| Author | Message | ||
  Robert |
Actually all the wilcox book will do is make you a ble to confidently mix any color you want from a resonable and limited palette and to be able to precisely understand what is going in in terms of color bias (though he never uses the word bias). It has nothing to do with what is taught in college--in fact, that may be part of the problem. | ||
Val N. |
Wow!! This is what I missed by dropping out of college and not finishing up yet!!! So if I read that book you recommended will I have made up for my last year of College? | ||
Kukana |
When you make your samples of your tube paint, thin the edges of them out with water. Sometimes its easier to see some of the subtle differences it their more transparent form. | ||
Robert |
Scroll down pretty far to get to the color wheel and then click on it. You will also find a complete list of mixing complements (for neutralization purposes) on the way down. | ||
Robert |
Victoria-- You might also go to the handprint complete color wheel (click on it so you get the big one). There you will find virtually everything in a tube and how it lies in relation to other colors. Since brand names purposefully obfuscate the underlying sameness among many colors (eg. permanent rose is PV19--quinacridone violet) you may have to research the site to find the brand names behind some of the pigments. http://www.handprint.com/HP/WCL/color7.html#wheel | ||
Robert |
Victoria-- I urge you order the following book: http://www.amazon.com/exec/obidos/tg/detail/-/0967962870/qid=1092873035/sr=1-1/ref=sr_1_1/002-3733942-8844869?v=glance&s=books It focues soley on the issue you raise and will train your eye and your mind. Nothing else like it. | ||
Sid |
Victoria: Basically, Garydoc is right. As you use these colors more and more you will begin to see how Ultramarine has a reddish tint to it and how Hansa Yellow has a greenish tinge. You might also look for Stephen Quiller's book, "Painter's Guide to Color" (available in paperback). In addition to excellent discussions of all aspects of color, he has a color wheel that shows the location of most colors by their commercial names (same as on the tube). You can see that Ultramarine Blue is located on the violet side of primary Blue and Thalo Blue is on the green side, etc. This will help you to learn to see the color biases. After some time you will surprise yourself and mystify your friends by seeing colors that they don't. Good luck and keep studying! | ||
Garydoc (Garydoc) |
Victoria, you have to learn this the hard way. (The right way?) Make some color swatches from each of your tubes of color, and try to see how each color differs from a closely related one. Then, add some of the color primary on each side of your test color and see which primary brings your test color in that direction. For instance, if you add a little red or yellow to Prussian Blue, you will bias the tint toward those two primaries. Adding the red will give you a Violet Bias, adding the yellow will give you a green bias. Ultramarine is a violet biased blue, so adding red to Prussian Blue SHOULD make it look more like Ultramarine. READ all that you can in the library on watercolor and color theory. | ||
victoria |
I've been following this temperature thread and have what is maybe a stupid comment as I don't really know a lot about mixing colors. But how are you to know, for instance, that permanent rose is a violet biased red and that ultarmarine blue is a violet biased blue. When I look at them they are just a variants of blue and rose colors. I can't determine by looking which way they lean. Is that because I am new to watercolor and this is something that you develope a feel for after awhile? I can see what you are saying about neutralizing colors and using their complements. That makes a lot of sense, but to do it you have to be able to know what the components of the two colors are that you are mixing. Did this make sense? Victoria | ||
Robert |
#2, choice A --I meant lemon plus a touch of viridian-- Answers A, A Extra credit if you showed your work. | ||
Robert |
Okay here's a little pop quiz: 1. Indian yellow is an yellow biased orange. It would best be neutralized with something like a. violet biased blue (ultramarine) b. violet biased red (quinacridone violet) c. green biased ble (pthalo blue) 2. I think, for a set purpose, permanent magenta (red biased violet) that is too strident. To subdue it I could use a. green biased yellow (viridian + a touch of lemon) b. blue biased green (pthalo) c. orange biased yellow (new gamboge) | ||
Kukana |
Bingo..you are right one. Thats why I love this new...(new-to-me anyway) verbage and thought..I Get It! | ||
Robert |
It occured to me while discussing that vaguaries of "temperature" nomenclature WHY bias solves some problems. If I have a warm gray and want it to be a neutral gray, how do I neutralize it? Do I mix a green, a blue , or a violet? Hit and miss I suppose becasue "warm" is not precise enough to guide my efforts precisely. However, if I identify it as an orange biased gray, then the complement is blue and the means of neutralizing is clear. If permanent rose is a violet biased red, then to neutralize it I would need a yellow biased green (yellow neutralizes violet and green neutralizes red becasue they are opposites on the color wheel)**. But if it is described as a "cool" red, it is less clear precisely what I need to neutralize the permanent rose (or any color). So description of the color as orange biased red specifies it's neutralizing color: orange is neutralized by blue, red by green, so I need a blue biased green to neutralize orange biased red. **Of course various pigments neutralize differently and idiosyncratically--this can only be learned from experience. |
