From the Journal of Rodney Chang

April 29, 1994


1. hue

2. saturation

3. value

4. tint

5. greying/black additive

6. purity vs. "mixed"

7. singular area

8. cohabilitation /gradation area

9. visual mixing (x. strands of different colors)

10. complementary color

11. triadic color combination

12. junctaposition of hue

13. junctaposition of value

14. junctaposition of saturation

15. relation between color and sharpened clarity or softness

16. balance between emphasis (protrusion) vs. background (distancing)

17. illogical random additive to palette for composition

18. discovery of intermediary colors through computer processing of selected original ingredients palette

19. percent per color for total composition

20. "islands" of color combinations relative to visual totality of total composition

21. in my case, comparison betrween my palette vs. stereotypical "computer' color program default palettes

22. cultural stereotypical paletes - ex. Chinese, Italian, Pop, Van Gogh, etc.

23. historical painting style palettes and their associative qualities to my own work

24. personal preferences for color (personality studies)

25. color preferences as related to age/aging

26. color palette selection appropriate for subject matter

27. color selection for mood, atmosphere

28. color selection for emotion, mystery, passion, gloom, etc.

29. colors symbolizing high technology/gradients of high tech

30. relationship between color and three-dimensional modeling

31. color relationship to scale (actual image size) of piece

32. color and relationship to surface medium application

33. color and relationship to simulated (computer) traditional media (for example, a cerulean blue "pastel" vs. cerulean blue "oil")

34. disperson attributes of colors - ex. dry stroke vs. wet bleeding brush stroke

35. size of palette (16 color vs. millions of color choices)

36. degree of transparency of different colors

37. secondary colors created by overlaying transparencies

38. blending color borders by smuding or other editing tools

39. relationship between color and shape

40. actual placement of color in piece (central, lower rt. corner, etc.)

41. mutation of color through generational computer processing

42. mutation through recycling imagery through different hardware generations and equipment (scanner, printer, rescan, photograph, etc.)

43. lighting and effect on color of work

44. cropping to accent/demphasize color effect on total imagery

45. thickness of color application

46. relative thickness of different colors of total composition

47. symbolic associations of color

48. symboic assoications of colored shapes

49. visual archtypical identity of "shadow", "light"

50. inequitable junctapositional placement of texture and colors

51. color and its relationship with enclosure and broken space

52. extreme disparity between dominant color scheme and diminuative accent color

53. Hawaiiana color influences

54. additive and subtractive techniques for computer color filtering

55. computer color contrasting and value editing

56. photography as means of editing naturalistic color and light

57. photograph color editing with computer

58. computer inverse color imaging

59. computer color solarization

60. power of black as background for color selection

61. intensification of existing colors by black bordering

62. effect on color by computer "softening" processing

63. effect on color by "double stamping" with printer

64. effect on color scheme by "jaggies removal" image processing

65. relationship between "pixelization" and perception of color

66. relationship between computer data file size and color and clarity

67. combination of two different image palettes into one

68. transferral of one image color palette to another using second's shape and forms

69. affect on color from matting, from framing

70. affect of image color and room lighting and furnishings/colors

71. discovery of new color 16 million color palette) by "zooming" generations

72. variations of palette around existing image palette

73. translation of monitor image to different photographic films

74. reflective vs. emitted light (color) - additive vs. subtractive color

75. color perception and distance of object from viewer

76. junctaposition between gradient coloring and homogenous shapes

77. junctaposition of suggestive 3D forms (shadowing) and 2D color planes

78. relationship between color anddynamism (ex. curve shapes/space)

79. number of variant values of a gradient (same hue)

80. number of varient hues and values in a gradient

81. color and commercial art design

82. color and fashion

83. reduction of detail of image by reddening, contrasting, darkening

84. increase in detail by greening, lightening, sharpening on computer

85. afterimaging

86. hypnotic responses to color

87. different color/hue paint brands, the idiosyncratic color mxies due to specific chemistry of their manufacturer

88. different classical color theories, color wheels

89. underwater colors

90. color in moving objects, color and velocity

91. color and its associative nature/character with different materials (such as "rock colors", "chrome", "glass colors", etc.)

92. color relationship to the grid (such as mosaic, my "Pixelism")

93. sexuality and color

94. religion and color

95. color field tinting

96. color as subject matter

97. color as secondary support for subject matter

98. coloring as "space" for dominant black and white imagery

99. color and animation

100. overall role of color with other basic elements of composition such as line, shape, balance, movement, form, etc.

