The last and damn I did it wrong!

I did this as the highest chroma, meaning no white and then did a string of values and grayed them down.

The two local flesh colors, one with more yellow, one with more ruby shown are then grayed down with a maganese (sp?) violet, these starting at only the middle values.
These are created wth cad yellow light, ruby and white.

The bottom row is the transitional color shown in a value scale, becasue this is to remain cool. Sometimes I put some ochre or more yellow light in it to lead into a more vibrant color, example, going into the nose. These are made with Cad yellow light, Alizarine, and Phthalo green with white.

The three darkest darks, are ruby, yellow light and turquoise light, these never have white. I have shown a bit overstated one with more turquoise and one with more ruby.

I am thinking that the dark with not as much extra turquiose, but some - with white added might make the neutral. I didn't have time to play with this because I had to work on a commission, but my light has left me again. I should say these had to be mixed under color corrected artifical light, the CRI is either 98 or 99.

Graydon you are going to love this... "Don't copy tjavascript:void(0)he skin - make the paint do lively things across the form!" :)

I hope I haven't screwed the image up too bad in photoshop for color and light correction, I am sure some values might be off, I rushed. Whew, I had to fix it for the yellow, it "need more cow bell". Doesn't anyone else have some interesting palettes to test Graydon on? I know he's getting sick of me! :)

With confusion,
Beth

I'm Sorry

I'm sorry, if I have posted subjects that I shouldn't of. I have posted things that have not been totally Munsell related and if this is the only thing this blog was developed for, I have been truely off base, and likely tedious or frustrating to other members - although, I was really trying to understand how it applied to a high chroma palette.

I thought it was about color and how you use it and how the Munsell system would apply, or maybe how any system/theories would apply.

I do apologize for my mis-understanding, Graydon please feel free to remove my post that aren't related to Munsell, I will be happy to just sit back and read.

:) Beth

Please do not double-post

As I am putting together a database of posts (in preparation for a forum) made to the blogs and the google-group, I would be EXTREMELY grateful if people do not double-post onto both the blog and the google group - please post only on one (personally, it would be easier for me if posts were made to the blog here - which Graydon has also said he prefers to post on).



Dave

A Neutral By Any Other Mixture...Is Still Neutral.

Here is an interesting experiment for anyone willing to try it.

First of all, I have said many time how I make a Munsell Neutral.

1. Take Black plus white to the desired value.

2. Take Burnt Umber plus white to the same value.

3. Mix the Burnt Umber and white into the Black and white mixture until you get a dead Neutral.

Keep a bit of the Black and White mixture in reserve in case you add too much Burnt Umber and White. The amount of Burnt Umber needed will vary from value to value.

But there are many other ways to do it.

You can post them here.

No matter what palette of colors one uses, it is beneficial to know how to mix a dead neutral out of them. If you can't, then modeling realistically will be a lot more difficult and the palette will need to be adjusted.

Try it for the colors Beth listed.

5P 4/12

Here's my 5P 4/12 chip.

I got out that little tube of Rembrandt Perm. Violet and matched the Munsell chip again - just to make sure. Don't know if you can see the blob of paint on the Munsell chip - but it is there. (Neglected to include that Titanium was used to see the full chroma.)

(This color is very difficult to photograph - the photo is straight from the camera - no adjusting in photoshop.)

I'd be glad to donate the photos of all my Munsell work to the new Forum if Graydon and Rich feel it would be helpful. I'll wait til I hear from one of them, or their computer wizard on where/what to send.

I re-iterate what Paul and others have said. Reading and looking at pretty pictures is entertaining, but not very useful unless you are doing the work as well. And then it's a guideline - something to test on your own.

Also, someone thought of skipping the Student Book and going straight for the 'formulas' in the Big Book. There are NO FORMULAS in the Big Book (only Munsell notations)! You still must analyze and mix up what you think will match the chip. If it's not right then you must adjust - and sometimes it's only a tiny bit of an adjustment, but makes all the difference.

Graydon's already given us a list of paints that will hit 99% of those chips. Then it's just a question of doing the work.

Hang in there to everyone working on this - it gets easier!

Beth and Liberace: Considering an Advanced Artist's Palette.

Here is the palette Beth listed based on Robert Liberace.

My Portrait Palette, based on Liberace’s

Burnt Sienna
Cad Yellow Light * ** ***
Cad Orange
Cad Red Light
Pyrralo Ruby * ***
Alizarin Crimson **
Cobalt Violet Light
Cobalt Violet Med
Manganese Violet
Cobalt Blue Turquoise Light ***
Cobalt Blue Turquoise
Cerulean Blue
Ultramarine Blue
Phthalo Green **
Viridian Green Light
Flake White * **

First, I think we should find the Munsell notations. I know, for example, that Cad Yellow Light is likely 5Y 8.5/16.

Remember that flesh ranges from the 1st to the 5 or 6th chroma, from the grayishness of a shaved beard to the ruddiness of a baby's cheeks.

So, first of all, the mixtures must be neutralized in one way or another to fit within this range. How is it done?

A mixture of Pthalo Green, Alizarin Crimson and Burnt Sienna, plus white, should make a dead neutral, theoretically. Or, one can use Cobalt Blue, Aliz Crim and Burnt Sienna. These mixture will neutralize any mixture.