tag:blogger.com,1999:blog-48904351033879801222024-03-27T16:54:58.883-07:00Joan Tayler DesignUnknownnoreply@blogger.comBlogger878125tag:blogger.com,1999:blog-4890435103387980122.post-70219628331895122032024-01-23T09:00:00.010-08:002024-01-24T11:54:31.142-08:00 Demystifying colour - 22 - Proven Rules for Color Selection and Done<p style="line-height: 115%; margin-bottom: 0cm;"><span style="font-family: Liberation Serif, serif;"><i>My husband, Hugh and I,
went down a rabbit hole while researching colour. Here is a link if
you would like to start at the beginning .</i><span style="background: rgb(1, 255, 255);"><a href="https://www.blogger.com/#">First
entry</a> <br /></span></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiAKk6XtmTjCu4sNmNsVep2BiUSu25RDXOWM8tHiKMpPfv-EPBithZgN8UVE2mragvQ-h8PC9h8RMnsFT6d_PEX71bXOJ8-a2mfslw1Zm0qOryS667ps7Rjnpxlv5D6pAkEmdQbSx_9a-ptSh_fYr1FKW_9xES2vdL1wGCq2AB-cEEcIrH7CSGDkzL-Rs/s2013/blog240123Wheel.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1782" data-original-width="2013" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiAKk6XtmTjCu4sNmNsVep2BiUSu25RDXOWM8tHiKMpPfv-EPBithZgN8UVE2mragvQ-h8PC9h8RMnsFT6d_PEX71bXOJ8-a2mfslw1Zm0qOryS667ps7Rjnpxlv5D6pAkEmdQbSx_9a-ptSh_fYr1FKW_9xES2vdL1wGCq2AB-cEEcIrH7CSGDkzL-Rs/s320/blog240123Wheel.jpg" width="320" /></a></div>The designer Herb Lubalin said that his most useful tool was his knife, not his pencil. My art teacher Mr. Borsos said that the secret of art was, "Simplify". Joan always says, "Just because you can doesn't mean you should. What you leave out is as important as what you put in." <br /> <p></p><p>That's why many professionals start with a quick sketch, following the old rule: "think with your pencil". How does the design lead the eye? What is the focal point of interest? What emotions might the viewer feel?<br /> </p><p> <br />The final and most important rule for designing with color: be observant. Use your understanding of hue, value and chroma to borrow successful color combinations that you find in fabrics, in art, on the internet, or captured on your phone camera from the world around you.</p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4890435103387980122.post-77397908036985843312024-01-16T09:00:00.008-08:002024-01-16T09:31:12.276-08:00 Demystifying colour - 23 - Proven Rules for Color Selection<p style="line-height: 115%; margin-bottom: 0cm;"><span style="font-family: Liberation Serif, serif;"><i></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Liberation Serif, serif;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSFlfI1fKWWKIeVLKS8TGv36ySAm29IZB3jbNvtDkKSCJ6AoMmuKlbdNinkIH2khtjK-4xlnZfoUksPj_GgriXg2UzJ-Z5lu5T_vHI6A0yfpxtsLSdRdDn91kXrR-djHkgOueESv-oX4VbKWqiqDSPSrDiwh9JmbaV6IxOdI0lTCje193F5tIVblzgv7s/s1353/blog240116twoplains.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1317" data-original-width="1353" height="389" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSFlfI1fKWWKIeVLKS8TGv36ySAm29IZB3jbNvtDkKSCJ6AoMmuKlbdNinkIH2khtjK-4xlnZfoUksPj_GgriXg2UzJ-Z5lu5T_vHI6A0yfpxtsLSdRdDn91kXrR-djHkgOueESv-oX4VbKWqiqDSPSrDiwh9JmbaV6IxOdI0lTCje193F5tIVblzgv7s/w400-h389/blog240116twoplains.jpg" width="400" /></a></i></span></div><span style="font-family: Liberation Serif, serif;"><i><br />My husband, Hugh and I,
went down a rabbit hole while researching colour. Here is a link if
you would like to start at the beginning .</i><span style="background: rgb(1, 255, 255);"><a href="https://www.blogger.com/#">First
entry</a> <br /></span></span><p></p><p>Pick colors you or your customers like. <br /><br />Many artists limit a design to two or three hues, and use value to convey form and chroma to convey mood. If you look at color combinations on line, many show just five colors based on just two hues. A common choice is a couple of mid-value colors echoed by a color in the pastel range, not too close to the whites, and echoed again by one that is dark but not too close to black. <br /><br /><b>It is easy to get too many contrasting colors.</b><br />Arranging the design so colors fall in spectral order might work to bring a little more unity to a piece of work that "feels too busy". <br />Or you could see if the piece contains something interesting but less complex by using two L-shaped pieces of card to isolate parts of the design.<br /> </p><p>One classic rule that works for decor and design and cinematography is "60-30-10". 60% is a main or base color, maybe light or close to neutral. 30% is a secondary design color that will differ in hue, value, or chroma. It will often be adjacent to the main color. 10% is an accent color that might be strongly contrasting, often a directly complementary one. While some writers refer to the 60% color as "dominant", the 30% or 10% color is sometimes the most "dominant" in the sense that it draws the most attention.</p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4890435103387980122.post-78760726967510878222024-01-09T09:00:00.007-08:002024-01-09T09:00:00.148-08:00 Demystifying colour - 22 - Happy New Year <div><p style="line-height: 115%; margin-bottom: 0cm;"><span style="font-family: Liberation Serif, serif;"><i></i></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT3KwFpY42u0niKEjX3_T0HUDkUUgEyqip7ca-XmcAwVyRv4jmp1GS7S4wVNvWUeHiDOWDRLLwfjZ6BsrSMdCzEmLxqU-FSSa5ghYbwrcM8KzG8bH-3auv8F4I68m5tPNqt6vV7aayaTNi6cESlOTZazFSG4w8XGgkBI_2nAIQ_CVTcnr2uHu_uPZ7DNI/s1973/blog240109Triad.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1197" data-original-width="1973" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT3KwFpY42u0niKEjX3_T0HUDkUUgEyqip7ca-XmcAwVyRv4jmp1GS7S4wVNvWUeHiDOWDRLLwfjZ6BsrSMdCzEmLxqU-FSSa5ghYbwrcM8KzG8bH-3auv8F4I68m5tPNqt6vV7aayaTNi6cESlOTZazFSG4w8XGgkBI_2nAIQ_CVTcnr2uHu_uPZ7DNI/w640-h388/blog240109Triad.jpg" width="640" /></a><span style="font-family: Liberation Serif, serif;"><i></i></span></div><span style="font-family: Liberation Serif, serif;"><i><br /></i></span></div><div style="text-align: center;"><span style="font-family: Liberation Serif, serif;"><i>My husband, Hugh and I,
went down a rabbit hole while researching colour. Here is a link if
you would like to start at the beginning .</i><span style="background: rgb(1, 255, 255);"><a href="https://www.blogger.com/#">First
entry</a> </span></span><br /></div><div><p></p><p>Here are the most well known harmony patterns. Have fun:<br /><br /><b>Split Complement</b><br />Two hues on either side of the complement.<br /><br /><b>Double Split Complement </b><br />Two pairs of complements that lie next to two complementary hues.<br /><br /><b>Tetradic Harmony</b><br />Rectangular - Two pairs of hues, but wider than double split complementary.<br />Square - Four equidistant<br /><br /><b>Triadic</b><br />Three colors that are widely separated on the color wheel. <br /><br /><b>Dyads</b><br />Two colors that are close but not directly adjacent.<br /> </p><p>Triads of color actually have another more important design use. They can define the corners of a limited palette on a hue-chroma wheel. This is a proven strategy for design "harmony", especially in paintings or illustrations. Limited palettes (aka palette masking) can also be based on any of the other geometric color selection strategies listed above. <br /><br /></p></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4890435103387980122.post-113805645092020302023-12-19T09:00:00.009-08:002023-12-19T09:00:00.135-08:00Demystifying colour - 21 - Wheels of Fortune <p style="line-height: 115%; margin-bottom: 0cm;"><span style="font-family: Liberation Serif, serif;"><i></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Liberation Serif, serif;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZhfSoIZWF8XlgvRjZ9nLQCpXAWbRcdDCXsnfORzsdfMWhEMCAq7L9KTrG9lUsrAPtGVpVhISRVSsYHZWAguPTQMAUB8AOpS_BIVPB8hL9mCgyvxsBt10tyeSHpsr9DjFvYUdXt3ueEbcRbDB2P8-vlb0lVZEZONs4FmR3LcpxOr9LlHLdMQ4W0pyZMjo/s2108/231219Tree.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2108" data-original-width="1256" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZhfSoIZWF8XlgvRjZ9nLQCpXAWbRcdDCXsnfORzsdfMWhEMCAq7L9KTrG9lUsrAPtGVpVhISRVSsYHZWAguPTQMAUB8AOpS_BIVPB8hL9mCgyvxsBt10tyeSHpsr9DjFvYUdXt3ueEbcRbDB2P8-vlb0lVZEZONs4FmR3LcpxOr9LlHLdMQ4W0pyZMjo/w239-h400/231219Tree.jpg" width="239" /></a></i></span></div><span style="font-family: Liberation Serif, serif;"><i><br />My husband, Hugh and I,
