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Education

The Wrong Color Wheel

Qiang Huang OPA · Nov 28, 2022 · 24 Comments

When I was a child, I wanted to be an artist. I read books on drawing and painting. I also learned some basics about color. All the teachings about color always start with introducing the 3 primary colors: red, yellow, and blue. We cannot get primary colors by mixing other colors. If we mix two primary colors, we will get the secondary colors, which are orange, green, and purple. If we arrange the primary and secondary colors into a circle, we get a color wheel. For the convenience of further discussion, we call this color wheel the conventional color wheel (shown as Fig. 1).

Fig. 1 Conventional color wheel

From the color wheel, I have learned the complementary colors. They are the two colors on the opposite sides of the color wheel. So red and green, yellow and purple, blue and orange are three pairs of complementary colors. I also learned that if we mix two complementary colors together equally, we will get a neutral grey. 

I never doubted the correctness of this color theory because all the teachings are the same. Even now, if you ask an artist to teach you about color, you probably hear the same thing. Since everybody talked about the same thing, it must be correct. So, I used this color model in my painting practice. After I started, I realized that color was not easy. It is not as simple as the three primaries, and mixing a correct color was a difficult thing. Many teachers give a formula to mix certain colors, and many artists have a special palette and use specific brands of paint to get the color effects they want. All of those theories, I have learned, do not have much of a practical use, and color became a highly experience-based empirical practice.

However, this kind of color practice bothered me. Before I turned into a full-time artist, I worked as an engineer for many years. My rational mind felt uncomfortable when I saw how artists dealt with color so ambiguously. I started to examine my understanding of color, and tested the correctness of theory with experiments. The first test I conducted was the complementary relationship. 

From what I have learned, I mix (1) red (cadmium red medium) and green (permanent green), (2) orange (cadmium orange deep) and blue (cobalt blue), (3) yellow (cadmium yellow light) and purple (manganese violet). I have added a little white to make the mixed color easy to see. The results of the above color mixings are shown as Fig. 2 below.

Fig. 2 Complementary color mixing experimental results

From the results we can see: 1) Red/green mixing gives a dirty yellow color, and it does not give us neutral grey. 2) Yellow/purple mixing gives a dirty red color, and it does not give neutral grey either. 3) Blue/orange mixing is really close to a neutral grey. In order to show the results more vividly, I put the true neutral grey next to the mixed colors. From this experiment, we have concluded that 2 of 3 of the conventional given primary/secondary color pairs are NOT complementary. If we stretch, we might see they are almost complementary. Please do not take my word for it. If you do the experiments yourself, you will know that I am telling the truth.

Now we have confirmed that the conventional color theory is not right, but it is not the end of the research. The immediate next question is: then what are the “correct” primary and secondary colors? What does the “correct” color wheel look like? With those questions, I continued my research. I have found other artists and scientists have noticed the same problem and the most of them accepted that the “good” color theoretical model was the Munsell color system.

Albert Munsell proposed his color system in 1905. He had mentioned that there are five fundamental colors. They are red, yellow, green, blue, and purple. He evenly placed these five colors on a color wheel. Most astonishingly, orange was not selected by Munsell. He called orange “yellow-red” and it is considered subsidiary to the fundamental colors. We may call it a Munsell secondary color.  I have made a Munsell color wheel shown as Fig. 3 below.

Fig. 3 Munsell color wheel

Now, let’s put only the 3 primary and 3 secondary colors from the conventional wheel on the Munsell color wheel. It looks like Fig. 4 below.

Fig. 4 Placement of conventional primary and secondary colors on Munsell color wheel

We can tell immediately that red/green and yellow/purple are no longer complementary. However, blue/orange is still complementary. We also tested the complementary relationships between the Munsell fundamental and secondary colors. We have proved they have true complementary relationships. For the color red, yellow, and blue, their corresponding complementary colors are blue-green, purple-blue, and yellow-red.

