Today, I'll begin doing print tests for the colors of the pieces. I'm not sure what the colors will look like when I print them, so I'm creating a CMYK-based "test sheet" that will contain variations of the Reds, Yellows, and Blues that I would like. I am overlaying White and Black in varying degrees of "opacity" or opaqueness, to see how bold the colors need to be for the printer.
I also recognize that I'll use more than one of each color. Perhaps I'll want the blues on a particular piece to stand out more than the red. In this case, I'll make the blue more saturated, and dull the red just a bit, to get the desired effect. Josef Albers is calling.
Once I get this test sheet printed, I can go back and choose the colors I'd like to use for printing, and change the digital files accordingly. This is one of the advantages of working in a digital format, as opposed to more traditional approaches. I can test, change, and accommodate, both expanding and limiting the possibilities, depending upon the effect desired by the artist.
Errie! I brought up Josef Albers this weekend. Autumn doesn't just call a color red. She gets extremely specific (i.e., Crimson, Cranberry colored, etc.). I called her JA in jest. In any case, I'm curious, you'll have to write a post about why the limited color palatte? There are several reasons I can think of but I'd rather you extrapolate. Looking forward to the next post.
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