Last Tuesday, I posted a review of Blue and Yellow Don’t Make Green, by Michael Wilcox.  I’d like to share a few more resources on color today.

Yurmby Wheel

Yurmby Wheel

I’d heard of the Munsell Color System before, but never found it helpful. But until yesterday, I’d never heard of the Gurney Journey or the Yurmby Wheel (although the advice in the Wilcox book is similar to the Yurmby Wheel).   The Yurmby Wheel is also used on this Gamut Mask site.

Also, I wanted to include the Color Scheme Designer Website last week, but it was down for some reason.  Now it’s back.

I can only guess that as I continue to have more experience as a painter, I’ll develop a deeper, more intuitive understanding of color.  I’ll eventually remember which mixes work together and which result in mud.

In the meantime, I’ll keep using my swatches and wheels and any other crutches that help me make beautiful paintings.

Written on February 13th, 2012 , Art Tags: , , , ,

Although I love bright bold colors I must admit that when it comes to making art, I’m color-challenged. I seem to have no intuitive sense of color properties, use, or mixing. It took me nearly 5 years of art lessons, for example, to get a handle on the concept of ‘cool’ and ‘warm’ colors. I still need to continually remind myself of the fundamentals.

I rely heavily on homemade swatch samples of all my oil pastels and colored pencils.

Oil Pastel Swatches

My homemade oil pastel swatches

I also use online tools such as this one based on website design.  (There are many more like these to be found through Google.)

Blue and Yellow Don’t Make Green, by Michael Wilcox, brought me a long way toward a better understanding of using color when I’m painting.

It helped me understand why mixing my favorite red and my favorite blue created mud instead of purple. With the help of this book (to which I’m constantly referring), I have a lot less trial and error when trying to find the specific gray or brown I have in mind.

I also learned that the name on the paint label is almost meaningless. What matters is the pigment used in the compound. The pigment is designated by letters and numbers, like PY3 or PB27. The label names given by the manufacturers are not standardized and they can name the hue any fancy name that appeals to them. However, the pigment designations are regulated by the ASTM. It’s the pigment in the tube or stick that makes the hue.

As an example, I have these 2 containers of acrylic paint. Both are Liquitex Basics brand. Both call themselves Cadium Yellow, although the one in the jar is ‘medium’ hue and the one in the tube is ‘light hue.’ (And although actual cadium is no longer used in paints at all.)

Cadium Yellow

Two Cadium Yellows

However, the problem came when I was trying to mix them with various blues and getting drastically different results. When I checked the pigments in the small print, the jar contained PY74 and PY83. The tube contained PY3, which is usually marketed as Hansa Yellow. And even I can tell a difference in the hues when I look at them side by side. But this is a clear example of misleading color names.

For a terrific reference to everything about this, check out the Color of Art Pigment Database. It was also invaluable to me in coming to better understanding paint and color and pigment.

Back to the book. Wilcox fills the book with color images depicting every possible combination an artist will ever need and a series of mixing exercises designed to help you learn the combinations that will yield the results you’re looking for. The book was recommended to me by my art teacher because it had helped her. It helped me. And if you struggle with mixing your paints in any medium, this book can help you, too.

Written on February 7th, 2012 , Art Tags: , , , , ,

Whether or not you believe in the 10000 hour rule, it’s indisputable that simply collecting shelves of books and reading about how to make art is no substitute for actually putting in the practice of applying medium to substrate over and over again until you learn your craft.

On the other hand, we all need teachers, whether we were born with artistic gifts or not. And sometimes the person who has the knowledge you need lives on the other side of the country and has written a book.

I have no formal training in art – merely informal classes which I loved. (I have a fine arts degree, but the focus of that was creative writing.) And I also intend on taking some more painting classes.

But it’s been awhile since those previous classes, and I wanted to do a portrait of my grandson over Xmas break, so I got Ann Kullberg’s Colored Pencil Portraits Step-by-Step to give me some pointers, especially about what colors to use together to create for skin tones.

Wow. Following her advice made a huge difference. The first helpful tip was to work in layers. I always forget this, no matter what medium I’m working with. It was good to be reminded.

The second helpful tip was that she not only told me which of the 120 colors in the Prismacolor spectrum to use for skin tones, but in what order she recommended them based on the subject’s actual tones and the values in the reference photo. She groups the hues by color group (yellow, pink, orange, brown) and also by value (see pages 43-44), but for some reason fails to show them grouped by both value and color group. So I made my own color chart based on her recommendations.

Skin Tones by Value + Color

My Chart based on Kullberg's Advice

Since then, I’ve done more than 5 renditions of my grandson’s face. While each is better than the 3 attempts I made prior to the arrival of the book, I also haven’t managed to capture his grinning cherubic face to my satisfaction.

(Plus, it doesn’t help that his hair is actually blond, but appears brown in the photo. Maybe a different reference photo would be a better choice. Phooey.)

Sam X 5

Five of my attempts plus the reference

Things I still need to work on: getting a smooth gradient, like the one Kullberg shows on page 47. My first one looked a lot like the “Example of Poor Color Introduction” at the bottom of the page. I’m improving.

On her website (which, btw, is a different URL than given in the book), she offers a lot more tools for colored pencil artists, including a magazine, kits, and video lessons. I haven’t decided yet whether I’ll invest in any of them.

What’s your experience with Kullberg’s book or website? Do you have another colored pencil instruction book that has helped you?

 

UPDATE as of Mon 19 Feb 2012:  I’ve created a download-able chart based on my color chart above which is based on Kullberg’s advice.  Click on the “Downloads” tab at the top of the page, then click on the link to the chart.  It should bring up a PDF in your browser that you can save and print, then color in with your own pencils.

Written on January 19th, 2012 , Art Tags: , ,

In my colored pencil books, the advice was to Superglue a too-short pencil nub onto a fresh pencil, thereby lengthening it and getting to use more of the pencil before having to toss it out.

I didn’t like the idea of gluing it to another pencil, so I took some pieces of dowels I had leftover from another project and glued a too-short pencil onto one of those. But I didn’t have Superglue on hand. I had PVC, glue stick, paste, wood putty, and E-6000. I figured E-6000 was the strongest glue I had, so I tried it. I held the dowel to the pencil nub for a couple minutes, then braced it in a standing position.

After 10 minutes, it was still not set. I went away and came back in an hour. It came apart easily. Obviously, E-6000 wasn’t the right glue for the project.

Which still seems odd to me. I’d have thought that an industrial strength glue would certainly bond two pieces of wood together. But alas, no.

So when I went to Michael’s later on, I picked up a little tube of Superglue Gel, especially formulated for porous materials like wood. I held the pencil and the dowel together, then braced it upright. When I checked it after 15 minutes, it was set up solid. It even withstood the electric sharpener.

Pencil blued to Dowel with close-up

Pencil blued to Dowel with close-up

Using the Pencil

Using the Pencil

But when I had used the nub down to less than an inch and wanted to detach it before I ended up running the glue through the sharpener, I worried I might not be able to separate the two pieces without a saw. But to my surprise, they snapped apart fairly easily, with just pressure from my bare hands.

I’ve Superglued several too-short pencils to dowels now and haven’t had any problem with any of them.

Written on January 10th, 2012 , Art, How-To Tags: , ,

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