went down a rabbit hole while researching colour. Here is a link if
you would like to start at the beginning .</i><span style="background: rgb(1, 255, 255);"><a href="https://www.blogger.com/#">First
entry</a> <br /></span></span><p></p><p>Too many pages presenting Color Theory confuse beginners by showing a color wheel illustrating something important like hue right next to four or five similar wheels showing pointless distractions like tetradic color selection. <br /> </p><p>Pointless? Distractions? Yes. Color wheels are an important tool for learning basic color concepts. But research shows that geometric "rules of harmony" based on a color wheel are not good predictors of successful color selection. They are not part of basic color science and no one really needs to learn them. <br /><br />What they are is fun. Using a simple color wheel and a set of cardboard disks with holes is an entertaining method of generating pseudo-random hue combinations.<br /> </p><p> But random hues don't help you with value and chroma and problems of balance. That is why one author encourages students to do small experimental design studies before committing to a larger work. One landscape painter is more blunt, pointing out that just putting four bright colors from the outer rim of a color wheel on a canvas tends to look like fruit salad. Another color celebrity tips you off that these color combos are often "bold and vibrant". <br /> </p><p>It doesn't really matter if you use an old school RYB color wheel or a modern RGB-CMY wheel for the geometric rules of harmony, but you should decide whether you want to use a hue-chroma wheel or a hue-value wheel. Either will work, or you can use a simple hue circle. Make or copy one that fits a standard 8x10 piece of cardstock. Laminate it if you like playing with lots of color possibilities. You can even make yourself a set of cardboard masking wheels with cut outs arranged using the geometric harmony patterns listed In the next post.below. --the itaics are my altering to make a break.<br /> </p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4890435103387980122.post-88533549159138057602023-12-12T09:00:00.008-08:002023-12-12T09:00:00.127-08:00 Demystifying colour - 20 - Combination of Unity and Contrast <p style="line-height: 115%; margin-bottom: 0cm;"><span style="font-family: Liberation Serif, serif;"><i></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Liberation Serif, serif;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW7xDOetd74FydkWicIsB8RUGCN8Xtp0iX_5a91rJuFD_lE0MJ_e_FqWfN7z-1coQF1wsap1Q2N_BfZU7sJ_ddMnpCpRhbUf7wqqyU5cz2WIjRFeVmgRLQWtmwSrPUkM-fh4mZn8jDEOLxHIsLY90e7HPIsDylKUvzNB-RjQNcuLBZYFLgWlIm-my1P4M/s2197/231212Mona.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1640" data-original-width="2197" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW7xDOetd74FydkWicIsB8RUGCN8Xtp0iX_5a91rJuFD_lE0MJ_e_FqWfN7z-1coQF1wsap1Q2N_BfZU7sJ_ddMnpCpRhbUf7wqqyU5cz2WIjRFeVmgRLQWtmwSrPUkM-fh4mZn8jDEOLxHIsLY90e7HPIsDylKUvzNB-RjQNcuLBZYFLgWlIm-my1P4M/w400-h299/231212Mona.jpg" width="400" /></a></i></span></div><span style="font-family: Liberation Serif, serif;"><i><br />My husband, Hugh and I,
went down a rabbit hole while researching colour. Here is a link if
you would like to start at the beginning .</i><span style="background: rgb(1, 255, 255);"><a href="https://www.blogger.com/#">First
entry</a> <br /></span></span><p></p><p> Some combinations of the three unities and the three contrasts have their own names: When colors have a big contrast in hue paired with extreme chroma, they might get the fancy name of "simultaneous contrast" or "op art". When you have too many of them, they sometimes get called "clashing". <br /> </p><p>High value is often combined with high chroma to provide a light and bright design that usually has positive emotional meaning. Following the same logic, many dark designs often stick to low chroma. This coordination of value and chroma is a common strategy in the polymer clay world. For example, metallic colors will often be close to each other in value and chroma, giving a design series a unified look.<br /> </p><p>One really popular combination is a large area of muted analogous colors, accented with one or two complementary colors with higher chroma. If you are stuck for ideas, this one is a proven winner.<br /><br /></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4890435103387980122.post-55376244414701530872023-12-05T09:00:00.007-08:002023-12-05T09:00:00.248-08:00 Demystifying colour - 19 - Contrast<p style="line-height: 115%; margin-bottom: 0cm;"><span style="font-family: Liberation Serif, serif;"><i></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Liberation Serif, serif;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAcIdpHoJNo_j5rlMDa_WYf3Uh4zARLt4CJe1Hf42tMCTs1kN3fjTqiUh4v4gGu3VahSiQogcNSBMWgPH2hFSLYEkPq2Lay2xyDdCeyFfHgDc_fXXdC0XCf7bJUIj98mPjkthW_f9JnKDViH2y7qt4rdvse1TX6PnWSF2CjpjwI_PPYz6uDiIImjIrJx8/s2314/blog231205contrast.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1242" data-original-width="2314" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAcIdpHoJNo_j5rlMDa_WYf3Uh4zARLt4CJe1Hf42tMCTs1kN3fjTqiUh4v4gGu3VahSiQogcNSBMWgPH2hFSLYEkPq2Lay2xyDdCeyFfHgDc_fXXdC0XCf7bJUIj98mPjkthW_f9JnKDViH2y7qt4rdvse1TX6PnWSF2CjpjwI_PPYz6uDiIImjIrJx8/w400-h215/blog231205contrast.JPG" width="400" /></a></i></span></div><span style="font-family: Liberation Serif, serif;"><i><br />My husband, Hugh and I,
went down a rabbit hole while researching colour. Here is a link if
you would like to start at the beginning .</i><span style="background: rgb(1, 255, 255);"><a href="https://www.blogger.com/#">First
entry</a> <br /></span></span><p></p><p><b>Contrast of Hue:</b> colors are not close neighbours.<br />* <b>Complementary or Opposing</b>: colors are directly across the color wheel from each other. These pairs will have maximum Contrast of Hue. Because they are complements they will usually mix to some kind of dark neutral, giving some contrast in value and chroma that could be part of the design.<br />* <b>"Warm and cool"</b> contrast is an informal way of speaking about groups of hues for design purposes, especially with customers who don't know the color wheel. Warm colors are on the orange side of the hue circle, cool colors are on the blue or blue-green side, but there is no clear division between them. <br /><br /><b>Contrast of Value:</b> provides form in representational art<br /><b>* Chiaroscuro:</b> a fancy way of saying high value contrast in a painting or design.<br />* The old rule in fine art black and white photography was to set your highest highlight value (usually paper white) and your lowest deep shadow value (usually maximum black), then establish nice "smooth" midtones, especially for skin. That principle of defining a range of values and staying consistent with midtones also works for painting or design.<br /><br /><b>Contrast of Chroma:</b> part of an image or design is neutral or muted, part is relatively colorful.<br />* <b>Balance:</b> This is a common design strategy of many classic representational paintings. Large areas are relatively low in chroma, other areas that draw the eye are emphasized with higher chroma, perhaps in clothing. The approach can be subtle, sometimes with just a little extra life given to skin tones. <br />* A similar approach to balance also applies to design. If a surface is half neutral and half high chroma, the neutral part of the design tends to vanish. If that is not what you want, you can try the 60-30-10 rule discussed below.<br /><br /><br /></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4890435103387980122.post-11697210622009873042023-11-28T09:00:00.009-08:002023-11-28T09:00:00.129-08:00 Demystifying colour - 18 - Unity <p></p><p style="line-height: 115%; margin-bottom: 0cm;"><span style="font-family: Liberation Serif, serif;"><i><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoQaTtDLsTU7qi66AnqQkv5nnH3E5AduugKSRUj_04rZD6yDep9hIdO0ld1onDgS058Z9GZnz0qRmVBTy_Ji9fOI6RpAQlLZtx6b0wvF-CPmJCxWScaRqp351RkYDUfI0aNKAd2jEg1ukH7Gge43WRwFXnnW3FJuLNmaNS0WqKI4OubwdbD3HH37ff6RE/s2179/blog231128unity.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2179" data-original-width="1703" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoQaTtDLsTU7qi66AnqQkv5nnH3E5AduugKSRUj_04rZD6yDep9hIdO0ld1onDgS058Z9GZnz0qRmVBTy_Ji9fOI6RpAQlLZtx6b0wvF-CPmJCxWScaRqp351RkYDUfI0aNKAd2jEg1ukH7Gge43WRwFXnnW3FJuLNmaNS0WqKI4OubwdbD3HH37ff6RE/w501-h640/blog231128unity.JPG" width="501" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Analogous colour - Earring by Shelley Atwood <br /></td></tr></tbody></table><br /> </i></span></p><p style="line-height: 115%; margin-bottom: 0cm;"><span style="font-family: Liberation Serif, serif;"><i>My husband, Hugh and I,
