||This GIF animation,"Nude on Rocks"1995, is
a good example of radiative primarism. The three primary colors,
yellow, red and blue are developed in sequence, gradually
creating the entire spectrum of secondary colors.
***image for free distribution***
The emerging electronic radiative medium is the
logical extension of Primary
Micropointillism. Twenty years ago, I discovered the
human mind is quite capable of separately manipulating
the three primary colors to create desired color and
imagery. Over the years I have performed workshops
covering the entire age and ability spectrum. The results
of these convince me that the ability to work with the
primary colors is "hardwired" into the human
brain, not unlike the ability to ride a bicycle.
The electronic image is radically different from the
reflective image. The brain processes the two light
sources quite differently, in that reflective light
exhibits spectral absorption lines (absences of light in
the spectrum) whereas radiative light contains emission
lines (bright lines in the spectrum).
One of the interesting results
of this difference is that radiative light - that which
comes from today's sophisticated monitors - is
irresistibly attractive. It is hard to revert to
conventional painting when one can enjoy the unparalleled
brilliance of radiative color.
Nevertheless, creating imagery using Radiative Primarism
is in principle identical to Primary Micropointillism in
that each color (yellow, red, blue) is created separately
and it is only in the joining of the three that the image
How does one create work using Radiative Primarism? In
these early days of the medium, it would be presumptuous
of me to state that there is only one way, so I will
merely explain how I do it:
In 1993 I started to use a paint program called
"Adobe Photoshop" to create my Radiative
Primary imagery. It took me some time to pinpoint the
color palate, because it is slightly different from the
reflective colors. Despite an
endless array of software tools I find that only one is
necessary, the "Cutting Tool" which I use to
encompass the areas I wish to isolate - in the same way
that one would block an area in Micropointillism.
In terms of look and style, the end result of Radiative
Primarism is absolutely seamless; the look and feel of
the image is indistinguishable from the Micropointillist
image. I personally consider the radiative image as the
finished artwork, but in a real world, you have to make a
living, so I output my imagery on canvas using Laser
Master technology. The downside to this method is that
the inks have not been stabilized; the technology is
simply too new. Furthermore, the inks are water soluble,
making them vulnerable moisture. Finally, the colors
break down over time when subjected to ultraviolet light.
On the other hand, the colors are brilliant and the
'dithering' printing process imitates the random spatter
used in Micropointillism. What's more, a given image file
can be adjusted so the printed image can be created in
varying sizes. This process also makes the image price
effective. Although there is no time saving for the
artist in the initial creating of the work, the artist
can create editions of the image, putting it in an
affordable price range.
Until the technology improves, patrons can simply have a
damaged image replaced for a nominal fee, because the
artist retains an exact copy in their archived database.
Once a Micropointillist work is finished, it is
exceedingly difficult to go back and change an area,
especially if you are attempting to brighten an area.
Radiative Primarism allows you to go into any of the
three primary colors and alter them with ease.
Although I will always come back to Micropointillism,
Radiative Primarism is presently an exciting and evolving