Intermediate Western Calligraphy Tips : Calligraphy Illumination Tips: Part 2

Intermediate Western Calligraphy Tips : Calligraphy Illumination Tips: Part 2


And, I’ll mix the color, you know, off the
top of my head, and then I’ll think, well, “oo! I’ll better make sure I have this mix
color on hand.” So, what I do is, I just put a little thing on here that identifies how
I mix this color. So, in this case it says: Windsor, Newton, permanent green light, plus
some little permanent green dark and a little bit of white; and hopefully, I could replicate
this if, if I wanted to. Now, the one important thing that you need to understand about color,
I think in the beginning, is that color is relative. Alright? So, if you’re going to
put, here basically what I would say are two colors that are put together, that are kind
of like opposite each other on the color scale. So, I’m putting a pink, which is more or less
of a reddish and I’m putting a greenish, which is more or less, more or less of a greenish.
In juxtaposition, I’m putting them next to each other, and the result is that it, it’s
almost as if it vibrates. So, that’s kind of like the thing that you want to go for,
or another way, another way for me to put this is to say that you don’t, you don’t want
to be boring with color. That’s number one. You don’t want any portion of your piece,
your work, your work of art to be boring. It can be a completely negative space, but
it has to have a shape to it. It has to have a certain balance, and the other thing that
you don’t want to do, is you don’t want to end up with muddy colors, and the way that
you do that is by haphazardly mixing colors. If you find yourself with muddy colors, then
you have to stop and you have to regroup, rethink. Maybe even start again.

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