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| 1 | Digital_Painting / Digital_Painting / Digital Paintings | 11/16/09 at 19:22:59 |
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A new Topic Board is starting. Here is an aerial perspective palette.  |
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| 2 | Acrylic Paintings / Acrylic Discussions, Q.A. / Re: ShereeR just starting | 11/16/09 at 14:53:14 |
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| Hi Don, Its so lovely for you to offer to help me, but I am at work at the moment and I am not good at scanning and computer things, but my husband can help me when we get home. My drawing skills are pretty good, I,m just lost on painting. What to do where and when. Sheree. |
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| 3 | Color Theory / About Color / Color in pigment and light | 11/10/09 at 22:28:26 |
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| To forum readers: This is an email talking about light and pigments between Robin and I. You have to start from the bottom and go to the top of each post, sorry but that's the way my email comes to me. I answer from the top. (-) Robin (~) Don On Nov 10, 2009, at 7:02 PM, Don Jusko wrote: ~Hi Robin, Scroll down for more on reflection and absorption of color. Don On Nov 10, 2009, at 6:18 PM, Robin S wrote: -Wow Don, This is really deep. thank you so much for taking the time to talk about this. You are evidently passionate about it, and I am most interested to understand it better. I do agree that I am confusing light and pigment, and I do understand the difference. My problem is that I see the two having to be intertwined and I don't know how to separate the two. ~Let me go a step farther. Emitted light, from a computer, a candle or the sun. Makes a light wave. Reflected light from an object is dead, it can't be seen in the dark. Light, is what bounces back at us, FROM the surface of the object...or item painted.colored with the pigments...thus...LIGHT is how we see the color of the pigment, by the reflected light back at our eye. So, how do the two stay separate. we need the LIGHT to come off the object so we can see the color of the pigment...which is really just reflecting, refracting, absorbing Never "absorbing light", the internet and a lot of books are wrong about that. Light has energy, that energy will be absorbed by a dark object, not the color, the heat energy. Refracting requires a transparent object. You should not toss around terms that don't apply. Reflecting is 100% from a mirrored object and a much lower % from a matte object. A dark object will absorb the lights heat energy, not color. ..light rays . I understand the additive vs.. subtractive, and how white light is the presences of the whole spectrum..but if that is the case...then WHAT kind of light rays are we seeing when we see magenta object..magenta paint.....what is it composed of... I love the pigment our our imagination...and magenta is my main bug a boo..I just don't know why in some cases is is composed of blue and red.. (as it does appear cool) ~It's pretty hot next to blue. but in pigment , it can be anything but that. I mean..What make magenta...and how does it stay clean so it does not muddy up a pigment mix...as in adding three primaries together would. (in particular, adding magenta , which is cool and has the look of having blue in it...plus yellow to get red.) Magenta is not cool, it's cooler than yellow and warmer than yellow's opposite color, blue. Magenta is a medium temperature just like green. The line between them divides the warm and cool. double yikes..., and I driving you crazy? I am sorry if I am slow to get this totally. ~I hope the difference between emitted and reflected is clear to you now, and I hope you pass this information along. Robin -----Original Message----- From: Don Jusko [mailto:donjusko@realcolorwheel.com] Sent: Tuesday, November 10, 2009 5:45 AM To: Robin S Cc: Don Jusko Subject: Re: More about color magenta, Robin, Don2 On Nov 9, 2009, at 5:15 PM, Robin S wrote: Hello Don, ~Hi Robin, The subtractive colors subtract light, red and blue mix to a very dark dark, subtracting value. Additive colors do the opposite, all colors making white. -Thank you for the detailed explaination. I think I understand it. But another question. Would it be fair to say then , that magenta is a combination of the blue and red light? (as in the prisim epxeriment) but actually is that a additive processs then? Yes, cyan is lighter than blue or red. So, how do we explain how the traditional Red on teh Please use your spell checker. color wheel, is really not the correct primary, as magenta should be, but magenta then is made up of red and blue if that were the case? Don't confuse the light color wheel with the pigment color wheel. The two will never meet. It's easy to mix red and blue light (additive) and get cyan light It's also easy to mix cyan and magenta to get blue pigment (subtractive). -I did some paint mixing with WC< magenta. (opera Ros) ~Good choice -mized with hansa yello.. ~fairly good choice, transparent yellow would have been better. The translucent