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For each color on my palette I made a grid where I mixed that color with every other color on the palette. Here are the grids for ultramarine and burnt sienna. The first column, 2nd row is the ultramarine/burnt sienna straight out of the tube. The 3rd to 6th rows are different tints (adding white) of that color. The second column is the ultramarine mixed with cadmium yellow light. The top row is the cadmium yellow out of the tube. The second row is the ultramarine mixed with the yellow but keeping the blue dominant. The other rows are different tints of the mixed colors trying to match the value of the first column.
2 comments:
I am becoming more and more appreciative of the complexities painters face when determining a colour scheme. Your "value studies" are most helpful. As a budding, amateur photographer, I am mostly concerned with ensuring that my camera is genuinely reflecting the colours of the subject, as I see them. I can, of course, "correct" hue (colour) and values (saturation) in editing but I still want to be faithful to what I saw. In the still-life studies you have been doing, are you also primarily concerned with recording accurately the colours in the models you have in front of you or is it secondary to some other principles? I have noticed that a lot of photography "pros" go well beyond the rudimentary treatment of subjects, which they use only as a basis for something quite different.
Thanks for sharing this colour values study, Johanne.
Great studies. You are dedicated and it shows.
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