First of all, Rich asked me to come here and contribute simultaneously with my request to him to be a part of "Rational Color." I liked the word rational based on my experiences with various forums.
I made an innocent remark stating why I don't like the values that Munsell set forth because his values need to reach beyond beyond oil pigments. Then Beth asked me to post an image of my color mixing target. Now all of a sudden I'm trying to dethrone Graydon? Isn't the point here to rationally discuss color as it relates to Munsell's color notation?
I'm not Graydon, I'm Marvin! Even though we were both schooled in the Reilly tradition we have both since moved on. Munsell is a system for communicating color. That's it baby. Graydon thinks that by matching chips you'll learn about the mechanics of color and I totally agree. Ultimately you may even be able to communicate a specific color over the phone to someone in Bombay (the whole point of Munsell BTW: universal color language.) Graydon's system seems to be something someone can do with online instruction. My method is much more effectively communicated live, with me demonstrating, in a class or workshop environment. Check my website for up and coming workshops if it sounds like fun.
I use HVC to identify what I am seeing in preparation for replicating it in pigment. Many things come into play here, the most important being what a specific color looks like in the context of my painting. When I put my color choice down I use the HVC model to adjust it accordingly, where necessary. Ultimately, I am interested in the manipulation of all the components in my painting to create a greater illusion of form, life, space and light and not really interested in copying color, be it over the phone or in front of my nose.
I'm interested in color as a component of painting and not an end in itself. Painting goes far beyond color matching but I do think Graydon's exercises are valuable for learning about color. I feel the way I teach color can also lead to color mastery although I don't use amped up full chroma colors. I use an earth based color range that replicates the color choices of my hero, William McGregor Paxton arranged according to Reilly values.
My colors are:
Flesh Painting Colors:
W&N Terra Rosa
OH Yellow Ochre Light
W&N Indian Red
W&N Ivory Black
W&N Raw Umber
Colors to round out the palette:
OH Vermillion Extra or MH Vermillion
W&N Burnt Sienna
W&N Perm. Alizarin Crimson
W&N French Ultramarine Blue
MH Genuine Naples Yellow Light
I first choose the hue (which tube of color shall I use), adjust the value (do I make it lighter or darker than the way it comes out of the tube, and what do I add to achieve this), and then I neutralize or intensify the chroma).
Beth, you took a workshop with me five years ago and many things have evolved since then, including the colors on my palette. Scott, I've had many Scotts in my class. Which one are you?