hansa does have some opaque qualities which dulled the red a little. to get a very good red. ~Brighter then cad red light! -if Magenta had blue in it, ~Magenta has blue in it only in the additive light color wheel. It has no cyan or blue in it in the pigment world. -then how could I mix a clean red? If it is a pigment of our imagination, That was my joke, I shouldn't have tried to be funny, it's not my nature. but it is difraction of a wave lenght, that is an overlap? (is this correct) of blue and red? ~REFRACTION, The deviation of a ray of light upon entering a transparent medium, is refraction away from the normal. The emerging ray is separated into the colors of the spectrum. Red refracts most, violet and magenta the least. DOUBLE REFRACTION, an incident ray enters and splits, each ray traveling at a different speed. DIFFRACTION, diffraction is light bending around the edges of a mass. DISPERSION, Diamonds, glass and water give dispersion of light with the proper incident and reflecting angles, thus splitting up white light into its spectrum colors. PLEOCHROISM, the change of color when viewed from different directions. We are talking about reflection and absorption. Don pleochroism in minerals is due to adsorption (should be reflectance not absorption) of particular wavelengths of light. Wikipedia is right. Pleochroism is an optical phenomenon in which mineral grains within a rock appear to be different colors when observed at different angles ... en.wikipedia.org/wiki/Pleochroism Webmineral is wrong about mineral absorbing wavelengths saying: The primary cause of dichroism or pleochroism in minerals is due to adsorption of particular wavelengths of light. This selective adsorption of certain ... webmineral.com/help/Pleochroism.shtml webmineral is right here though, http://webmineral.com/help/RLPleochroism.shtml INTERFERENCE COLORS, a thin film of soap or oil will change the direction of the incident ray laterally and cause the prism effect, as the thickness changes the color's change. Are you asking if an oil slick is additive or subtractive? Good question, it makes me think. All colors are seen in an oil slick and they are all interference colors. Blot the oil slick on a white blotter and you would see no color. So we are seeing additive colors not pigment colors. -I belive I see it in many things, but then how is it REd shows up in rainbows, prisms, etc, but it then is not the true primary? if red is made up of blue and red light, then wouldnt the actual red still be a better choice as primary..yet magenta is the better mixer... ~Your confusing light with pigments. -I am still confused obvioulsy, when it comes to how can it be seen as pigment, and work as a subtractive color mixing agent, but it is not next to red either? If it has the longest wavelenght,,,then it does not lie on the spectrum next to the shortest, red...or does it? I guess I am not really sure how we found it to work as a pigment.? ~I've always thought of the colorwheel as a circle, in a rainbow the circle is a tube, magenta is at the back of the tube. Also, in light black is clear. -Yikes... yikes.. Robin Don -----Original Message----- From: Don Jusko [mailto:donjusko@realcolorwheel.com] Sent: Friday, November 06, 2009 4:07 PM To: Robin S Cc: Don Jusko Subject: Re: question about color magenta, Robin, Don On Nov 6, 2009, at 6:09 AM, Robin S wrote: Hi DOn, I am confused. I understand how magenta is the truere color to use for the primary. But, how is it that it is invisble in the light spectrum, but we can see it as pigment color. How can this be? What light waves are we seeing when we "see " the color magenta then? And how can it be a component of the reds ect if it is invisible to our eye as light, but we can see it as pigment? HELP...I am totally lost now, and I thought I had it. but you are right, it does not show up in a rainbow... but then, it is in lets say a rainbow of oil slick...... ~Hi Robin, It is commonly thought the color magenta can not be seen in the prism, but this is not true, it depends on the viewing angle of the prism while you are looking into it. It's also thought that magenta can't be seen in a rainbow but I have seen bright rainbows with magenta at the bottom of it. The invisible wavelengths of magenta in the EM spectrum can be read and will turn a switch on an off. http://www.realcolorwheel.com/rainbow.htm http://www.realcolorwheel.com/final.htm#RAINBOWS_AND_SPECTROSCOPES You are thinking that just because magenta can't be seen in the EM spectrum it can't be seen in light but it can. DIFFRACTION is a light ray angling around a solid object. Diffraction also is the only way to see the atmospheric light color magenta in it's pure state. Diffraction is what happens to a ray at it's light stopping edge, stopped by an opaque object, it bends. The longest wavelength color can/will make the greatest diffracted angle. Magenta waves are still angling out of the straight white light that has already passed the stopping edge of the earth. They are moving in the shadow area on there way to a principal focusing point on the center line's axis, deep in the heart of the earths shadow. 
