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***

Radiative Primarism

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 comes together.

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 medium.