Thread: Jane and Iona
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Old 08-30-2004, 08:43 PM   #28
Garth Herrick Garth Herrick is offline
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Joined: Mar 2004
Location: Philadelphia, PA
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Quote:
Originally Posted by Ngaire Winwood
And Garth gets the Gold Medal in my opinion.

As a student I don't understand the tubing and 52 gray scale bit explanation, but hopefully this will be explained in more detail soon so students like myself can appreciate soulful paintings like this even more than WOW!. To me the composition and, and, and, ..................WOW! Thanks for logging on Garth.
Hi Ngaire,

Thanks! Your compliment is way too much, I think; but I had a good chuckle.

I work quite a lot from digital images in my computer as painting references. However, I find it difficult and tricky to paint directly from my computer monitor, as a reference next to my easel. It is hard to judge values from an image composed of light, and translate this into an image composed of pigments. I am trying to bridge this gap with my numerical value index referencing system as a guide.

I use Photoshop which has some great tools. In Photoshop there is an Info Box that will tell you a numerical formula for the precise color the cursor is positioned upon. As the cursor is moved to a new spot, new numbers will be presented. Instead of the commonplace RGB mode, I use Lab as the image mode, because Lab has a number representing the value of the color in the formula. The value scale in Lab runs from 100 representing pure white, to 0, representing pure black. Essentially this is an 101 level gray scale built into Photoshop.

I mixed 50 mostly evenly dispersed gray values in paint, which have been assigned numerical values to relate to the Lab scale in Photoshop. From this I have painted handy reference charts to translate and compare values as I paint. If the cursor points to a shadow in the digital reference, and the info box indicates a Lab value of 37, I can rotate my handy value index to the paint chip closest to value 37, and compare that to the color I have applied or am about to apply to the corresponding shadow in the painting. This way I can quickly see if it needs to be darker or lighter, or if I happened to get it right on the first try, with simple observation.

In a nutshell, this is what my 52 tubes (including black and white) of gray are all about. I hope this helps to answer your question.

Regards,

Garth
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