After I studied Munsell color theory I noticed another ambiguous area of the color system. Our definitions (or vocabulary) of color are quite vague. For instance relating to the color red, there are so many different kinds of reds. The color red is not one specific color, it covers a group of slightly different colors. We even give specific names to many specific reds, such as crimson, scarlet, maroon, and so on. Even the color pigments make so many different red paints such as cadmium red, alizarin, venetian red, and so on.

This crude way of defining colors makes me go deeper to study the color theory. I looked into the numerical model of defining colors. Munsell had talked about his numerical model for all the colors. In a nutshell, every color can be precisely defined by three numbers (or color coordinates): hue, chroma, and value. The Munsell color system has been published with a set of color charts. We can obtain the color coordinates of any specific color by matching the color sample with a specific color swatch in Munsell color charts. Although the Munsell color system was established more than 100 years ago, it is still commonly used by paint manufacturers and artists.

Time goes by so quickly, now we are living in a time when technology develops extremely fast. New pigments have been invented and we artists have many more colors to use than Munsell’s time. There are many vibrant colors we cannot get in the Munsell color coordinates since the Munsell charts are so limited. This problem has led me to study the computer color system.

I am going to skip the process of how the computer scientists developed their color system. I just simply present the color wheel that the computer color system uses. The following Fig. 5 is the computer color wheel. 

Fig. 5 Computer color wheel

It is quite interesting that we can see that the computer color wheel is very similar to the Munsell color wheel, so I can predict that the complementary color relationship is correct on the computer color wheel. The color coordinates of the computer color system are very similar to the Munsell system. They can be converted back and forth. 

If we still want to use the concepts of three primary colors that we learned before, we can see there are two sets of primary colors. One set is red, green, and blue, (or RGB) and the other set is cyan (turquoise), yellow, and magenta (red purple) called the CYM system. These two sets of primaries are complementary to each other shown in Fig. 6

Fig. 6 Computer primary colors

I am so glad my color research has clarified my color understanding. I feel much more confident when I use colors now.

Many artist friends might wonder why we should be bothered to understand the color wheel so rigorously. What is the practical use of this understanding? My answer is: it will help you to mix neutral grey much more easily. For instance, you may ask why blue and yellow are complementary on the computer color wheel? From your knowledge and experience, blue and yellow should give you green, not grey. Is that right? The answer is that the computer “blue” is very specifically defined. It is a violet blue. So it is complementary to yellow. The second reason is that human eyes are more sensitive to perceive greens in comparison with other hues. Any dirty green will appear very green to us. 

This clarification of color wheels is a tip of the iceberg in the color science. It gives me the curiosity to go deeper. I am happy to have a chance to talk about it with all of you.

The Role of Color Temperature in Painting

M Kathryn Massey OPA · Jan 4, 2021 · Leave a Comment

When I wrote my book on painting with a concept, I listed five key elements for creating a  workable, harmonious painting: Values, Edges, Paint Quality (integrity of the paint), Agent  (you as the painter guiding the work), and finally, Color/Temperature. It’s the last element I’d like to explore here. 

When I began to paint, I saw local color first and foremost. It’s easier to see than values and edges. Beautiful reds, blues and yellows naturally draw the eye much like impasto  (opaque) paint will. Color, or the lack of color, has an inherent emotional feature. 

It’s generally accepted that color begins and ends with the Color Wheel. I never saw the relationship to the color wheel and the painting problems that were before me. Many teachers use it as an absolute truth to be rigidly followed. But, the color wheel is NOT an absolute truth. It only represents a theory. Theories are not absolute-they are grounded in principles but don’t contain the truth in an ultimate way.  

A theory merely points us in a direction.  

Included is an image of my palette used when I teach. To help students, I list below each color whether I view it as a warm color, or a cool color. To me, the neutrals, including Naples Yellow, are all cool; the yellows are warm with the exception of Lemon Yellow, which appears cool because it has less warmth than the other yellows on my palette. Likewise, Cadmium Red Light is the only red that appears warm. Alizarin and the other Cad Reds appear cool.  

Cadmium Red Light mixed with black and white (both neutrals)  Notice the neutrals achieve two things: the value of the Cad Red Light, a warm red, is changed and the temperature. (The temperature of the red is made cooler.)