went down a rabbit hole while researching colour. Here is a link if
you would like to start at the beginning .</i><span style="background: rgb(1, 255, 255);"><a href="https://www.blogger.com/#">First
entry</a> <br /></span></span></p><p><b>Unity of Hue</b>: color is limited to a narrow range of hues <br /><b> Monochrome</b>: one hue, usually from one pigment. Contrast in value and chroma provide the design. <br /><b>Analogous or Adjacent</b>: colors that are neighbours on the color wheel. This is Unity of Hue extended a little wider, but usually no more than three hues maximum. Very popular. Warm or Cool Themes: If a design is all "warm" hues or all "cool" hues, that is just a wider use of adjacent hues, not a separate type of harmony. <br /><br /><b>Unity of Value</b>: colors have similar lightness or darkness. "Key" is an older term that you still sometimes read. Aka "Tonal Harmony".<br />Light and airy pastel illustrations are one good example. <br />Another would be the dark tones associated with heavy metal art and clothing. <br /><br /><b>Unity of Colorfulness</b>: colors have similar chroma/saturation. Aka "Chromatic Harmony".<br />Zero colorfulness is a type of unity known as "achromatic harmony", a fancy way of saying black and white or grayscale.<br />Nothing says pre-industrial Old Master like the muted earth tones of classic pigments. <br />The colorful mineral pigments of the industrial revolution are a signature of the Impressionists. <br />The intense pigments possible with organic chemistry give us the high-chroma colors that we might associate with modern media like polymer clay.</p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4890435103387980122.post-45041906472671296892023-11-23T17:38:00.000-08:002023-11-23T17:38:54.709-08:00Curing Not Colour Today<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIorBLYOWn8FTLsH3ZrmRtupnEH1vyemNdiJ1uO2C1jUEKHFLn8hH-KLLa00uzc-JYzPdz3ncDsvW6KgC3NxcxoIlakOQ8oiZGOkyhQnOST3UZ6ZY1Ma-gaQJeVksx-Fe1-q2eO9rxEQE_OxgSOq0jOZP4F6dDx658Uc1_E4KINsCIcb5R01gr1vpAwy8/s2084/blog231123cure.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2030" data-original-width="2084" height="390" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIorBLYOWn8FTLsH3ZrmRtupnEH1vyemNdiJ1uO2C1jUEKHFLn8hH-KLLa00uzc-JYzPdz3ncDsvW6KgC3NxcxoIlakOQ8oiZGOkyhQnOST3UZ6ZY1Ma-gaQJeVksx-Fe1-q2eO9rxEQE_OxgSOq0jOZP4F6dDx658Uc1_E4KINsCIcb5R01gr1vpAwy8/w400-h390/blog231123cure.JPG" width="400" /></a></div><br /><p style="line-height: 115%; margin-bottom: 0cm;">
<span style="font-family: Liberation Serif, serif;">I know - <i>" Always follow
the directions for curing your clay."</i> But what if you could
cure your Cernit and Kato Clay at the same temperature? I have my
oven outside so I don't have to be as cautious as those with an
oven in their studio. So I arranged 5 sets of clay on a tile and
removed one set after each curing. Each cure was for 40 minutes at
160C or 320F. The final set was cured 5 times. </span></p><p style="line-height: 115%; margin-bottom: 0cm;"><span style="font-family: Liberation Serif, serif;">You can see some color shift with Cernit but more with Kato Clay. The Cernit Opaline shifted even less than the white. Unfortunately I do not have any Cernit Opaline white but I will teat it and others in the future. </span>
</p>
<p><br /></p><p><i> </i><br /></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4890435103387980122.post-77655974824993123202023-11-21T09:00:00.013-08:002023-11-21T09:00:00.144-08:00 Demystifying colour - 17 - Designing with Color<p><span style="font-family: Liberation Serif, serif;"><i></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Liberation Serif, serif;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglqBxMikbMc2EWnq8gqqdh0cJZ3MmbzRAWuGqh_6NLfRgUCbl4qk8HiuORx8MafWrr__qYScidrdo5G9DboSN-BKHURN2sBHMTJD0S58PeSxYOFttFNSrQssfQGfQyA6ML1SVvpvTchatn9fN42aD8UZMgu8MseIwpZt9xPrFxC4d8KzTaFf0ou2nBL9c/s2219/blog231121.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1329" data-original-width="2219" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglqBxMikbMc2EWnq8gqqdh0cJZ3MmbzRAWuGqh_6NLfRgUCbl4qk8HiuORx8MafWrr__qYScidrdo5G9DboSN-BKHURN2sBHMTJD0S58PeSxYOFttFNSrQssfQGfQyA6ML1SVvpvTchatn9fN42aD8UZMgu8MseIwpZt9xPrFxC4d8KzTaFf0ou2nBL9c/w400-h240/blog231121.JPG" width="400" /></a></i></span></div><span style="font-family: Liberation Serif, serif;"><i><br />My husband, Hugh and I,
went down a rabbit hole while researching colour. Here is a link if
you would like to start at the beginning .</i><span style="background: rgb(1, 255, 255);"><a href="https://www.blogger.com/#">First
entry</a> <br /></span></span><p></p><p><b>The Logic of Designing With Color </b><br /> </p><p>Harmony is an informal term used to describe color selection or preferences or decor schemes as part of design or art. There is no simple definition for harmony but there is a simple hidden logic to the assortment of harmony terms that books on color throw at the beginner. <br /> </p><p>Color still has the same three attributes that you are familiar with: hue, value, and chroma. That doesn't change for design purposes. All we add is two principles of design: unity and contrast.<br /> </p><p>Design is a balance of two broad strategies: keeping things similar so the human brain doesn't overload and lose interest. That's unity. And making things different enough that the brain gets some stimulation and doesn't lose interest. That's contrast. One is just the reverse of the other. Unity or contrast: so simple.<br /> </p><p>So the easy way to understand and remember color selection strategies is to think of both unity and contrast in terms of hue, value, and chroma:<br /><br /></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4890435103387980122.post-59175891820352835352023-11-18T16:50:00.000-08:002023-11-18T16:50:20.714-08:00My Cernit Journey - 5 Temperature<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPw3iv9nKpCY0Fz6AOTQ5y27rxzJaW2yyFvDxgPTWbH1CFErA3USzusulQ3hAWl9aH4xhwP66ENFCo7uAF-FP3tykAeY-Yiamic8Mm2PXLosKJm60ql9yatFt6LDycc1qMYt0mgJSYvl4_7VwQPtiy1atowWq0HdPEZEyQKSVS32STicRH-Wd0VamQUQU/s1298/231118320F.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1145" data-original-width="1298" height="353" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPw3iv9nKpCY0Fz6AOTQ5y27rxzJaW2yyFvDxgPTWbH1CFErA3USzusulQ3hAWl9aH4xhwP66ENFCo7uAF-FP3tykAeY-Yiamic8Mm2PXLosKJm60ql9yatFt6LDycc1qMYt0mgJSYvl4_7VwQPtiy1atowWq0HdPEZEyQKSVS32STicRH-Wd0VamQUQU/w400-h353/231118320F.JPG" width="400" /></a></div>I was wondering if I could cure Cernit One at the same temperature as Kato Clay. <p></p><p>The top lines of samples were cured at 280F (138C) and the bottom lines were cured at 320F (160C). As you can see there is no colour shift. What really surprised me was that even the white had not changed at all in spite of the higher temperature. All the samples are 2cm squares set at #5 on an Atlas machine and were cured for 40 minutes.</p><p>Does anyone out there want to repeat my experiment? I would be really happy to hear from you if you do.<br /></p><p> <br /> </p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4890435103387980122.post-89415224528521577352023-11-14T09:00:00.017-08:002023-11-14T09:00:00.145-08:00 Demystifying colour - 16 - Mixing Lines - Strings, scales, or steps<p style="line-height: 115%; margin-bottom: 0cm;"><span style="font-family: Liberation Serif, serif;"><i></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Liberation Serif, serif;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg07ZIFMtF8HGQV1aI0pQ_a0rpfD6NmZrzI-y0JORqAjKZzsDzmoaLzaYBZ3BGL_mWaInKF4DjhTIlZgs2Y-SHbR8vtKPYi-j4jqzoYroNSldCrk6BVdlJ_6LA2QrkDnlc4MDXk-m05_3IWMxRqlO8dk2TAuVk-6DRRIaKWql1CRth1t_nRgQYMaAiQ12M/s2549/blog231117linest.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1433" data-original-width="2549" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg07ZIFMtF8HGQV1aI0pQ_a0rpfD6NmZrzI-y0JORqAjKZzsDzmoaLzaYBZ3BGL_mWaInKF4DjhTIlZgs2Y-SHbR8vtKPYi-j4jqzoYroNSldCrk6BVdlJ_6LA2QrkDnlc4MDXk-m05_3IWMxRqlO8dk2TAuVk-6DRRIaKWql1CRth1t_nRgQYMaAiQ12M/w400-h225/blog231117linest.JPG" width="400" /></a></i></span></div><span style="font-family: Liberation Serif, serif;"><i>My husband, Hugh and I,