Red and orange diffract a little and magenta, the shortest wave, bends the most around an object. There is some warm magenta on the outside of red on a strong rainbow and on inside of the second rainbow, and is the last color seen before the dark of night. This is color diffracting, in real time, focusing on a focusing point inside the shadow's void behind the earth, where the center of diffraction for that ray of light is bending toward. May I suggest a simple experiment that you might find informative? At a time when sunlight shines directly into a window, place a prism in the sunbeam and adjust it so that it casts a rainbow spectrum onto something white that is not in the sunbeam. Notice that magenta isn't there. (But you knew that.) Now place a second prism so that its projected rainbow crosses the first one. At each place where the red end of either spectrum crosses the blue end of the other you will see a magenta patch. Try as you might, you won't find a wavelength for magenta. It is a psychological color, produced in your mind when the eye receives blue and red light in the same area. It is not bending the meaning of words too sharply to say that magenta is a pigment of your imagination. The EM spectrum has wavelengths in a line, red and blue at the two ends, they never overlap to see the color magenta. In an oil slick the the prism is distorted and merges to show the magenta color. ~Can you explan this better to me? thanks so much Robin -----Original Message----- From: Don Jusko [mailto:donjusko@realcolorwheel.com] Sent: Thursday, November 05, 2009 3:43 PM To: Robin S Cc: Don Jusko Subject: Re: freePenPalettes-tiffromcolorwheel, Robin, Don On Nov 5, 2009, at 7:44 AM, Robin S wrote: thank you -Robin ~Hi Robin, http://www.wikihow.com/Use-the-Real-Color-Wheel BACKGROUND INFORMATION: I first notice that magenta seems to slide into the yellow and cyan areas of color, taking more than its 1/3rd share of the wheel as the colors get darker. I noticed the phenomenon at sunset, because the magenta light rays are longer they bend around the earth giving a red sky at night. I noticed a similar color change in the physical elements making crystals. Darker cyan turns to ultramarine blue by adding magenta like in the polarizing Iceland Spar crystal and yellow adds red (magenta) in most all yellow crystals, iron being the most common. Iron oxide makes colors from Amberg yellow ocher to raw umber, heating the raw umber to burnt umber brings out even more red. It's a natural phenomenon in the physical colorwheel. |
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| 4 | Acrylic Paintings / Acrylic Artists, Acrylic Paintings / Re: Paintfox8of10 | 11/10/09 at 13:28:10 |
| Started by Admin | Last post by Admin | ||
| We’re in Paris and deliriously happy. We wake up at 8 o’clock every day, miraculously, like we’ve never left. No jet lag, we are out and about by 9-ish (no fooling around with a shower here in our chambre de service – a sponge bath and tooth cleaning voila), and go about our business. Our business? Culinary and culture tours. We hit the pavement in a certain neighborhood, discovering, on behalf of our clients, food and cultural surprises. So far we’ve been to the Les Halles region, Montparnasse, Madeleine, Tour Eiffel, Place de Vosges, Pere Lachaise. “Pour boire, du vin?” the server asks. OUI!!! We’ve eaten fricasseed pheasant with fois gras and terrine de lievre, washed down with a Langendoc; Jerusalem artichoke soup followed by beef bourguignon; a tartare of scallops and an “origami” of cabillaud with baby scallops; and today pig’s feet lollipops followed by two super dishes: rabbit fritters and roasted lamb, accompanied by whips and froths of veggies; a spicy pear millefueille for dessert. We’ve made up for a year and a half of not eating in four days. Who won’t want to come on our tour if it’s like this for a week? Luckily, our apartment is up 126 stairs – it