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Wed, Feb 06, 2019
cindy boyd artwork
Faux Blue Velvet Victorian Digital Image Download
This is the image used in the faux blue velvet kaleidoscope It is created from a 20 step tutorial in photoshop I found on youtube or a website somewhere back on about 2009? 2005 maybe? The stock imagery was a foliage pack from a company called Designious. It was not originally repeating. I had the hang of tessellations pretty good by this time. There is a slightly visible seam though in the upper quarter. Not by print, but if you put it on a high res over 20 inch digital frame, you might see it. Note the pattern is repeating< but not squared to repeat. ot's cut like a random wallpaper pull, not meant to re-tessellate.
The devil is in the details. This one you need to see close up. Haven't personally printed much with it, but the subtlety really works on a computer screen or a digital picture frame. Pixels light the image different from how we see it. A computer screen at at least 1080 or hd has three colored led style teeny tiny little lights in every pixel square. The dampening of each value of intensity of these lights makes up the rgb translation of the image. Old picture tube tv's had a style of light different from led, and led is not the proper term for the hd post-plasma flatscreen either...but I don't want to get much more complex...or YOU might forget where the fridge is. The light created from the three bulb mix .. excuse me.. it is actually a 4 bulb mix. (as of 2012-this may have changed by now or be slightly dumbed down by the march of time) Computer screens have a white light to help mix the pixel with the rgb lights. That's is the main difference in print and light color mixing: you can achieve true white light but you can not reach true black on the computer screen: you can only simulate the contrast. Paint can also NOT achieve true black. True black paint does NOT exist. All paint call itself black is either deeply blue or deeply green when you cut it to see the shade gray. Black can be perceived but not purposefully attained. The color black is the absence of all light. It is actually an impossibility and one of the reasons artists are considered illusionists. White in the light spectrum is a distribution equal of all colors from the visible spectrum. White paint or printed ink is simply a surface made with a chemical that reflects enough light to achieve a wave that gives you shades of color we call white printed. Your eye processes color by bouncing reflected spectrum waves it is in the path of, off of the parts of the retina and that then send messages about the wave to the cerebral area that decodes THAT. Your brain says that wave amplitude means THIS: and it puts the color YOU perceive as BLUE in the image you understand yourself seeing both in real-time and memory. So when we look at a printed surface: the print absorbs all of some parts of the spectrum and reflects others. We process what is reflected. Light Is a truer color than paint. It has one less interlude of processing. Light hits our retina as a pure visual spectrum wave. The rods and cones in the back of your eye, receive and help send the signals to our brains. Rods filter the shade or black and white shadows of the image. Cones, we think, help to determine the color perceived. People with taller rods have greater depth of color perception (so eat your carrots!) There is even one theory that "color blind" people have a left right hemisphere misfire at the individual eye socket level of cone rod signal reception. It is not like animals that simply do not have the same retinal structures and actually see in black and white or uv. We then decode the light wave as our open iris allows reception of it, without an absorption or reflection process. This is why you may want to shake the hand of the print tech who translated your last project. The process for getting an image made from and of light combinations to what seems to be a true to color print: is TEDIOUS in initial set up. The print industry has come a long way from telling everyone to please create their images on the screen in CMYK. No two people can ever be proven to actually perceive the same color blue. We can simply all agree on the magnificent quality of amplitude specific chemical sets arrange for us under various lighting conditions. We like range, but when it comes to specifics, we all want to adjust things to our own liking. I have had dozens of things printed in the past several years and have been surprised at the quality every time. Somebody once asked what my favorite color was. I told them I had this pillow I loved. (a paint mixer at the hardware store) He said, was the pillow by any chance, velvet? Shook his head, you look like the type. A velvet pillow is actually like 20 colors. You want i can try to pull the top four of em out for you, but you will not get a color matching that pillow that YOU will be happy with. You should try the room with a set of monochromatic colors.. you know that word ( i was 17 painting my bedroom) Yes...I am an art student.. I know the term monochromatic. So I picked out four colors instead that would match my pillow. Painted the whole ceiling that day in a teal, purply-blue-and the closest to alizarin crimson i could get in hardware store paint. Just splotched it in dripping brushload by brushload on the attic ceiling and mixed it on the spot. My friends loved it. My dad loved it so much had me paint his room like that. That's how cool color is to me. That is also a little background on the velvet.
yup. I took color theory.
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Designed with original artwork digitally uploaded to a specialty print house utilizing 3d design software to produce stunning detail and expressive color arrangements that create a unique one of a kind art gift.
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