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“Textures: Backgrounds for Visual Journaling and Mixed Media” registration is now open. Class begins on June 1. There are 6 weeks of lessons in which students work through the process of creating backgrounds for their artwork. I share my favorite materials and approaches and provide detailed information on those materials so that you can […]
My Achilles’ Heel, used to be the girls, and how quickly I could get them out of their crates (and with what tools) if there was an accident in the Bronco. Now it’s clear that my Achilles’ Heel is Dick’s eyes. Dick had cataract surgery almost a month ago. What should have been a quick […]
Left: A page from my journal showing a triad test: Indanthrone Blue (Daniel Smith's PB60) Indian Yellow (DS's Py108), and Terra Rosa (an iron oxide from M. Graham). Click on the image to view an enlargement.
Yesterday's post on Terra Rosa triggered my memory. I had posted this triad chart in an earlier post on journaling superstition #4: Each Page Must Be Perfect.
The image comes later in the post so I am repeating it here so that you don't have to scroll around and look for it. I wanted to post it today so that those of you who were intrigued by yesterday's post on Terra Rosa could see immediately how it mixes up in a triad situation with additional pigments, when the goal is not simply to get rich neutrals. (I do use color sometimes!)
What is a triad? Simply put triads are formed with 3 (hence "tri) colors that are equidistant on the color wheel. The primary colors Red, Yellow, and Blue form the most familiar triad but there can be triads using secondary colors. The key things about a triadic color choice are that the three colors are not direct complements (so blending them won't yield neutrals); and they are not analogous colors (those colors that are adjacent to each other on the color wheel) which means the mixing yields more variety than other color schemes. Finally, when mixing with a triad you can achieve some beautiful semineutrals that are not at all muddy.