went down a rabbit hole while researching colour. Here is a link if
you would like to start at the beginning .</i><span style="background: rgb(1, 255, 255);"><a href="https://www.blogger.com/#">First
entry</a> <br /></span></span><p></p><p>A final important mixing tip: if you need really good repeatable color matches, you can't get them by adding dabs of this and smidges of that to one batch of art material. Professionals measure quantities and make a mixing line or "scale" between two starting colors, pigments, glazes or whatever. <br /> </p><p>A mixing line is usually stepped in geometric ratios where each step is either half or double its neighbour. When dried or fired or baked, the resulting series is easy to compare to a target color and provides a recipe for making any quantity. <br /> </p><p>Disclosure: my wife Joan has a stepped color card system that she calls Polymer Clay Color Logic. But this is not secret technology: Ansel Adams taught the Zone System, Frank Reilly taught strings to generations of students that include authors Ralph Garafalo and Todd Casey, Maggie Maggio has a popular Smashing Color scale system for polymer clay, and so on. These professionals know if you learn to mix lines of colors with an understanding of hue, value, and chroma you never get lost. It's like having your own GPS for color. <br /><br /></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4890435103387980122.post-56437560092667719262023-11-10T09:00:00.002-08:002023-11-10T09:00:00.150-08:00My Cernit Journey - 5 - Essential colours<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLZI-5Q7R5h8ra6Kh9zxdGiA3Nhl5Ecqpp3GnumudNP0izS8R4Ubfuti0GH5eOzjcB1YEREpGsw06sR-o5BlGz91QIEEQIEokOm3CJAHrxgilM1uzBs0MSR_qCIGYwH8fil05THGVomU7CH9Z1IHm1wc60snXmizFPK4U3k2neEhonZqDbCFK3QIbBnVE/s1180/blog231110tint.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1053" data-original-width="1180" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLZI-5Q7R5h8ra6Kh9zxdGiA3Nhl5Ecqpp3GnumudNP0izS8R4Ubfuti0GH5eOzjcB1YEREpGsw06sR-o5BlGz91QIEEQIEokOm3CJAHrxgilM1uzBs0MSR_qCIGYwH8fil05THGVomU7CH9Z1IHm1wc60snXmizFPK4U3k2neEhonZqDbCFK3QIbBnVE/w400-h358/blog231110tint.JPG" width="400" /></a></div><p>A decision has been made. You have to choose 6 colours to from the Cernit One line, they would be Xmas Red 463, Yellow 700, Green 600, Blue 200, Violet 900, and White 027. I will explain my choices in the weeks to come because they were not always easy. I never expected to make as many colour as I have. It is a good lesson to me on how to approach a colour. I the future the first thing that I would do is make a value line for each of the colours. A value line takes about half the time of a stepped colour. This time I have gone back and made value lines of all the colours, even the ones that I hadn't planned to use in in the stepped colour cards that I plan on publish for anyone who wished to use that to help mix Cernit colours. Printed cards are useful if you don't have time to make clay cards yourself.</p><p>You will notice that I have not included back in my list of 6 colours. That is because a neutral colour mixed from the five chromatic colours can be used instead of black to lower chroma and give the illlusion of shadows. You may want to include black but you can see from the value line at the bottom of the photo you can get passable value line without black.<br /></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4890435103387980122.post-58010442990492568002023-11-07T09:00:00.020-08:002023-11-07T09:00:00.133-08:00 Demystifying colour - 15 - Value Mixing Tips <p style="line-height: 115%; margin-bottom: 0cm;"><span style="font-family: Liberation Serif, serif;"><i></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Liberation Serif, serif;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRuK-PqN0cgwF7D8T907tCJFenTPohcINA4j358apHaea8PJ4zKdMLfCKiLL1XNaPBf0MD0wtWSi9V5bDs4P7cCKGObQo8_pTOaNxTJAndmJYhqLL6fzIUMinM4cBV9H4n_mw1bE_OxEwElgd5nDs50_22P4d-ekXT0IQFh1Ezo68LxixR-PS7mvZRTB0/s3150/blog231110tint.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2348" data-original-width="3150" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRuK-PqN0cgwF7D8T907tCJFenTPohcINA4j358apHaea8PJ4zKdMLfCKiLL1XNaPBf0MD0wtWSi9V5bDs4P7cCKGObQo8_pTOaNxTJAndmJYhqLL6fzIUMinM4cBV9H4n_mw1bE_OxEwElgd5nDs50_22P4d-ekXT0IQFh1Ezo68LxixR-PS7mvZRTB0/w400-h299/blog231110tint.JPG" width="400" /></a></i></span></div><span style="font-family: Liberation Serif, serif;"><i><br />My husband, Hugh and I,
went down a rabbit hole while researching colour. Here is a link if
you would like to start at the beginning .</i><span style="background: rgb(1, 255, 255);"><a href="https://www.blogger.com/#">First
entry</a> <br /></span></span><p></p><p>Adding white or black is the simplest way to change a color's value. People sometimes suggest adding other non-neutral colors to adjust value, but since the color will also shift hue, this advice is mainly for painters uninterested in precise control over color. <br /> </p><p>Colors with added white are called tints. Beginner's sets of paint or clay never include enough white for designer colors, so always keep some extra on hand.<br /> </p><p>The old rules say "always add a color to white, not white to a color" because it takes so little color to turn white into a pastel. <br /> </p><p>The opposite is true of black: the smallest amount will darken a color, and too much black will easily overwhelm your starting color. Colors with added black are called shades. At least one art teacher says that you will often have to add a little high-chroma color to dark tones to "put some life back into them". Another one of the old rules tells students "never use black right out of the tube".<br /> </p><p>Painters can use "masstone" to go darker if they are working with transparents: simply apply the paint more thickly so it traps more light. <br /></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4890435103387980122.post-32565243280648446852023-11-03T09:00:00.003-07:002023-11-03T09:00:00.143-07:00My Cenit Adventure - 04<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx3r4RT0ruu01hGY8Y7GKam-k-Msg7KhRfyesDwJDV35etPRqEJutAmdXyBwk1zGwu5BBgu-stEPtQRMF6aXUcLOjsx8tsyOWnX_oCIKg_rTQIIR1mZv9lJau1GcSZ3Kg8unUGwZXZ09kO51I305CVig_xiE0WDuypTmBOn_i-6ui20znv1HTaam7sdtU/s2904/blog231030cernit.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2855" data-original-width="2904" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx3r4RT0ruu01hGY8Y7GKam-k-Msg7KhRfyesDwJDV35etPRqEJutAmdXyBwk1zGwu5BBgu-stEPtQRMF6aXUcLOjsx8tsyOWnX_oCIKg_rTQIIR1mZv9lJau1GcSZ3Kg8unUGwZXZ09kO51I305CVig_xiE0WDuypTmBOn_i-6ui20znv1HTaam7sdtU/s320/blog231030cernit.JPG" width="320" /></a></div><p>The biggest challenge to mixing Cernit colours was deciding the best
starting colours. Limiting the colours that you start with makes it
easier to mix colours predictably. After eliminating all the
neutral colours like brown, grey, desarturated colours like olive green
and grey blue, and all the pastel colours, I picked 8 colour with the
highest or brightest chroma. </p><div dir="auto"><br /></div><div dir="auto">The
goal is to get the most chomatic colour line with the least variables.