keeps us from getting too fat. I had my doubts I could make it, but actually I can mount and descend with ease three times a day: it’s the fourth time I feel like it’s too much. I have a small backache, which I am hoping is just from the bed. My darling dog, Harika, is staying with friends with a fenced yard in Virginia. Someone gave us a free round trip ticket, flying standby, to come back for a visit. I wasn’t sure how the three of us would fare under such circumstances: in fact, it took us two days to get out of Dodge. Just walking on the streets of Paris puts a smile on my face, despite rain and chilly temperatures. I love to look in the windows: boots everywhere is the fashion statement. My boots, which I thought were here in the apartment are not, nor are many clothes I thought would be here. I chine together outfits I like to think look Kenzo, but can tell by the looks of others might be just a little too trash can. Maybe on a younger person they’d be interesting, but I have a certain je ne sais quoi “bag lady”. With a nod to economy we are cooking one meal a day on the hot plate. We’ve had civet d’oie (goose stew), which we picked up at a foie gras seller; ravioli with pesto; and last night, truffle risotto. I have seen more truffles in the shops than ever before. We were able to buy cepes for tonight’s adventure on the hot plate for not too much money. We’ll accompany them with salad and a confit de canard. Painting has been impossible with the changeable weather, but we’ll share a photo with you this week. I can hardly imagine going back to the Branford for long after this trip to Paris! Come visit!!! |
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| 5 | Color Theory / About Color / Re: Why not use black to darken colors? | 09/27/09 at 09:40:39 |
| Started by Admin | Last post by Admin | ||
| On Sep 27, 2009, at 3:41 AM, Catherine (name on file) wrote: Hello, I found your site, and it is so extensive! I'm new to drawing, and can hardly wrap my head around the information, although I do know that the two color systems are different, that printers use the CYMK system. anyway, could I ask you to send me the color wheel, if you are still offering it? Thank you so much! Catherine Hi Catherine, There are two color "spaces", light, which the computer uses and physical color which we color objects with. Crystals bridge the color spaces and are able to transmit light while also become pigment when crushes. RGB/YMC uses the same color wheel as CYM and CMYK. The Real Color Wheel (RCW) also uses this color wheel but has one important difference. Colors get darker the same way crystals get darker not the way light gets darker which just subtracts the amount of light associated with each color. Subtracting light produces the same color as adding black to pigments. Yellow and cyan turn greener by adding black in light or pigment. The artist doesn't want that, yellow should stay warm as it gets darker while cyan should stay cool, like the colors do in nature and in crystals. Here is your color wheel to print out, thanks for requesting it. Don http://www.realcolorwheel.com/colorwheel.htm http://www.realcolorwheel.com/GicleeMaui.htm |
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| 6 | Introduction and Questions I'm Asked / Introduction and Art Questions / Re: Introduction | 09/24/09 at 12:52:10 |
| Started by Admin | Last post by Admin | ||
| Thanks for posting Pierre, I'm looking for your next post. Try painting a 3 color = full color wheel. http://www.realcolorwheel.com/3colors.htm Don |
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| 7 | Oil, Alkyd, Resin and Wax Painting / Turpentine based media discussons. / Re: Disputing W.N. & Gamsol turpentine claims. | 09/16/09 at 10:26:20 |
| Started by Admin | Last post by Admin | ||
