth tones. I haven't garliked the earth tones, just read a book that rejected them, and I do love a manifesto. So I tried out the ideas in the book. Nonetheless, mixing non-earth colors makes interesting earthtones without squirting premixed earthtones from the tubes. Earthtones are OK but I don't gravitate to them. For example the earthtone filled watercolor pans in my wc set stay full while the other pans are quickly depleted.
Depicting the struggle of the earth tones against the bondage and flash of the pure pigments is not an easy painting to paint and therefore it is a work in progress, and you know me it is many works in progress simultaneously. Stay tuned for scans or photos.
Re: color theory