I'm retrospect I should have mixed value lines for all the colours first
to determine mixing strength. That would have given me more insight
into the mixing strength of each of the starting colours.<br /></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4890435103387980122.post-86936854231737779612023-10-31T09:00:00.016-07:002023-10-31T09:00:00.144-07:00 Demystifying colour - 14 - Chroma Tips Continued<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6z9vF8xoLTaWY89WcqInNuNXHTr6sar2sTjSw57_M1s-hl-mWTQDUA4deeaOOVV0I0TOuKKIjRgQkeoz9EumAgTGf7oX6klZl_AnqK_-_hKL3BKPUpk9QgAw9cUHsPvwCUt17XMlqrIbobTKIJSe6k4-doDU9rXqCpfAEAcBaQGBvb5odmPtw8tTw1lI/s3059/blog231030jam.JPG" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3059" data-original-width="2988" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6z9vF8xoLTaWY89WcqInNuNXHTr6sar2sTjSw57_M1s-hl-mWTQDUA4deeaOOVV0I0TOuKKIjRgQkeoz9EumAgTGf7oX6klZl_AnqK_-_hKL3BKPUpk9QgAw9cUHsPvwCUt17XMlqrIbobTKIJSe6k4-doDU9rXqCpfAEAcBaQGBvb5odmPtw8tTw1lI/s320/blog231030jam.JPG" width="313" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Yummy tints and sweet saturated colours.<br /></td></tr></tbody></table><p style="line-height: 115%; margin-bottom: 0cm;"><span style="font-family: Liberation Serif, serif;"><i>My husband, Hugh and I,
went down a rabbit hole while researching colour. Here is a link if
you would like to start at the beginning .</i><span style="background: rgb(1, 255, 255);"><a href="https://www.blogger.com/#">First
entry</a> <br /></span></span></p><p>Saturation and chroma are both measures of colorfulness (intensity) but are not technically identical. I think of chroma as "the colorfulness of bright". I think of saturation as the colorfulness of rich, deep, pigments with strong mixing power. <br /> </p><p>With some intensely saturated pigments, especially transparents with high mixing strength (aka high tinting strength), carefully adding white can increase the chroma up to a certain point. Beyond that point, the color will continue to get lighter in value, but will starting losing chroma. Only a test series will tell you where maximum chroma can be achieved. <br /> </p><p>You see how saturated color works by adding blackberry jam to yogurt. As you stir a little you see the dark saturated color of the jam gain in chroma so that the dominant red hue is more easily identified. After a certain point the jam loses both saturation and chroma as it is overwhelmed with yogurt and you eat the demonstration. <br /> </p><p>People usually say "hue-value-chroma" in that order because that is the most logical mixing sequence. The most intense yellows are lighter than mid-values, and the most intense purples are darker than mid-values, so adjusting hue can also shift values. Adjusting value by adding white or black will also usually reduce chroma. So generally, chroma is the last thing to adjust.<br /> </p><p><br />Color science tip for painters: Sony found that people thought images were most natural when they had 10% more colorfulness than the actual scene.</p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4890435103387980122.post-33437084909060911872023-10-24T14:32:00.030-07:002023-10-24T14:32:00.145-07:00 Demystifying colour - 13 Chroma Tips - Glorious "Mud"<p> <span style="font-family: Liberation Serif, serif;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Liberation Serif, serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgob-huNkEL2Rb383IYeoc7fsIEdIsfDVq6c3tnhrKegLVxL2DZ3Aosok19AhdnTgJoHehh4IwREksCO1t-Y29dUZ7bOk4o_-wrz5POvgNqlOyCZteewfUKjXNCUbzX933Ml40dh4Iw4b_hZJ2MBE9gmryadoptO1HmQzpeqxzE3Z0qOr2_kCojlY1rBuE/s3542/231024%20colourA.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3387" data-original-width="3542" height="383" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgob-huNkEL2Rb383IYeoc7fsIEdIsfDVq6c3tnhrKegLVxL2DZ3Aosok19AhdnTgJoHehh4IwREksCO1t-Y29dUZ7bOk4o_-wrz5POvgNqlOyCZteewfUKjXNCUbzX933Ml40dh4Iw4b_hZJ2MBE9gmryadoptO1HmQzpeqxzE3Z0qOr2_kCojlY1rBuE/w400-h383/231024%20colourA.jpg" width="400" /></a></span></div><span style="font-family: Liberation Serif, serif;"><i>My husband, Hugh and I,
went down a rabbit hole while researching colour. Here is a link if
you would like to start at the beginning .</i><span style="background: rgb(1, 255, 255);"><a href="https://www.blogger.com/#">First
entry</a> <br /></span></span><p></p><p> </p><p> Some painters prefer mixing pigments that are complements to reduce both color intensity (chroma) and value because the visible brush strokes and unblended color are a feature of their work.<br /> </p><p>But polymer clay artists don't have to choose two starting colors that are exact complements. Mixing a series of tests "across the color wheel" will produce a series of intermediate colors that will include one that is darkest and closest to neutral gray. If you were limited to mixing with two starting colors to bring harmony or unity to a painting or design, that mix would be your equivalent to black. <br /> </p><p> Some people refer to a color as "mud" if they are having trouble identifying the dominant hue in a "neutral" or dark color. Try adding some white to a small sample to raise the value and reveal the dominant hue of neutral colors that might have unrecognized potential. Other tip: put your unidentified near-neutral against a neutral white piece of card. If you use a stepped color card system like Joan's, you can check your reference cards for the nearest match. <br /></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4890435103387980122.post-1159125744461995422023-10-19T14:31:00.003-07:002023-10-19T14:31:48.737-07:00My Cernit Adventure - 03<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-ctiJHeZUhkk2pkJdYOKG957bsHoQc4FMYhwV5q2FVclL749Plo9EMb_K7GRmyAkCWkVxRpTCpJ4Wg82TFQ01HCbAJfH3GKyheDDpO4imVJb70o1B2NkomQKCVJeg-NEP4qTWKZNL1jBxBHkGDSwgNGJbNGEU1K39oHNz1q4pneaderhDN9XWUfBZ6io/s3387/blog231016cernit.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3387" data-original-width="2988" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-ctiJHeZUhkk2pkJdYOKG957bsHoQc4FMYhwV5q2FVclL749Plo9EMb_K7GRmyAkCWkVxRpTCpJ4Wg82TFQ01HCbAJfH3GKyheDDpO4imVJb70o1B2NkomQKCVJeg-NEP4qTWKZNL1jBxBHkGDSwgNGJbNGEU1K39oHNz1q4pneaderhDN9XWUfBZ6io/s320/blog231016cernit.jpg" width="282" /></a></div><p>I am finding that I like Cernit more that I expected. I had not realized that it is so strong when it is cured. I have made 17 stepped colour cards and 2 value lines so far. Making this many will let me find the best starting colours and eliminate some colours that don't deliver the best mixing power. My goal is to make a set of cards that deliver consistent predictable colours with the least number of starting colours. </p><p>As I work I am discovering colours that I wish I had ordered more of and some that I am a little disappointing. For example Xmas Red 463 is a definite winner with great mixing strength but Red 400 is a colour that I may not order again. More about red and mixing power in another post.<br /></p><p>I make a chart like the one in the picture when I want to test a new brand of clay. The colours are listed across the top and down the left side. The diagonal pencil squares indicate the place on the chart where a colour would be mixed with itself. I can mark off potential colour lines I want to try, then I check off each one on completion. The cured squares at the top of the chart are all the colours I am going to explore. The squares on the top line are extra colours I ordered because I was curious. <br /></p><p> The collection unicorn poop at the top right is the leftovers from mixing the cards at the top and on the right of the picture. I am looking forward to using them in projects when I want to take a little break for mixing colour lines. <br /> </p><p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4890435103387980122.post-27471360200820472942023-10-17T09:00:00.020-07:002023-10-23T09:44:51.607-07:00 Demystifying colour - 12 Chroma Tips<p><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx89N-cygGmFg3nQm5ZdSORrxSLl6q93AnZX6BrbAHVwEDwPfrsxR7dr2RZdTahn_f_aUpUYHi0B54O2UkLiaz8ebnTIxskIJo3xi938z9Ui5W9koEMDtV2CpiAUghN1gQNNV0RCrbFq5P4woJhO3vQUdtKFWoswn0vOT0GbE11ksGqrA1w5ic_IJeB00/s2315/blog231017.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2315" data-original-width="2250" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx89N-cygGmFg3nQm5ZdSORrxSLl6q93AnZX6BrbAHVwEDwPfrsxR7dr2RZdTahn_f_aUpUYHi0B54O2UkLiaz8ebnTIxskIJo3xi938z9Ui5W9koEMDtV2CpiAUghN1gQNNV0RCrbFq5P4woJhO3vQUdtKFWoswn0vOT0GbE11ksGqrA1w5ic_IJeB00/w389-h400/blog231017.JPG" width="389" /></a></b></div><b><br /></b><p style="line-height: 115%; margin-bottom: 0cm;"><span style="font-family: Liberation Serif, serif;"><i>My husband, Hugh and I,
