Granted I am just reading the "Munsell Book for Students" because I
wanted to get the gist of what Graydon and others are talking about...
I understand there is so much more to it.
In a discussion about this system I asked about the large book and
this is what I was told about it - well really how it is used:
"In my head painting class, the model had a blue drapery hung behind
her blond hair. So I got out my blue chips and found out what the
exact local of the drapery was. It turns out to be 5PB 5/4. I know
because it is in a 3/4 light that the value 5 local will appear nearly
as a 7 in the average lights, a 4.5 in the average halftones, and
nearly at 2 in the average darks. So guess what I am doing today? I am
tubing a string consisting of 5PB 9/2 and 5PB 8-2/4. I could just mix
up the piles I need, but I found it better to just mix up and tube the
strings. You never know when you might need this next.
How would I be able to mix exactly the drapery without this book?
Guess??? But, that isn't the best part, say I wanted to make this a
5BG instead because of the color of her skin being 5YR the complement
would be 5BG. Because I have the chips I could mix up the same string
in chroma 4 for 5BG instead. Or, I could bump up the chroma, or drop
it and have complete control."
Her hair being blond, I could change the back ground to 5P if the hair
was the focal point, and therefore create a complementary color scheme
to match her hair. It is amazing what you can do with the book."
When I read this post about the model, it sounded like science to me
vs. art, doesn't it become mechancical and tedious? Is there ever any
just make it up to exaggerate.
I know I don't understand it all yet, but Graydon do you get to the
point where you are just seeing without the chips?
Marvin could mix his palette and check yours and know in less than a
second that something was off, without the need of a device. I am
guessing this is where Graydon is too.
I remember Bill telling us that Sargent walked a mile a day when he
did a portrait - back from his easel to look at his canvas and the
model together, are you walking two miles a day? Bill Whitaker (sorry
I forgot everyone might not know him...Ha) is so precise in his work
it's amazing, yet when I studied with him he was always investigating
new colors which I thought was kind of neat.(speaking of which, Bill
have you tried OH's Violet-Grey?)
Yet he did send out a palette of colors for the class.
Like all I have mentioned here, and many I havent, they can all catch
the drawing even if it's off by 1/16". Blows me away.
If you go to Liberaces home page: www.robertliberace.com you will see
his painting of the guy who is bald and has a kind of strange beard.
Knowing his palette, I think it's pretty incredible how subtle the
colors look on him, he does all of this with exaggeration.
Just some thoughts from someone who has no idea what she is talking
about when it comes to color systems, but does know the meanings of
hue, chroma and value.
Dang, another short post! See I always wanted to be taller!