The Blues are all cool with the exception of Ultramarine Blue. It’s the warmest Blue in the family of blues meaning it reads warmer than the others because of its mixture when produced and those materials used to create the paint Ultramarine Blue.  

Think about Cerulean, Thalo, Cobalt, King’s Blue…..they are very cool when used next to UM Blue. In a warm set up or composition, I would use UM Blue to complement the other components of a warm set up. 

Yellow Ocher is an interesting color. I paint with it to warm a background or turn an edge (cool).  It seems to absorb whatever temperature is placed near it. It’s an opaque paint so it has the quality of a neutral or cool hue. But, if painting a white cup, you could mix some yellow ocher to develop a shadow plane. It won’t drop the value too much but can assist the shadow in anchoring the object. Painting with black as a shadow for white objects is too abrupt or harsh. To me it reads “dead on arrival.” 

Two Pears by M Kathryn Massey OPA 
9″ x 12″ – Oil

As we grow as painters, we begin to develop our own language and that language includes color choices. We become more sensitive to how temperature plays a role in our work. For me, I reach for a color based on its temperature and what is needed by the painting. What do I  mean? 

Let’s say you are painting a portrait. The subject is Caucasian and fair. Most of the flesh you paint will be colorless. But, there are moments on the face you want to come forward and show the topography of that particular fair model. Conversely, there are moments in the picture that will need to recede, or turn back. 

Cad Red LT is warm and it will read closer to the viewer. Cad Red Med/Cad Red Dark will recede more than Cad Red LT. Why? Because the Medium and Dark have more blue in them when they are produced as a color. Blue is a color which recedes. 

The principle here: Warm colors appear to advance; Cool colors appear to recede and give the painting a sense of air space and time. You must decide on the color structure of your painting EACH TIME you go to the easel.

A Word About Neutrals. 

Commissioned work in progress.  
Cosmo by M Kathryn Massey OPA
14″ x 11″ – Oil
Notice how little color is seen thus far in the painting with the dog being black and white; both cool, neutral colors.  

Neutrals are used to change both the value and the temperature of a color. In principle, Black,  White, Grey, and Naples Yellow are used to cool down a color OR, to change its value.  Because they are cool, when mixed with any other color they will immediately cool that color  AND change its value. This is why I view color and temperature as married. I don’t understand them as being separate. Temperature changes are paramount to good painting.  

We don’t know these more advanced ideas when we begin to paint. How can we?  In closing, a few thoughts on color: 

-If you are having trouble incorporating a color into your work, take it off your palette for a  month or so. See if you can achieve what you need without it. 

-Each family of reds, blues, greens, yellow, blacks, etc., are warmer or cooler within the family of that color. Determine for yourself which is warmer and which is cooler within the family of color. 

-Using both cool and warm temperatures in the same painting will make more color disharmony and tension. (Think Vuillard) 

-A still life up, a model, an interior, etc., will be either warm or cool as a concept. Use the paints that will depict your concept. 

-Use a neutral to turn an object away from the viewer so the illusion of dimension is realized.  Do not use pink, red, yellow, orange for instance to turn an object as it goes into shadow. The illusion won’t work. Use cool grey, blue, or violet to help with your conceptual illusion. 

-If you break any principle in painting, know why you are breaking the principle.

-There are no mistakes…..only better choices.

Melon with Grapes by M Kathryn Massey OPA
20″ x 16″ – Oil

How Do Your Paintings Sound?

Mark Daly · Dec 28, 2020 · Leave a Comment

Leveraging All of Your Senses to Create More Impactful Paintings

The importance of a strong composition is well known to painters. Once a good design is selected, we make choices and adjustments using our toolbox of techniques to create a  successful outcome. Some of these techniques include imagination, values, edges, paint application, color, line, and harmony. There is an underutilized technique to consider adding to your painter’s toolbelt: leveraging the dynamic senses of sound, feel, smell, and taste. 

After selecting a composition to paint, I ask this question: “How should this painting sound to  best reinforce the composition?” Adjusting the question by inserting other senses (feel, smell,  taste) identifies additional sense-based choices to consider adding to the composition. Answers to these questions are prioritized and worked into the artwork, as appropriate. 