went down a rabbit hole while researching colour. Here is a link if
you would like to start at the beginning .</i><span style="background: rgb(1, 255, 255);"><a href="https://www.blogger.com/#">First
entry</a> <br /></span></span></p><b>Mixing two different colors cannot increase chroma beyond that of the starting colors</b>. If you need more intense starting colors you have to go shopping or do some test mixes with other colors on your shelf. <br /><br />The farther apart on the hue circle that starting colors are, the greater the reduction in chroma/saturation when those colors are mixed. <br /><br />That's why mixing instructions from polymer clay companies say: mix colors that are next to each other on the hue circle to keep chroma high.<br /> <p></p><p>And that's why you can mix colors that are opposite each other on the hue-chroma disc to reduce chroma. In theory, any color on a line between a starting color and its opposite (or complementary) will reduce chroma. Since there will be a neutral close to grey on any line between a color and its complement, you can also add a neutral gray to reduce chroma.<br /><br />So you have a choice of two ways to reduce chroma: either muting with complements or adding a gray. Adding gray is the simplest for beginners and the most predictable for realist painters. It is sometimes called "toning" to make it sound like a big deal, but it is not if you remember that you may also have to adjust value with some white if your gray is taking the mix too dark.<br /><br />Some artists prefer mixing pigments that are complements to reduce both color intensity (chroma) and value because the visible brush strokes and unblended color are a feature of their work.<br /> </p><p>But crafters or painters don't have to choose two starting colors that are exact complements. Mixing a series of tests "across the color wheel" will produce a series of intermediate colors that will include one that is darket and closest neutral gray. If you were limited to mixing with those two starting colors to bring harmony or unity to a painting or design, that mix would be your equivalent to black. <br /><br />Some people refer to a color as "mud" if they are having trouble identifying the dominant hue in a "neutral" or dark color. Try adding some white to a small sample to raise the value and reveal the dominant hue of neutral colors that might have unrecognized potential. Other tip: put your unidentified near-neutral against a neutral white piece of card. If you use a stepped color card system like Joan's, you can check your reference cards for the nearest match. <br /><br /></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4890435103387980122.post-33542063496729909712023-10-11T14:23:00.000-07:002023-10-11T14:23:17.396-07:00My Cernit Adventure - 02<p style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-size: small;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhElVL5vc8qOMX75TXzgI9wPc57zHZ8-e4rD3NIr-zJtrRg2NVdrFSDQtsjVvFJkSmW1cJuWXMfG1kII1Bo7sFmbYOKeYpZukXy-Z78mm7naZyOYxo_JDCZk-BCC5vrPsngDMlFQa99eFBOYpZbrfdu_tAw7dCeDxRmKdHmqcgLxAVZyQH7EQdcshTWyFE/s2399/CernitColours.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1919" data-original-width="2399" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhElVL5vc8qOMX75TXzgI9wPc57zHZ8-e4rD3NIr-zJtrRg2NVdrFSDQtsjVvFJkSmW1cJuWXMfG1kII1Bo7sFmbYOKeYpZukXy-Z78mm7naZyOYxo_JDCZk-BCC5vrPsngDMlFQa99eFBOYpZbrfdu_tAw7dCeDxRmKdHmqcgLxAVZyQH7EQdcshTWyFE/w400-h320/CernitColours.jpg" width="400" /></a></span></div><span style="font-size: small;">As promised, here are the Cernit One colours that I will use in my exploration of possible Cernit mixed colours. The middle column is a group of seven colours that are the closest to spectral colours. I have arranged them in spectral order, the most consistent way of arranging colours. There is no high chroma cyan so I will substitute turquoise blue though it seems slightly desaturated. There is no magenta between the violet and the red. I am always looking for CMY because it is the easiest way to mix vibrant colours with the least amount of clay and effort.<br /><br />The other five colours I chose mostly because I like them and wanted take a closer look.<br /><br />In an effort to find a substitute for magenta I have made a colour line between Christmas Red 463 and Purple 962 and another line between Red 400 and Violet 900. One of the colour steps in each colour line is a desaturated magenta. Red 400 looks like it contains some yellow which desaturates the colours in that line even more than the other. You can see that Xmas Red 463 and Violet 900 seem to have greater mixing strength than the other two colours. I will make another stepped colour card featuring these two stronger colours. I will post again when I get the new card finished.<br /><br /><br />Ginger at Blue Bottle Tree was deep look at Cernit Clay. <a href="https://thebluebottletree.com/review-of-cernit-polymer-clay/">Here is the link.</a></span><p></p><br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4890435103387980122.post-61689947396285228782023-10-10T09:27:00.001-07:002023-10-12T15:17:40.292-07:00My Cernit Journey - 01<p> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6lOo3iXfvC-we50bnzIavdk90iftZK3j8eg5S6brSjizoTbOODDuw5R1lfCwsJ6j7zrJi75vkKTtgpz-lv4GjPGijiyWK20nds7I7seZVn0SmVJq6OQX0SndRx9fIokkWLe8X5mZCwVY46J30mjYKBtuesWAuBEhU5ICJpAFVTY0EPYzviXerjBE8D1w/s5312/blog1010Cernit01.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="5312" data-original-width="2988" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6lOo3iXfvC-we50bnzIavdk90iftZK3j8eg5S6brSjizoTbOODDuw5R1lfCwsJ6j7zrJi75vkKTtgpz-lv4GjPGijiyWK20nds7I7seZVn0SmVJq6OQX0SndRx9fIokkWLe8X5mZCwVY46J30mjYKBtuesWAuBEhU5ICJpAFVTY0EPYzviXerjBE8D1w/w225-h400/blog1010Cernit01.jpg" width="225" /></a></p>
<p style="line-height: 100%; margin-bottom: 0cm;">Yesterday I started
an adventure with Cernit Polymer Clay. I have not used Cernit before
but since I write tutorials on colour and making things I should be
able to answer questions about how my tutorials work with various
brands of clay. Early this year I did this kind of exercise with
Cosclay Deco. I published my resulting <a href="https://www.etsy.com/ca/listing/1411765126/downloadable-cosclay-deco-stepped-colour?click_key=bff8abf66061167db95229e572cc5f5ac7329a90%3A1411765126&click_sum=c47f37b3&ref=shop_home_active_5">step
colour cards for Cosclay</a> but I didn't post anything about how I
arrived at my results. This time I decided to take anyone who was
interested along my journey into Cernit clay.</p>
<p style="line-height: 100%; margin-bottom: 0cm;">The first thing that
I did was decide what colours to use. I printed out a colour chart from <a href="https://shadesofclay.com/">Shades of Clay</a>
and set about first eliminating pastels that I could easily make by
adding white to saturated colours.<i> (Tried to find the chart later and could not so I have added it to this post.)</i> </p><p style="line-height: 100%; margin-bottom: 0cm;">Next I thought about eliminating
low chroma colours like brown, taupe, ochre, and navy. This left me
with 13 Cernit Number One colours and 3 Opaline colours. <i>( I
decided to include navy and ochre just because I like them.) </i>
</p>
<p style="line-height: 100%; margin-bottom: 0cm;">Tomorrow I will post
a complete list of the 13 colours that I am starting with. I will
deal with the Opaline colours separately. </p><p style="line-height: 100%; margin-bottom: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm4RUI3DW80v8pfZCE_f-IXSYAkvONkQGIF_txXzv94x_O60kg0CN2K4X2t3wRqVfYVLMvGbxWYbYigfX5EmKWD55pNnYDFEuuLTKouhaT-AVIUGM-ubLFkqZyArPnP-cViU1Ez1RqQXnfvqC4LnDHgBkiBwUZDPmf1wM_l2AvhBE4Hrbz3Jknu9T8Pfs/s2000/Cernit-Number-One-Colour-Chart-small-jpg.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="1545" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm4RUI3DW80v8pfZCE_f-IXSYAkvONkQGIF_txXzv94x_O60kg0CN2K4X2t3wRqVfYVLMvGbxWYbYigfX5EmKWD55pNnYDFEuuLTKouhaT-AVIUGM-ubLFkqZyArPnP-cViU1Ez1RqQXnfvqC4LnDHgBkiBwUZDPmf1wM_l2AvhBE4Hrbz3Jknu9T8Pfs/s320/Cernit-Number-One-Colour-Chart-small-jpg.JPG" width="247" /></a></div><br /> <p></p>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4890435103387980122.post-35352219759594746062023-10-10T09:00:00.011-07:002023-10-10T09:00:00.147-07:00 Demystifying colour - 11- Hue Mixing Tips<p style="line-height: 115%; margin-bottom: 0cm;">
