Wednesday, October 3, 2007

Color Wheel in progress

Here's most of my color wheel put together. Still waiting on new reds and more white.

I've used Handitak to adhere the chips to the board, so I can move them around as I make corrections. I've also taken off the smaller chips I made of the 2.5 and 7.5 cousins...just too much info. right now.

The rectangles inside the wheel are straight paint from the tubes that I've use often or have used in the past. One end is straight paint - mixed with white at the other. Black/burnt umber/raw umber and 'grey of gray' from Holbein are at the bottom right corner...don't know what to do with those yet.

The solid rectangles are all different types and brands of Naples Yellow - used a lot in the past to 'kill' chroma. Not sure what to do with those either.

My next step will be to compare my paint chips with the Munsell chips and try to guess their appropriate place. Values of the paint is throwing me off. Some are so dark, like Mars Violet or Phthalo green, or Trans. Oxide Red...that's why I added the white, so I could see where they actually fit...but that may have been a mistake.

Still trying to figure out how to record the mixes for the main chips.

(used some old press type for the lettering and numbers - but ran out!!)

Please advise.

PS: I really want to concentrate on Graydon's method of using Munsell and the practice of classical realism. I know Marvin is a wonderful painter and I look forward to his posts. Perhaps he has practical shortcuts that will be advantageous to consider later on. However, I need to know and practice what Graydon knows - that's why I joined this blog.


nystudios said...
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nystudios said...


Some paints like Thalo blue don't hit their highest chroma without a small addition of white.

Remember that reason for doing this color wheel is to create a pigment file. To know where a pigment lies with respect to hue and chroma. Because you are working with a 2-D model, you can't represent the third dimension of value.

Where this becomes important is when you are mixing high chroma colors, and you have 7.5 R and 2.5YR and you need a 10R. You need to know the highest chromas as close to your target chromas and hues as possible. This will keep you (hopefully) from loosing too much chroma. This is what Graydon and Richard talk about when they say super clean mixing.

In other words, you can't mix two hues whose chromas are to far apart without a significant loss in chroma. A 7.5R 6/15 and a 2.5YR 6/8 will not hit a 10R 6/15. Nor can you mix two high chromas that are far away. A 7.5RP 6/15 and 7.5GY 6/15 will not give you a 10R 6/15.

Graydon calls this bracketing. Know your desired color, and use the closest colors from your pigment file to hit it.

ewschott said...

Sorry Marsha,

I wasn't trying to take away from your focus, just explain what I received from Marvin.

Your color wheel looks great to a newbie, so I'll just watch :) and read!

If their is anyone that wouldn't mind me emailing them teadious questions, I would appreciate this so much.

Please email me and let me know, thanks, Beth

Neal I'll have to send you another picture although that one is mighty good too!

painterdog said...

Neil this is very useful information.

ewschott said...

Marsha, I 'll add what I know.

You can get injet paper that is clear or matt and you can use it like press type...

What I don't know:
So could it become a Munsell - Quiller wheel when you start doing what I guess is the "dirty" mixing?

Scott said...

Oh, Marsha,

We have so much to learn from this forum. Have you noticed that the top artists are posting here? Graydon has taken his 20* years of knowledge and experience and discovered something wonderful. And, we are priviledged to learn from them. This is an incredible blog!!!

Beth...this is the Munsell Graydon color wheel...LOL!!!

Scott said...

BTW, Marsha...your wheel is so darn nice to look at. I like this chroma color wheel so much better than anything I have learned.