| Hi EW66; email on file, Thank you for your documented notes about the effects Gamsol had on you and the drying times that you observed. If you don't mind I would like to quote you in my forum article. Don, 9-16-9 Sure, use it! But please keep my name and email anonymous because I don't want mail from Gamblin fans. More scientifically controlled tests need to be done on ALL of the OMS's testing the true evaporation of a specific amount and successive days of being exposed to them IN A REAL STUDIO when thinking the danger is gone when it probably is NOT. Let me know if you get any feedback on the articles about this. Thanks for the reply. Hope my 2 cents makes other artists pause and rethink the whole OMS VS pure turps issue. Best regards, P.. Your article on Gamsol and other mineral spirits was VERY interesting, especially the evaporation issues. I stopped painting in oils for years because of SEVERE reactions to solvents (all types) and then started using M. Graham walnut oil paint and alkyd medium (no solvents in their medium) and was able to paint again solvent-free. Wanting a more lean grisaille, I decided to try Gamsol recently because of their claims of safety and sloooow evaporation. I went outside in fresh air and transferred 1/2 ounce of it into a small glass apothecary jar with a screw on eye-dropper lid. My work space has a door and 3 windows and is 12' x 22' and I had a strong exhaust box fan 2 feet in front of my canvas that blew out an open window directly in front of the fan. Another window and door also open. Over 3 hours, I used 12 drops of Gamsol (wearing gloves too!) mixed into paint at intervals and did a few imprimatura washes and outlined my subjects. That's all I was going to use Gamsol for, to thin the initial layer. I use walnut oil to clean my brushes so don't need it for that. I had to stop painting at the 3 hour mark due to a starting headache and lightheadedness. I left the studio with fan going and 2 windows open and went upstairs to my living space. I got more dizzy and within a few hours, the headache was excruciating and lasted for 5 solid days and then gradually went away after 1 week. I may be hyper-sensitive but this was ridiculous! Also, the Gamsol cap on the container was allowing fumes to escape as I later discovered by turning it upside down and the Gamsol poured out in a tiny stream! NICE! The caps don't fit! But the can of Gamsol wasn't IN the studio when I used Gamsol from the small bottle, it was in my back hall in my living space. I don't know which scenario caused my severe reaction but it was definitely Gamsol. I also timed the drying rate on the canvases, and it seemed almost dry 2 days later but not really dry. Had I used 12 drops of pure turps, it would have totally dried in a few hours and evaporated from the air also, I assume? I'm thinking that the 12 drops of Gamsol polluted the air far longer than turps would have DUE to the slooow evaporation and I'm wondering just how much of a cumulative effect this could have if I had kept using Gamsol (or other OMS) over successive days. I would have been exposed to the previous days of the still evaporating Gamsol in addition to the new usage, no? In any event, Gamblin's hype and marketing fooled me but I'll never use Gamsol again. Thanks for your test of turps VS Gamsol in the jars...this subject needs further investigation to keep artists from serious harm. |
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| 8 | Human_Proportions / Human Proportions / Re: Drawing adult humans | 08/22/09 at 15:21:13 |
| Started by Admin | Last post by Admin | ||
| I'm doing life drawing now, 8-22-9. Use this link to visit my page http://www.realcolorwheel.com/lifedrawingDon.htm    |
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| 9 | Oil, Alkyd, Resin and Wax Painting / Artists, Oil, Alkyd, Resin and Oil/Wax Paintings / Blair PESSEMIER painting | 07/26/09 at 10:11:27 |
| Started by Admin | Last post by Admin | ||