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIraDZdoNGae0TI3erYk-nAxUKYOs6fOtYIS2j6qdxDUVnEw6fMY8utBs2tXMfwUMUjEkQc67qtNt0xeR_lBsjVsbvni9xyXKjrbDWNcuafmxSFu3ZD2BR8wLcmJM5Yx0SVxOG6CWoaQMJI2FmHZxB4ykqKaO1rt3aCEBUI1GgvK-z7Ih_vhsKTuZYiUc/s1440/blog231010ValueChromaCat.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1440" data-original-width="1440" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIraDZdoNGae0TI3erYk-nAxUKYOs6fOtYIS2j6qdxDUVnEw6fMY8utBs2tXMfwUMUjEkQc67qtNt0xeR_lBsjVsbvni9xyXKjrbDWNcuafmxSFu3ZD2BR8wLcmJM5Yx0SVxOG6CWoaQMJI2FmHZxB4ykqKaO1rt3aCEBUI1GgvK-z7Ih_vhsKTuZYiUc/s320/blog231010ValueChromaCat.JPG" width="320" /></a></div><br /> <span style="font-family: Liberation Serif, serif;"><i> </i></span><p></p><p style="line-height: 115%; margin-bottom: 0cm;"><span style="font-family: Liberation Serif, serif;"><i>My husband, Hugh and I,
went down a rabbit hole while researching colour. Here is a link if
you would like to start at the beginning .</i><span style="background: #01ffff;"><a href="https://www.blogger.com/#">First
entry</a> </span></span></p><p style="line-height: 115%; margin-bottom: 0cm;"><span style="font-family: Liberation Serif, serif;"><span style="background: #01ffff;"></span> </span>
</p>
<p> To get the most colorful intermediate mixes with pigments, you want saturated or high-chroma starting colors spaced sort of evenly around the hue circle (color wheel). A strong yellow is essential and it also helps to have starting colors that use modern high-chroma colorants, ideally close to magenta and cyan. <br /> </p><p>Fimo Professional is a good example of how to choose just five starting colors capable of mixing a large range of colors. There is a good yellow, a red that is on the orange side, a magenta; plus a green and a blue that can be mixed to give you cyan. Plus black and white to allow you to adjust value and chroma. Kato Polyclay gives you eight starting hues, plus black and white. By providing more than three starting colors, both <a href="https://polyclayplay.com/fimo-professional-polymer-clay-true-colors-mixing-chart/">FIMO</a> and <a href="https://www.katopolyclay.com/pages/color-mixing">Kato</a> allow the user to stick with classic RYB, switch to the newer CMY 3-color system, or to mix neighbouring colors to adjust hue, the system they both show in their charts.<br /><br /></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4890435103387980122.post-53571525380693149992023-10-03T09:00:00.003-07:002023-10-03T10:55:09.490-07:00Demystifying colour - 10 - General Mixing Tips<p style="line-height: 115%; margin-bottom: 0cm;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMYWmGAtzB_P-LZl0zJyv6E7pJ17nCI1ay_lE4jtzArDde6N3bcJefYK7UjCnjkoKSh3nERe39y05Va5ssU413-usBtdim5yCKJXKrXU7QcdXo4gZs8idPCF9hJTYyqmcFIKoRikZT01F__gI38T5rTgTH0aQtjr0NpdFGVz5mz8kIKdhmqrq2Q8X2pcw/s1275/blog231003ValueChroma.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="756" data-original-width="1275" height="381" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMYWmGAtzB_P-LZl0zJyv6E7pJ17nCI1ay_lE4jtzArDde6N3bcJefYK7UjCnjkoKSh3nERe39y05Va5ssU413-usBtdim5yCKJXKrXU7QcdXo4gZs8idPCF9hJTYyqmcFIKoRikZT01F__gI38T5rTgTH0aQtjr0NpdFGVz5mz8kIKdhmqrq2Q8X2pcw/w640-h381/blog231003ValueChroma.JPG" width="640" /></a> <br /></p><p style="line-height: 115%; margin-bottom: 0cm;"> <span style="font-family: Liberation Serif, serif;"><i>My husband, Hugh and I,
went down a rabbit hole while researching colour. Here is a link if
you would like to start at the beginning .</i><span style="background: rgb(1, 255, 255);"><a href="https://joantayler.blogspot.com/2023/08/part-one-practical-color-science.html">Firstentry</a> </span></span> </p><p style="line-height: 115%; margin-bottom: 0cm;"> Here are some colour mixing basics that I will expand on in the next few weeks:</p><p><b> Keep notes.</b> And hold onto good examples that will remind you of what you learned. <br /><br /><b>Why polymer clay is a great colour mixing medium</b> - Unless you are doing a large surface, mixing paint by measuring quantities is generally impractical. It is common for art students to spend hours painting charts or color chips to learn to mix by eye. Polymer clay is different: run both starting colors through a pasta machine to get sheets the same thickness, then use a cookie cutter to get perfect 1:1 or 2:1 or any proportional mix. <br /></p><p><b>Mixing strength</b> - You can take two starting colors and mix them 50/50 like beginners' art books tell you. But real life pigments often have different "mixing strength" so the mix may not look correct. You will save a lot of wasted time if you mix a series of different proportions between two starting colors. These stepped series are sometimes known as "strings" or "scales" or "mixing lines".<br /> </p><p><b>Simplifying with CMY</b> - CMY is the least complicated three-color system for matching the best range of colors. Some artists now teach this system as a replacement for the old RYB primaries. Keep in mind that mixing CMY only gives you full control over perceived hue and chroma; you also need black and white pigments to get a complete range of color values. Printed color is actually CMYK, the K referring to black. The paper provides the white.</p><p><br /> </p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4890435103387980122.post-63116851015420483952023-09-26T09:00:00.019-07:002023-10-03T10:54:40.344-07:00Demystifying colour - 8 - Visualization Tools<p> <span style="font-family: Liberation Serif, serif;"><i>My husband, Hugh and I,
went down a rabbit hole while researching colour. Here is a link if
you would like to start at the beginning .</i><span style="background: rgb(1, 255, 255);"><a href="https://joantayler.blogspot.com/2023/08/part-one-practical-color-science.html">Firstentry</a> </span></span></p><p><span style="font-family: Liberation Serif, serif;"> Practical Tips and Rules For Matching and Mixing Color - </span><span style="font-family: Liberation Serif, serif;">Visualization Tools</span></p><p><span style="font-family: Liberation Serif, serif;"> </span><br /><span style="font-family: Liberation Serif, serif;">Get yourself a good 3D color model, one that features hue, value and chroma/saturation. A Kolormondo is ideal for teaching, but some people use Munsell, or a CMY color cube, or a homemade one using the Kato color chart rolled into a cylinder. Buy one, borrow one, make one, get one on your phone or memorize one that you like to work with. <br /> </span></p><p><span style="font-family: Liberation Serif, serif;">Hue, value, and chroma will let you understand any color wheel, any system. Look at how the model arranges hues in spectral order. Then you look for maximum white, maximum black and the line of grays between. Any useful system will have those two features - hues in spectral order and a grayscale for value - as a minimum. Once you have hue and value figured out, you can see if the system clearly labels chroma/saturation (aka intensity) and clearly shows its relationship to value. <br /> </span></p><p><span style="font-family: Liberation Serif, serif;">Even if you do not use a Munsell model take a look at how it correctly represents the values of high-chroma colors: purple is dark, yellow is light. <br /> </span></p><p><span style="font-family: Liberation Serif, serif;">While hue, value, and chroma can be represented in the classroom as a three-dimensional solid like a Kolormondo globe, two dimensional color visualization tools are more convenient for a working artist or student. Examples:<br /> <br />- the common hue circle, the simplest form of color wheel;<br /> from Kodak's Color Theory course<br /><br />- a simple black-to-white value scale like a photographer's grayscale test strip, but made with your own materials;<br /> Tomas Castelazo Wikimedia<br /><br />- a hue-value mixing chart for your medium, like the FIMO or Kato mixing charts;<br /><br />- and some form of hue-chroma disc, a personal color wheel for working artists. Hue-chroma diagrams are what realist painter authors like Todd Casey or Bruce McEvoy use to organize pigments on a palette. They can also be used to match colors and as guide to mixing. Joan uses a personal triangular or hexagonal "wheel" for her CMY mixing. Examples you can look up to see how to make your own: the James Gurney color wheel, Maggie Maggio's Color Sorter, and the color mapping charts that Greg Clayton's Art 260 students use. <br /><br /> joan's personal hue wheel assembled from stepped color </span><br /></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4890435103387980122.post-84700408051843601312023-09-19T09:00:00.071-07:002023-10-03T10:53:53.931-07:00Demystifying colour - 7 - Color names - - <p style="line-height: 115%; margin-bottom: 0cm;">
