Chaotic Nyx

[lordchairesq]

[chaotic-nyx]

fuck

[vicposter]

dorothy under the floorboards listening to that gayass duet between the queen of this weird alternate universe and a terrorist

[omegaverse]

would die for a fresh hot corn on the cob rn

[omegaverse]

i forgot where i was. cock on the cob i guess

[omegaverse]

corn on the cock. i hate it here

[omegaverse]

im gonna fucking corn on the kill myself

[brehaaorgana]

Too many artists are held back by outdated and bad color theory rules, or even rules that are fine but have built in limitations that you should know and I want to set everyone free.

[brehaaorgana]

Tertiary Red and Secondary Blue could be in your color theory understanding and make paint mixing way easier but they played you

[brehaaorgana]

Also hot takes:

Learning color theory through oil painting is more difficult than learning it through gouache & watercolor, primarily because it takes way more time to find mass tone and mix everything and also it's much less obvious to easily and quickly discern if a paint pigment is highly staining or transparent.

Oil painters like to seem like they have the richest and most storied traditions in color theory to past down but also inevitably they are the most likely to retain an extremely limited chroma palette based on classical palettes for the sake of classicism and not always make that fact very apparent to a beginner aside from saying it's an "old masters palette" watercolor/gouache painters are bad at using paints that are not light-fast and clinging to them despite having better alternatives, but generally still understand chroma gamuts and pigment importance better or at least talk about them more.

When you're mixing paints, the earth colors (browns) don't need to handled and thought of as brown. Ask yourself if the brown is yellow, orange, red, or leaning towards a black (which would be treated as a violet or blue, depending on whether black is warmer or cooler).

Yes there are cool reds and warm blues

Any reference color wheel that places red on the very top hurts my feelings, stop doing this just because you learned "roygbiv". Yellow is at the top and the Indigo-Blue range is on the bottom because this also means the color with the lightest possible value is opposite the color with the darkest possible value, so you have the colors arranged with a value scale from top to bottom BUILT IN.

this is related to why ivory black is actually very dark blue.

[brehaaorgana]

@rizahawkeyesmuscles

This makes me think makeup artists have good color theory, having to understand undertones of skin, warm v neutral v cool toned red lipstick....

Yes!!! I mean first of all, makeup artists are artists.

and they are ALSO ultimately just blending pigments to produce certain colors and effects, so yeah professionally do study the basics of color theory and then necessarily have to adapt it to their medium. And they tend to generally add like, what you talked about with recognizing cool/warm/olive/neutral undertones and such as a big consideration to their canvas.

And that IS why people will say "this is a cooler red lipstick" (although even cooler than that would be magenta or fuschia!).

I think the only thing I've noticed wrt to honestly mostly beauty influencers and not actual professional MUAs is that too many people buy an eyeshadow palette of cool tones in the palette and then put it on and complain it pulls "too warm for their cool skin." And it "isn't actually a true cool tone palette."

I just want to grab all these people by the face and say:

"Shhhhhh. Color temperature is relative. Although you have cool skin undertones, you ALSO have blood under your skin which will inherently make your base skin-canvas slightly warm no matter your foundation shade. So when you put any kind of pigment that isn't fully opaque onto your skin, the transparency WILL be warmed by your skin because you're alive and have blood still. The eyeshadow palette IS a cool palette. You're just not a vampire, which is why that cool taupe shade suddenly looks different from the mass tone in the palette."

These influencers would understand this better if they did some watercolor painting on pre-tintedpaper and then compared it to painting on pure white.

But a MUA probably already figured this out yeah.

[brehaaorgana]

In case anyone is curious here are my top color recommendations

Handprint.com is hands down the most comprehensive scientific explanation of how different color wheels or palette choices work. It's big and dense and exceptionally thorough. I skim frequently and find myself always learning more. https://handprint.com/HP/WCL/water.html everything is done using watercolors as a reference point but a LOT of this translates to other mediums. For the record his CIECAM color wheel is what I consider to be the best (not 3 dimensional) color wheel for artists. Period.

He uses pigment numbers for some of the most common watercolors rather than specific paint brands or color names to place the pigments. It's also a case study in why yellow being at the top is the best because it also means you have a value scale from top to bottom (since black paints are just dark violets or blues, ultimately.)

When you look at this, you can start realizing more and more why the earth colors can be used as if they were like, straight red, or yellow, or orange. Like if you wanted to make a limited palette, you could use "burnt sienna" as your dark yellow (which will make the whole palette lean orange!) Or it could be your orange or you could use burnt sienna as your red. (Look at gamut masking links below)

Seriously it's good to try and swatch your medium (even really quickly!) Within a CIECAM Artist's color wheel. Below are two of my attempts:

From loose memory and then mapping pigments roughly.

He also discusses the difference between visual complements and mixing complements!

Anyways absolutely try to read bits and pieces. The whole site is amazing. Handprint is amazing.