| “I always use complete sentences when I write on the Internet,” my brother in law announced. I cringed to think of certain emails I have sent lately: an exercise in fragments and dashes. What formerly turned me off about “how are you’s”and “how was your weekend”, I now recognize as a vestige of politesse. It wasn’t without thought that I gave up those small phrases. The pressure to get to the point, and not waste someone’s time seemed like the right thing for the late nineties and early aughts. But in 2009, there is once again time for pleasantries. Blair and I participated in the Madison Art Society’s painting sale for the library yesterday. We had a booth beneath a yellow striped tent in historic Madison, Connecticut. We didn’t know we could be part of the sale, or the group, until Thursday, so our preparation was hasty. We needed something to hang our paintings on. We searched the bowels of the abandoned building we live in (it isn’t exactly abandoned, but it is shut down because the renovation work on the retail space, 7,000 square feet, was done without permit. There is no end in sight to its dilapidation). It is a behemoth of a space full of displays for selling carpet and tile – but none quite right for paintings. We made a trip to the Home Depot, to review their inventory. A four-by-eight sheet of pegboard, not the most romantic of materials, was twenty dollars. Three sheets, plus trims seemed like more than we should spend on a small town art show. Besides, it wouldn’t fit in the car. It has been up to Blair to get our booth together for the show. “What about those doors?” he asked. I said I thought they weighed a ton. “At least they won’t blow over.” Blair wired together, at the hinges, a tri-petal flower of old doors, replete with fine brass finger latches. Miraculously, they fit into the car, along with the paintings. We arrived at the tent at 7 AM on Saturday. “Nice doors,” was our first compliment of the day. I forget what a relief it is to be with a group of artists. We’re a little standoffish at first, looking at one another’s work, but by 11 AM, we all get on like a house afire. It’s been a real strain to feel at home in Connecticut, but this has taken me a long way. On top of it all, Blair sold a painting! Recently, Blair received a note from a classmate who now lives not far away, in Connecticut, suggesting perhaps they could “twitter”. While I appreciate Facebook and a look into my friends' lives, there's nothing like the real thing. As I look into the eyes of a fellow artist as she asks, “how did you get to be able to paint so freely?” I smile wildly in my heart. Laurie (text) and Blair (painting) PESSEMIER Repose MBP Oil on canvas 24 x 36 $475.00 |
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| 10 | Color Theory / Real Color Wheel / How do the wedges and blocks work on the RCW? | 07/22/09 at 23:10:12 |
| Started by Admin | Last post by Admin | ||
| I have a proof reader named Christi that is helping, she asked about how the cyan, blue, red and yellow wedges work. Know this; cyan darkens to ult blues dark before any complement is added in to it. Yellow does the same thing using brown. Neither wedge uses the complement to get dark but the next block would be black in both. The wedges yellow to red and cyan to blue are similar to each other, all the rest of the colors are darkened with the opposite color.. Take magenta #13.0, 100% magenta + 0% green to #13.10, 100% magenta +100% green. That is how 2/3's of the color wheel works, 1/3 of the color wheel (#25 cyan to #19 blue and #1 yellow to #7 red) works like this. #7 red makes the dark brown by adding its opposite cyan, Blue makes neutral darks after the dark blue is made, some day this dark blue to cyan will be one transparent pigment instead of two but no one is looking for it yet.. Yellow makes neutral darks after the dark brown at the bottom of the wedge. Here is a photo of the dark brown liquid (made from dry pigment) Tartrazine. Tartrazine is not a pigment for sale in tubes yet, but it will be. The photo is for proportions to use as ink in my plotter. The third from the bottom end is what I use. The same with a transparent cyan with a mass tone of Ultramarine blue, it's coming, I saw a really nice car painted with it a few weeks ago, it blew my mind.  