<span style="font-family: Liberation Serif, serif;"><i>My husband Hugh and I
went down a rabbit hole while researching colour. Here is a link if
you would like to start at the beginning .</i><span style="background: rgb(1, 255, 255);"><a href="https://joantayler.blogspot.com/2023/08/part-one-practical-color-science.html">First entry</a></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Liberation Serif, serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSDm9jMAldtlHYrcUbwWMGr9mVmXuZg_SsS-pxRgb4eQNzRM_RqlISPBqNrqBHegiCZetK7tpVtnnJd-NX7WaqiRhk_F078BCgULr6AkCTI5gdA_7_4z7nwqyw0Zwm15oxJwkOQ5tq0b9nXrIX2aisFAtuIWyTQnMd7Ax-TNjSST7isCvNB525cO5rWMU/s1647/blog230919SpectalA.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="152" data-original-width="1647" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSDm9jMAldtlHYrcUbwWMGr9mVmXuZg_SsS-pxRgb4eQNzRM_RqlISPBqNrqBHegiCZetK7tpVtnnJd-NX7WaqiRhk_F078BCgULr6AkCTI5gdA_7_4z7nwqyw0Zwm15oxJwkOQ5tq0b9nXrIX2aisFAtuIWyTQnMd7Ax-TNjSST7isCvNB525cO5rWMU/s16000/blog230919SpectalA.JPG" /></a></span></div><span style="font-family: Liberation Serif, serif;"><br /></span> <p></p><p style="line-height: 115%; margin-bottom: 0cm;">The spectrum is continuous: there are no lines between neighbouring hues so people have a hard time agreeing on what separates the red-oranges from the orange-reds and so on around the hue circle. <br /><br />Human memory for color is not precise. Colors are easier to compare if you have samples that you can put right next to each other, especially a neutral white comparison sample.<br /> </p><p style="line-height: 115%; margin-bottom: 0cm;">There are lots of differences in color naming that depend on culture and social background and personal history.<br /></p><p style="line-height: 115%; margin-bottom: 0cm;">The colors that we call browns are usually desaturated oranges, ranging from red to yellow. Browns that cross from yellow hue into green hue become khakis and olives.<br /> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPqoUfvenOmIVPj9gpmhEd7LBSD-WPk-WDKmT-QgRWkBkQHfgBzpwVPodhn_5ULyYSuucF8Ot_M6rTQbAfw2hlDNZi_C1c3F779JM5_tQAxT-GwxTRJdBwNNmVfuVWrTcqQY_TxskarjLHx06PkVEH0RJ3W43BaMbuudYB5iYhpvp5AhJCgfXeI_8ltuE/s2988/blog2309019brown.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1416" data-original-width="2988" height="152" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPqoUfvenOmIVPj9gpmhEd7LBSD-WPk-WDKmT-QgRWkBkQHfgBzpwVPodhn_5ULyYSuucF8Ot_M6rTQbAfw2hlDNZi_C1c3F779JM5_tQAxT-GwxTRJdBwNNmVfuVWrTcqQY_TxskarjLHx06PkVEH0RJ3W43BaMbuudYB5iYhpvp5AhJCgfXeI_8ltuE/s320/blog2309019brown.JPG" width="320" /></a></div><br /><p></p><p style="line-height: 115%; margin-bottom: 0cm;">Paint and dye manufacturers make up new names all the time to market more color. Even though yellow is an easy color to distinguish, no two lemon yellows seem to match. Renaming colors is a great game to play at parties, but a disaster if you are trying to coordinate clothes or furniture.<br /> </p><p style="line-height: 115%; margin-bottom: 0cm;">That's why there are many published standards and charts for industrial and commercial and military use. The Swedes like the NCS (Natural Color System), but X-Rite's Pantone seems more well known among designers. CIELab seems to be common for spectrophotometers. Architects where I live sometimes specify Benjamin Moore paint color codes. The Munsell system was used for years to identify soil samples and Golden Paints even lists Munsell codes. <br /> </p><p style="line-height: 115%; margin-bottom: 0cm;">There is also a very useful Color Index for identifying artist's pigments that will show you what painters are talking about when they say "Alizarin" or "Umber". Unfortunately, polymer clay manufacturers rarely use pigment names so we have to make our own colour samples to compare brands.<br /></p><p style="line-height: 115%; margin-bottom: 0cm;"> </p><p style="line-height: 115%; margin-bottom: 0cm;"> <br /></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4890435103387980122.post-47919623221414301842023-09-12T09:00:00.050-07:002023-09-12T09:00:00.136-07:00 Demystifying colour - 6 - Warm or Cool?<p><i>My husband, Hugh and I, went down a rabbit hole while researching
colour. Here is a link if you would like to start at the beginning .</i><span style="background-color: #01ffff;"><a href="https://joantayler.blogspot.com/2023/08/part-one-practical-color-science.html">First entry</a></span></p><p><span style="background-color: #01ffff;"> </span><br /><b>Warm versus cool" refers to hues. Nothing more. </b><br /></p><p>There is a general consensus that blue "feels cool" and orange "feels warm", but warm and cool are just another way to talk about families of hues. One story is that these terms are meaningful to humans because we instinctively know that greens and blues offer shelter from the heat among the browns and yellows of a hot and dry savanna landscape. <br /> </p><p>Warm and cool are handy for using informally, like the old painter's rule "Warm light, cool shadows." But they are not color temperature in the scientific meaning of the term and are not very useful for anything technical. Do portrait skin tones that are "too cool" have too much green or cyan or blue or purple? It's easier to just learn your way around the hue circle so you can describe colors with precision. <br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr7XXk06su9TDNtA6P52wOknpTL5iiKkw03iHI10m-ipuzmLCxnpvZ5lQJZPsNVKanog6-tFhGXBLsorpFZt32fU1C6yiat0p4Dr1rJK4-GQbTStEJXrYALHh_6dg8D7diFyGvXVwWAIB1YgL8N1qQYjQTQK5ik_-8lleRkhjYike4aLWWmp2RdC0SpEQ/s743/blog230912WarmCoolA.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="310" data-original-width="743" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr7XXk06su9TDNtA6P52wOknpTL5iiKkw03iHI10m-ipuzmLCxnpvZ5lQJZPsNVKanog6-tFhGXBLsorpFZt32fU1C6yiat0p4Dr1rJK4-GQbTStEJXrYALHh_6dg8D7diFyGvXVwWAIB1YgL8N1qQYjQTQK5ik_-8lleRkhjYike4aLWWmp2RdC0SpEQ/w400-h168/blog230912WarmCoolA.JPG" width="400" /></a></p><p>Don't waste your time memorizing the misleading "color temperature" diagrams you see dividing up some color wheel. You see different ones because they are personal opinion, not color science. <br /> </p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOn4CUSs8PK-mTajjFANu7FiewyUnUZ-yRr-ehYokocL4G3ufLxvBCPdeDOUBlp1VVh5MLAOx2aVTKkBCdoDPOz6qyA1MWB9ez52GHWvNY7c19mB0a2qMAzcDK_63lic1BWWsTn6Z8ZKiN3zv2gLTu6LxDk6YCo-kArmoAXAnwLh1-7WoxTrUAkLtfxQ8/s956/blog230912WarmCoolB.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="491" data-original-width="956" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOn4CUSs8PK-mTajjFANu7FiewyUnUZ-yRr-ehYokocL4G3ufLxvBCPdeDOUBlp1VVh5MLAOx2aVTKkBCdoDPOz6qyA1MWB9ez52GHWvNY7c19mB0a2qMAzcDK_63lic1BWWsTn6Z8ZKiN3zv2gLTu6LxDk6YCo-kArmoAXAnwLh1-7WoxTrUAkLtfxQ8/w400-h205/blog230912WarmCoolB.JPG" width="400" /></a> The Kelvin scale for color temperature refers to illumination sources, not pigment. That's why blue stars are hotter than red stars and why the numbers on light bulbs run exactly backwards to the common informal usage in the art world. <br /> <br /></p><p>Potters understand the correct use of "color temperature" when they check a kiln during firing. If I have the numbers right, dull red is 600 degrees Celsius, red is 700, yellow-orange is 1000, and the yellow of high-fire stoneware is 1300. Porcelain is fired at a white heat: 1400 degrees Celsius. We don't see ceramics in a kiln glowing green because when pottery or metal is hot enough to throw off lots of green wavelengths, it is also radiating other wavelengths and we see the mix as white. <br /> </p><p>So color temperature is not a fourth dimension of color. It is not a separate fundamental property of pigment. Better to say "color bias", or more correctly "hue bias". Or just say "warm" and "cool".<br /></p>Unknownnoreply@blogger.com0