Having a musical background, sound is a sense I gravitate towards. To reveal my approach, let’s  review a recent example of how I answered the question, “How should this painting sound to  best reinforce the composition?” The example is titled “Paris Rain”. It is shown below.

Paris Rain by Mark Daly, 2020
30″ x 24″ – Oil

I’ll discuss five sense-of-sound answers that I chose to incorporate into “Paris Rain.” Similar to edges, there are harder and softer sounds. As such, I consider intensity and variety. I also take into account pitch and location to determine how and where to visually portray sound in a  composition. 

1. Swirling Water Flow (softer sound, close to viewer) 

The first subtle sound that was added to reinforce the composition is in the lower-left quadrant of the painting. The runoff of rain, as it flows down the sidewalk and into and around the drain,  adds a rainy day swirling sound to the scene. This is a softer sound. It offers variety to harder sounds. 

2. Slapping Windshield Wipers (harder sound, nearest vehicle shape to viewer) A second, sense-of-sound addition to “Paris Rain” is the windshield wiper on the Mini Cooper vehicle (located center left). This was done with a single upward brushstroke. It brings a  distinctive slapping (harder) sound to the scene. It connects the viewer to a sound that occurs when it is raining. The wiper blade was added to only the largest vehicle shape (closest to the viewer). The mind fills in the blanks through association. It “hears” windshield wipers on the other vehicles after seeing the one on the Mini Cooper. 

3. Swooshing Vehicles (varying background noise) 

The third sound included in the painting is the swooshing of the approaching vehicles. The choice of vehicles communicates varying noises. These range from the low-frequency rumble of the bus to the high pitched whines from motorcycles. They add authenticity to a rainy day  European city experience. 

4. Raindrops Hitting Umbrellas (harder sound, close to ears) 

The fourth example of intentionally adding sound to enhance the picture is the tilted, wet umbrellas. We all know the close-to-the-ear pitter-patter sound of rain hitting a tightly stretched water-repellant fabric. The visual cue of the angled wet umbrellas engages you in the scene. It connects you to a personal experience—the sound of rain beating on an umbrella a few inches away from your ears. 

5. Splashing Footsteps (moderate sound, near viewer) 

The fifth and last example of adding a visual sound clue is less obvious. It is the anticipation of the large figure’s foot (center right) about to step on to wet pavement. Raising the left foot adds more audible drama. The viewer anticipates a slapping, splashing sound. The dark foreground reflection of the figure deliberately leads you into the painting and to this foreseen sound. 

These five sense-of-sound choices (among others) are designed into the painting along with value, edge, paint application, color, line, and harmony decisions. As shown in the image below, the sounds are spread around the center of interest. Collectively, they reinforce the main idea of the composition (the emotional experience of a rainy day in Paris). They help to create a more convincing, successful scene.

Variety of Sounds Spread Around Center of Interest

Another way to look at the power of these audible cues is to delete them. Imagine the painting without the swirling water, slapping windshield wipers, swooshing vehicles, pitter-patter rain on umbrellas, and foot about to splash a wet surface sounds. “Paris Rain” would sound different. Its impact and emotional connection with the viewer would be reduced. 

Let’s look at another example of leveraging senses but in a different location and season. Winter cityscapes provide opportunities to have the viewer feel cold and warmth. Below is a recent example titled “Art Deco Building in Winter”. On the one hand, grey clouds, heavy clothing, blowing flags, and snow-lined buildings all reinforce the feel of the painting’s winter-based composition. On the other hand, a feeling of warmth emanates from the lights on the streetlamps, store windows, cab, buildings, and glowing globes above the fence. These visuals provide a welcome contrast to the cold features. Through the sense of feel, the cold and warm elements amplify the compositional intent.

Art Deco Building in Winter by Mark Daly, 2020
30” x 24” – Oil
Exhibited in OPA 2020 Eastern Regional. Semi-Finalist in the 15th ARC Salon Competition. Best Building Award in the PleinAir Salon 10th Annual Competition (August, 2020)

The last painting example, “A New York Treat,” demonstrates the senses of smell and taste. Portraying smoke rising from chestnuts roasting on a NYC side walk vendor food cart adds smell to the painting. It helps connect the viewer to the memorable taste of chestnuts that are sold under colorful umbrella-topped carts found along the streets of New York City. 