Also:

https://gurneyjourney.blogspot.com and James Gurney's book: Color and Light: a guide for the realist painter. James Gurney is the dinotopia guy. That book is also amazing for painting fantasy with lots of fantastical examples. Here are two short videos on gamut mapping and gamut masking. Accompanying blog posts.

No surprises here! His book also charts pigments:

Actually these are my four favorite books hands down:

Color and Light: a Guide for the realist painter - James Gurney

Color for Painters: a guide to traditions & practice - Al Gury

The oil painters color handbook - Todd m casey

Artist's master series: Color & light - 3d total publishing. This one emphasizes digital!

The first two have been out for awhile now and you can more easily find them cheaper/used online than the latter two which are relatively newer and hefty hardbacks.

Also, from personal experience: al gury is a sweetheart angel who is a huge crazy cat man. I adore him, he's so kind and helpful. I think it's a little late to join the current session (although they did only start Jan 28, so you can always ask! Class videos are recorded), BUT he frequently offers a class on color that is fully online through PAFA continuing education, as well as other classes. I haven't taken it yet, but I HAVE taken other classes online with Al and he's really great.

Oh also online gamut masking tools:

In krita: https://docs.krita.org/en/user_manual/gamut_masks.html

https://claudiamatosa.com/resources/gamut-masking simple tool

https://mypaintingclub.com/blog/post/39-The-Gamut-Mask-Tool another tool with more complexity

The tl;Dr of a gamut mask is to show you the full range of possible colors you can mix within a given palette (choices of colors/pigments).

[dingdongyouarewrong]

old enough to remember when smut was called ‘lemons’ but young enough that i had absolutely no business knowing that smut was called ‘lemons’ at the time 

[heckyeahponyscans]

I watched the live action version of "Can You Feel the Love Tonight" on Youtube and I was not ready for the utter lack of emotions from the CGI animals.

Nala looking concerned about Simba hiding something about his past, a comparison:

Also, in CGI this song called "Can You Feel the Love Tonight" does not take place at night.

[naamahdarling]

[shadow27]

[witchofprose-deactivated2020041]

This is the FUNNIEST SHIT I HAVE EVER SEEN

[untitled12573]

Reblogging for cultural enrichment

[lab-gr0wn-lambs]

bout time I brought back the Laurel and Hardy flex tape-

[knitmeapony]

From The Killers, 1946. A Film Noir Classic

[theprofessional-amateur]

I’m an archivist, behold my growing collection was of old photos mirroring timeless memes I’ve come across at various places I’ve worked.

[chaotic-nyx]

aaaaaaaaaaaaaaaaa

[pitbolshevik]

rasputin didnt become a fucked up sex wizard until he was like 30. your life doesn't end at 25 <3

[ytlotus]

[girlwithlandscape]

Ahahahaha

[chaotic-nyx]

THE CANARY CURSE HAS BEEN BROKEEEEEEENNNN!!!!

i just wwatched pearls epiisode and i dont know whether to be happy or sad about this.

[chaotic-nyx]

I spoke to soon hes gone now.... cant wait to watch that episode T-T

[mercedesrollinballer]

[chaotic-nyx]

Ashly katchadorian isnt even in charge of the door!

[kangaruthi]

[wandering-trader-joes]

Someone’s probably already done this, but I’m obsessed with how well Bells Hells fit the “Who Broke It?” scene from Parks and Rec.

.

.

.

**Bells Hells standing around a broken coffee pot.**

Ashton: Alright, who broke it? I’m not mad, I just wanna know.

Bells Hells: . . .

Laudna: I did! I broke it —

Ashton [interrupting]: No. No you didn’t. Fearne?

Fearne: Don’t look at me… look at Orym.

Orym: What? I didn’t break it.

Fearne: Hmm that’s weird. How’d you even know it was broken?

Orym: Because it’s sitting right in front of us, and it’s broken.

Fearne: Suspicious.

Orym: No, it’s not.

FCG: If it matters, probably not, but Chetney was the last one to use it.

Chetney: Liar! I don’t even drink that crap!

FCG: Oh really? Then what were you doing by the coffee cart earlier?

Chetney: I use the wooden stirrers to push back my cuticles, everybody knows that Letters!

Laudna: Alright, let’s not fight. I broke it, let me mend it Ashton.

Ashton: No. Who broke it?

Bells Hells: . . .

Orym: …Ash? Imogen’s been awfully quiet.

Imogen: Really!?

Orym: Yes, really.

[Bells Hells arguing and speaking over each other.]

— — —

Ashton: I broke it. It burned my hand so I punched it. I predict ten minutes from now they’ll be at each other’s throats with warpaint on their faces and a pig’s head on a stick. Good. It was getting a little chummy around here.

[chaotic-nyx]

THis is all i can think about

[wildmelora]

my official take on on the new logo

[otterlyart]

Shout out to Vex for possessing Laura when Matt mentioned a bear rug.

[chaotic-nyx]