101. chroma, chromatic considerations

102. luminance factor

103. flare lens glare effect on color

104. Sargent theory of color

105. analogous color scheme

106. tertiary color scheme

107. secondary color scheme

108. relationship between color and perspective cues

109. metallic colors

110. computer "noise" and color processing

111. intentional over and underexposing of photographic film to discover new colors

112. fading of colors (inks and dyes) due to sun exposure as discovered raw palettes

113. contour line or outlining and color

114. hue of printing paper and effect on color printing

115. effect of print paper texture and glossy factors on printing inks

116. color and scupture

117. color and glazes - ceramics

118. coloring infrared imagery

119. color and "time of day" effects/associations

120. color for photorealism; which cultures' "realism"

121. flat color vs. depth color illusion

122. creating "glare" or just "highlight"

123. color and retinal fatique rate

124. color and airbrushing

125. intentional color dissonance/disharmony

126. color and camouflage/survival in nature

127. effect on color of overenlargement of computer or photographic image

128. prismatic study

129. Luscher Color Test

130. interactivity of harsh/hard and soft color areas of composition

131. Albers circle color studies; color as targets

132. the "pastel" palette

133. palette knife paint characterization

134. water color simulations

135. assignmentsof hues to specific values of original black and white imagess

136. color and the nude

137. color and surrealism

138. Pop Art color

139. identification with computer of favorite paleetes of famous artists, such as Picasso, Van Gogh and Goya

140. color relationship to famous brushstrokes of famous artists like Van Gogh

141. Chinese painting and color

142. Effects of painting "on location" (outdoors) and hanging indoors (incandescent or tungsten lighting)

143. neon light effects; black light effects; florescent light effects

144. reflectivity factor of paint

145. degree of atmospheric effect of total composition on all objects

146. relationship between quantity of detail and color in composition

147. collage compostion and subject matter and color

148. pictorial/representation vs. abstract color

149. symmetry design and color

150. identification of the "high tech" emerging palette for fine arts

151. the assoicative power of "blood red" of the palette

152. painted ceramics

153. modular color

154. color and modular framing - sectional painting

155. color and multi-media applications

156. collaging black and white with color fragments

157. color and aerial view -terrain/color mapping

158. combining color maps from various images into new super palettes

159. irregular shapes canvas and interaction with environment

160. color and fruits, animals and flowers

161. atmospheric overcast, msit, fog

162. color and architecture/interior design elements

163. cartoon color

164. color with glass, Plexiglass, bubbles

165. the color of aging relics

166. graffetti and color; gang color psychology

167. copier color

168. the 4-color separation process and modifications

169. specific palettes: microscopic histological stains

170. specific palettes: vegetable dyes for milk cap production

171. specific palettes: galactic/space objects

172. effect on reflected environmental color from rain/dampness

173. radiation color map

174. interaction of color viewing of architectural objects in naturalistic setting and indoor/outdoor lighting interaction

175. color interaction on rain drops using macrophotography

176. classical video colors

177. effect of the tinted glass window on outdoor colors

178. color recall memory study

179. color in dreams study

180. colr and gems

181. the lighting palette of discotheques; the nigh club effect

182. color and nationalism

183. color and flags

184. colors of death/morbidity/decay

185. a palette of whites

186. action painting and color

187. field painting and color

188. collaging pattern with representational objects using color as glue

189. color and fabric tapestry

190. color lighting of the stage/dramatic lighting

191. drawing with color (no fills anywhere in composition)

192. effect of glare background on color of foreground object (backlighting)

193. the mathematics of color (vs. sensuality of color)

194. color as related to sources of heat/energy

195. invisible color (outside the prism range) as translated by detecting mechanisms

196. muted palette

197. reflections of color relative to actual objects and interaction between the two in one composition

198. the custom palette of all the various wood textures and stains

199. the different rocks- textures and colors

200. seasonal palettes

201. special colors of ivory, marble, jdades, bronze, etc.

202. the palettes of metallic corrosion

203. color to accentuate shape distortion

204. hand coloring of black and white photographs

205. combining variations of l palette into new composition of transparencies

206. color as texture; embossing

207. glittering color

208. easing as a coloring technique - by hand or computer

209. computer color map successive reduction to simplify/identify key hues

210. color cycling on the computer and animation

211. color of chemical elements

212. color and vulgarity/rebellion

213. color of metals

214. random palettes from 16 million color color palettes of computer

215. color and astrology, magic, soccery

216. color and food prepartion