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Final Project: Meaningful Color Wheel
The logos at the bottom will be a grey scale♥ 6 Notes / Thu Dec 5th, 2013 ≡ reblog
I would like to make a public service announcement on this piece of shit information floating around the internet. I’m NOT going to take pot shots at an artist’s personal palette but this is just misinformation to thousands of other people out there who may or may not know better.
Number one. IF YOU ARE PAINTING, YOU’RE NOT REFERENCING A DIGITAL SWATCH. So first of all, you need to know where paint comes from. I dont even know where to start with this. I mean seriously, the statement about not being able to make pure, strong colours with cadmiums is just so full of ignorance, I don’t even know where to start.
If you need visual evidence, let’s take a look at this picture
This picture was invented before CMYK ever came around, tbh. Too bad Klimt is dead or else he would attest to this just like EVERY OTHER TRADITIONAL PAINTER will.
Mixing colours is not magic nor is it as easy as picking colours from a digital swatch. It takes practice to understand how certain colours react with one another, employ painting techniques such as not mixing white with every goddamn colour to lighten a hue.
Let’s take another look at a somewhat LESS brightly paintedpiece.
The saturation is not nearly as bright but the chroma is pure. There are no muddy colours, nothing is brown where it was not meant to be. Because Kandinsky knows how to mix colours. It didn’t happen overnight nor was he born with that knowledge. It was years and years of practise and work.
Even Klee knew what was up. He was not a master artist by any means but he worked goddamn hard at it and look what he created.
Here’s another Klimt because we all love him so:
CMYK exists because it does not know how to replicate the natural pigments of paint that can reflect light. It’s a beautiful, beautiful fake at best. I love CMYK. I even want to get a tattoo that says CMYK. But it is by no means the one and only.
So PLEASE. PLEASE EDUCATE YOURSELF AND CROSS REFERENCE YOUR COLOUR THEORY BEFORE YOU BUY INTO THIS GARBAGE. NEWTON KNEW WHAT HE WAS TALKING ABOUT WHEN HE MADE THE COLOUR WHEEL GUYS.
PAINTERS SPEAK OUT FOR OUR BELOVED COLOUR WHEEL! REBLOG AND REPOST! Whoo!
EDIT// Additionally, I re-read that ignorant infographic or whatever and have come to realize that the artist classifies pthalo blue/green and hansa yellow as CMYK. That is not CMYK guys. CMYK is used for digital prints because you can’t use paint. Duh. God, that information is so wrong, it wasn’t even worth making this post.
#whelp I was fooled by that first one #and tbh as an art student I can’t believe I let that slip by me… #printing ink and paints are two very different things… #art resources
Yeah, bullshit. During my time using oils in school my teacher, Eric Fowler, ENCOURAGED it.
When I saw the original version of this post lets just say I got SO. ANGRY.
It was like they were trying to slap everything about traditional art I learned back at university out the window with their misinformed bullshit.
I’ve had over five years of college-level art training now and I have to use those powers for good! Calling bullshit on the bullshit; this is doublebullshit, but here’s what’s up with your examples.
Klimt’s vibrant colors are coming from yellow paint, an earth tone able to be made in high fidelity during the time period he was working in and one of the colors that is consistent between the two pallet sets, so, not really a good example of RBY’s redeeming qualities. CMY is not “transferring from digital” because digital is an additive mixing process between RGB, Red Green and Blue; the three colors our eyes can actually “see” and combine into the rest of the spectrum. As primaries, RBY still don’t form an equidistant tertiary on a real color wheel and thus draws a narrower feild of mixing colors; you will never get a vibrant green or purple, which your examples don’t show either!
RBY is certainly something artists have learned to work with for a long time but tradition and examples that show artists surmounting previous challenges is not the same thing as “these new tools are not improvements.” Vermeer’s Girl With the Red Hat is an example of doing a lot with a little, but we can see how his pallet was limited. These old paintings take their strength from strong value & hue contrast, and Vermeer intelligently used the pigments he had to work with at full saturation for great impact. But you’ll never see a strong green or purple in any of his paintings.
When we’re talking CMY we’re talking about a cool color shift between the R and B in the tertiary we typically use creates a larger workable field in Color Space.
To explain what I’m getting at here I’m gonna crack open my paint box and go through the three types of color mixing I’ve been taught in my art education, going all the way back to “Blue and Yellow make Green!” in gradeschool.
Here is RBY, what we’re taught as kids. (sorry for the blurry photo, i’m in a rush!) Red and blue make purple, blue and yellow make green, via versa— and while it’s true that purple and green and orange are secondaries that exist between red, blue, and yellow, navigating color space isn’t like rotating around the spokes of a wheel. When you mix between a red and a blue, you literally move between them. (refer to the link above.)
So you will never get a real green or purple out of this pallet, not ever, no matter how good you are. You can fake it in the best of ways, by using blues near muddy oranges to make the more orange, or etc, but you’re still working with hobbles.
To get around this, here’s the “modern” oil pallet I was taught at community college during my last years of highschool. It includes a warm and a cold of each RBY, and in the corner there are some umbers to mix earthy browns.
Mixing “cold” blues and yellows together produces a more vibrant green because you are navigating closer to the “outside” of color space; the farther apart two colors are on the color wheel, the more they mix into nuetral gray, so this makes sense.
But even then, i still need all of these additional colors and was even asked to buy some of them in that same class! Besides the ochre and turquoise there, I had to purchase the two greens, an orange and a purple. A pattern arises.
Here’s what I learned at DigiPen; When Magenta and Pthalo take center stage, I can gaurantee my purples will be vibrant and my greens will be much stronger. But the reality of color mixing is this; each color does exist independently as an actual color that, at full saturation, has to come from actual pigment. When you mix oils, they’re partially pigment and partially medium, and they dillute each other the more you add between them.
Here’s how it looks in comparison;
CMY gets you way more bang for your buck in color space, and if you modified it with the same warm/cool principles in the traditional pallet, bam, you’re basically an unstoppable color monster!
But even switching to CMY, here’s what my paint collection looks like now. In short; CMY better reflects actual perceptive science; cyan, yellow and magenta are high-key, strong mixing colors because they each activate two cones in our eyes at once. Pthalo blue, a staple in all three palletes, is derived from the same pigmentation originally used to make cyan ink; printing and painting rely on the same real-world materials and perceptive laws to create color on a page.
As for “pure chroma, low saturation,” that shows a baffling misunderstanding of what the original post even meant about achieving vibrancy.
In short? Okay, so, no three tubes are going to cut it. You have to buy a lot of paint. But don’t forget how to navigate color space, and don’t ignore the value of new information and discoveries! CMY is a decided improvement upon the RBY model.
Thank god someone dissected this post that could actually do so, I had a feeling the original infographic had more going for it than the post attempting to disprove it.
If you’ve ever taken a painting class or color theory class, they’ll tell you about the color wheel and the colors you should use when mixing.
It’s best to use a cool and warm hues of the primaries (red, blue, yellow) and mix them to get the colors you want (so say you want a blue violet, so mix a warm blue with a cool red).
Another thing that I was taught by my painting prof (who is currently my 2D design prof) is to never use pure black when painting. Pure black will kill any color you use (unless you want it that way. but if you don’t, don’t use a pure black). Instead use complementary colors (colors across from each other on the color wheel (i.e: red-green, blue-orange, etc). These will make a neutral brown color which will be so much better than a black (you can add more of the the darkest color of the two to make it darker.
(via catbountry)♥ 31847 Notes / Sat Nov 30th, 2013 ≡ reblog