RCW#25 transparent cyan and opaque red RCW#7 are opposite colors. Mixed together anywhere along the wedges will make a neutral dark. 2 parts cyan and 1 part magenta makes a hue of cobalt blue. Cyan and Blue will mix the same neutral dark with the two opposite wedge-gradients of colors (#7.10 Bt. Umber Brown to #7.6 Warm Red Oxide #7.0 Cad. Red Light) and (#1.10 Bt. Umber Brown). 100 parts cyan + 100 parts magenta makes ult. blue 100 parts cyan + 50 parts magenta makes cobalt blue 6RCW#25, CYAN TO DARK BLUE cyan .0 = 100% intensity cyan 100%+ 00% blue cyan .1 = 90% intensity cyan 90% + 10% blue cyan .2 = 80% intensity cyan 80% + 20% blue cyan .3 = 70% intensity cyan 70% + 30% blue cobalt .4= 60% intensity cyan 60% + 40% blue cobalt .5 = 50% intensity cyan 50% + 50% blue blue .6 = 40% intensity cyan 40% + 60% blue blue .7 = 30% intensity cyan 30% + 70% blue blue .8 = 20% intensity cyan 20% + 80% blue blue .9 = 10% intensity cyan 10% + 90% blue blue 10 = 00% intensity cyan 00% + 100%blue black = 100 parts blue + 100 parts red brown or yellow brown (same color) 36RCW#19, BLUE TO NEUTRAL DARK blue FrUlt .0 = 100% intensity blue 100%+ 00% brown = 100 parts cyan + 00 parts brown blue Ult .1 = 90% intensity blue 100%+ 10% brown = 100 parts cyan + 10 parts brown blue .2 = 80% intensity blue 100%+ 20% brown = 100 parts cyan + 20 parts brown blue .3 = 70% intensity blue 100%+ 30% brown = 100 parts cyan + 30 parts brown blue .4 = 60% intensity blue 100%+ 40% brown = 100 parts cyan + 40 parts brown blue .5 = 50% intensity blue 100%+ 50% brown = 100 parts cyan + 50 parts brown blue .6 = 40% intensity blue 100%+ 60% brown = 100 parts cyan + 60 parts brown blue .7 = 30% intensity blue 100%+ 70% brown = 100 parts cyan + 70 parts brown blue .8 = 20% intensity blue 100%+ 80% brown = 100 parts cyan + 80 parts brown blue .9 = 10% intensity blue 100%+ 90% brown = 100 parts cyan + 90 parts brown blue .10 = 00% intensity blue 100%+100% brown = 100 parts blue + 100 parts brown black = 100 parts blue + 100 parts yellow brown or red brown (same color) Red is Cad red, red oxide & burnt umber oxide. There used to be a real red oxide and a real yellow oxide but they are both hard to find now, 36RCW#7, RED TO DARK BROWN red .0 = 100% intensity red 100% + 00% cyan = 100 parts red + 00 parts cyan (red = 50 parts magenta + 50 parts yellow makes 100 parts red) red .1 = 90% intensity red 100% + 10% cyan = 100 parts red + 10 parts cyan (red = 45 parts magenta + 45 parts yellow + 10 parts cyan) red .3 = 70% intensity red 100% + 30% cyan = 100 parts red + 30 parts cyan (red = 35 parts magenta + 35 parts yellow + 30 parts cyan) red .5 = 50% intensity red 100% + 50% cyan = 100 parts red + 50 parts cyan (red = 25 parts magenta + 25 parts yellow + 50 parts cyan) red oxide .6= 40% intensity red 100% + 60% cyan = 100 parts red + 60 parts cyan (red = 20 parts magenta + 20 parts yellow + 60 parts cyan) bt umber .10= 00% intensity red 100% + 100% cyan = 100 parts red +100 parts cyan (red = 35 parts magenta + 30 parts yellow + 33 parts cyan) black = 100 parts red or 100 parts red oxide or 100 parts red brown + 100 parts blue, 100 parts cobalt blue or 100 parts cyan Yellow is raw, burnt, and yellow oxides. 36RCW#1, YELLOW TO DARK BROWN. yellow .0 = 100% intensity yellow 100% + 00% brown = 100 parts yellow + 00 parts brown (red = 50 parts magenta + 50 parts yellow makes 100 parts red) brown .9 = 10% intensity yellow 10% + 100% brown = 10 parts yellow + 100 parts brown brown .10 = 00% intensity yellow 00% + 100% brown = 00 parts yellow + 100 parts brown Black = 100 parts brown + 100 parts blue. |
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