A New York Treat by Mark Daly, 2019
12” x 9” – Oil

As painters, we are not confined to a two-dimensional world. There are ways to add dynamic impact through all five senses. Before starting your next painting, be open to new possibilities to expand your toolkit. Ask the question: “How should this painting sound (feel, taste, smell) to  best reinforce the composition?” It will set your paintings apart from others. It will make a  more emotional connection with your viewers. 

Painting and Parenting

Ashlee Trcka · Jul 13, 2020 · Leave a Comment

Many people with young children wonder if they can paint at home while their children are still young and not in school. The answer is yes! I questioned whether it could be done and doubted my efforts initially. I would tell myself one day, when the children are in school I’ll paint again. The opportunity to paint always seemed to be replaced with child care and household chores as many of us do.

My name is Ashlee and I’m a stay at home mom with three children under 5 years old. I’m also a prolific oil painter with a passion for painting and a drive to create. As painters we share a creative spirit, it’s a part of who we are. For those of us with young children, it can be difficult to find the time to paint. With good time management skills and structure to your day, you can paint and enjoy time with your kids. In fact, the two can compliment each other beautifully. 

 A typical structured day throughout the week typically looks like this; each morning I will set aside an hour of painting while the kids are enjoying snack time and doing their crafts. This routine allows me time to paint and the kids get to be creative as well. It’s important to step away from your painting to clear your mind and refresh your ideas. That is why after an hour we all clean up and enjoy outdoor time together. It’s helpful as a painter to simply leave it for a while. Once everyone has had some fun and lunch I will set aside another quiet hour for myself and keep the kids occupied with educational activities. Does this always run smoothly? No not always, lots of times I have to be prepared to stop and assist the kids if they need me but otherwise this sort of daily schedule flows nicely and keeps everyone happy. 

Painting and parenting can go hand in hand. It takes determination and a genuine passion for our craft to maintain a consistent painting schedule but if you structure your day in such a way that the kids also benefit from creativity it will definitely be a great day and you’ll find that you’re painting just as you always could. So don’t put it aside, make the time for yourself and everyone will benefit. Cheers and happy painting!

“The Ravioli Kitchen” by Ashlee Trcka
12″ x 16″ – oil on linen canvas

 http://www.ashleetrcka.com/

Making The Most Of Your Art Studio Space

Julianna O'Hara · May 25, 2020 · 1 Comment

Do you wish your studio space were more functional? Do you want to paint more comfortably? Do you have limited space and wish to utilize as much of your available space as possible? I have found some fantastic ideas for my art studio space that I would like to share, and I would love to hear from you. What are your favorite things in your studio that make your life easier? 

I’ve been oil painting since the age of 11. I have had everything from a walk-in closet as a “studio” to using a small corner space in a studio apartment. I now work in a spare bedroom that I converted into my studio space. I spent most of my painting life with my tubes of paint in a tackle box or scattered about in random drawers. I have had canvases and frames scattered about so much at times that I have walked through a maze to get to my easel. The biggest struggle I have had is being comfortable at my easel! I stand when I paint, and I paint from life. I have stacked boxes on top of boxes to get a setup at the eye level I desired. I even spent one painful time painting with my knees bent and back hunched so that my eye level was ideal to my desired painting. 

There were a few years where I had the same “bird’s-eye” view because I couldn’t figure out a functional way to stand and paint with any other view. So, wherever you are, in a tiny studio or corner of a room or even if you have the luxury of a large studio space, we can all use some tips and tricks to make our lives easier. What I am about to share is affordable and easily obtained. 

MY #1 ALL-TIME FAVORITE STUDIO IDEA THAT HAS MADE A SIGNIFICANT IMPACT ON THE WAY I PAINT IS: a simple rack/ shelving system that can be found at any hardware store. I think these were originally designed for closets. I saw the studio of a dear artist friend of mine, Trish Wend. She also likes to stand when she paints and with her contractor designed a functional way to hang brackets on a wall and use adjustable bracket holders for any eye level she desired. Well, I immediately thought, “I want that!” I had a spare wall in my studio, so I excitedly went into the hardware store and purchased the simple items that changed my painting life forever. (I realize I am being dramatic, but it is the truth. I treasure painting from life and I am so happy with this little invention.) 

48″ bracket holders at $5 a piece – I bought four of each. 

I hung the bracket holders on the wall at various distances apart. For those who like to work from a computer monitor or photos, you can put your device at any eye level you wish and paint comfortably – no matter your height or stance. 

The brackets themselves run about $5 a piece as well. I bought four standard sizes and I did buy two special order 24″ brackets for my heavier table scenes. I think these were $10 a piece. 

Don’t judge. 🙂 My engineer husband had to leave the room when he saw how I was hanging them. In case you’re curious too, there were already nail holes from a previous shelf. I used those holes for two of the bracket holders and the other two bracket holders are in studs. I love it because it gives me great flexibility in what I want to create and, also, the option to have two setups at the same time if I desire. 

So, for about $50 – I finally have a comfortable, interchangeable system for any and all of my still life setups. The moment of reckoning occurred as I tested my contracting skills to see if they would actually hold weight. I was quite proud of myself, pink drill and all. 

Some examples of the shelving system in action: 

I would guess the above entire “scene” weighed about forty pounds. That back panel is an antique and heavy. I have not run across any issues with weight limitations. Now, I suppose if I had a model sit on a table, there may be some buckling walls or falling debris; but I’m not that silly. 

I know many artists are fancy; but I just use fabrics and cheap foam core from the dollar store for my shadow box configurations. I also use the dollar store foam core as my light blockers, and I have a collection of gorgeous fabrics that I love to play around with in scenes. The possibilities are endless. I have even used towels or shirts as “drapery” or “tablecloths”. There have been times in my life where I felt that I didn’t have the “perfect” props or supplies. Now I know what a huge waste of time that was for me. Nothing is perfect. Make do with what you have and believe me, you have a lot! 

The above red cloth is from an old ottoman I used to have. I cut the fabric off the top before throwing the ottoman away. I then just wrapped the cloth around a piece of foam core. The pears are sitting on an old cutting board and I have blue painter’s tape keeping them upright. I called this one “The Pears From Hell, and Grapes” Gosh, those things were changing colors on me by the hour! Anyway, I digress…. back to the studio shelf examples: 

So, you get the idea. I can do anything and everything with these brackets and bracket holders. I do recommend getting the 24″ bracket for the heavier projects – the additional depth is very helpful for tables or furniture. 

My other favorite things in my studio are: 

PAINT TUBE STORAGE – I’ve seen some artists use shoe holders. I found this at an art supply store (Artist’s Loft makes it) and don’t know how I lived so many years digging around for paint in drawers or toolboxes. 

SPACE SAVERS – I love, love, love this panel/canvas holder. This can be configured in three different ways, and I personally like this version for my specific needs. This is called “Rue Panel Ladder and Storage Rack”. 

TUBE WRINGER!!! – I’d love to know what took me so long to get one of these babies. Goodness gracious! The amount of paint I can get out of an otherwise “empty” tube is amazing! 

My favorite one is: “TubeWringers Metal Rollers By Gill Mechanical Co”. I know some artists who use plain ole’ toothpaste tube wringers. I also cut the cinched part and fold the bottom. 

FRAME STORAGE – One other thing that I love that saves me so much space is hanging my frames in a closet. It just so happens those bars lift up, so I decided to stack some frames on them with bubble wrap on the bars to stop scratching. Frames used to take up an inordinate amount of space in my studio. 

CONCLUSION – The possibilities are endless for more efficient art studio space and I have discovered my favorite things by implementing ideas from so many clever artists. Save interesting old fabric, save beautiful vases and props, and maybe get art supplies up off of flat surfaces into accessible, vertical storage of some kind. 

I would love to hear your favorite Studio Tips and Tricks in the comments below.

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