Gamblin is musell friendly. They list the value of all their hues. A master chart is available on their site. That is extremely helpful for their grays when we want to make our own grey scale. Our scale will be more accurate because of their help. This is the only site I’ve found that shows how to mix the Musell charts. Thank you.
In a million years it would not have occurred to me that I'd need to mix the burnt umber and raw umber together before making this string of color values. Absolutely essential information. Thank you so much for making this so easy to understand. I'm getting a better and better grasp of color mixing!
Bonjour from France. I have never seen such a great teacher for explaining colour. Thank you. I’m definitely going to do the colour wheel. Thank you Nelson!
But they are not mixing to Munsell and have just added Munsell notations to their paints. Which is good, however Gamblins Cad Yellow light won't be the same as Williamsburg or W&N.
You are so thorough, it’s wonderful to watch and you explain everything so well. As a beginner, I see that this is a great lesson in colour and value, but how is it used for an actual painting? ie other than creating these colour wheels and gain a better understanding, is it necessary to buy all these colours?
Sue, no, you can buy only a handful of the colors and still get a nice range for painting purposes. The only problem would be chroma. The less hues used, the more restrcited your chroma range will be. As far as application, that's coming.
...Hello Neilson...question...to lighten a color, for example an orange, if I wanted to retain its chroma should I add a yellow...? or to lighten a red and keep its chroma, should I add an orange instead of just white? ...how do I lighten and retain chroma if just adding white will lighten but also cool a color down?
Very astute question! The answer is yes and no. Yes, you can do those things to keep the chroma up & raise the value, but ONLY if the hue itself is shifting as it lightens. I often have to do the very things you mentioned when lighting something in the studio with incandescent light. The strong yellow-orange of the bulb created a pull toward YYR in the local color as it lightens, and often requires a definte hue shift and more chroma than just adding white.
No if you're using daylight bulbs or working under natural light because the chroma typically reduces and the hue remains constant as the local lightens. No, that is, unless you are intentionally deviating from the actual lighting situation for design purposes.
But be careful, because if you shift the hue too much to keep the chroma high, the local color will look skewed in the lighter areas (a red object won't look red anymore because the hue shifts too quickly from one area to another). Now, this could still work if every other hue in the picture plane shifted at the same rate. Everything would look like it was lit by a strong, chromatic light. Does that make sense?
@@NeilsonCarlin yes this all makes sense ...so artificial lighting creates warmer/higher chroma lights as to natural ambient light ( not direct sunlight ) will decrease chroma in the light areas ...Im making an observation as we speak and totally can see the differences...thanks for this realization 👍🏾🔥🔥🔥
Gamblin is musell friendly. They list the value of all their hues. A master chart is available on their site. That is extremely helpful for their grays when we want to make our own grey scale. Our scale will be more accurate because of their help. This is the only site I’ve found that shows how to mix the Musell charts. Thank you.
In a million years it would not have occurred to me that I'd need to mix the burnt umber and raw umber together before making this string of color values. Absolutely essential information. Thank you so much for making this so easy to understand. I'm getting a better and better grasp of color mixing!
I've been trying to learn Munsell from another instructor and was having trouble. You just cleared up every question I had. Thank you!!
Best lessons on Munsell I have ever watched! This makes so much sense. Thank you so much!!!
Thanks, Nancy!
Neil thank you so much for taking your time out to make this wonderful informative video for us. Heartiest gratitude 🙏🏻
Bonjour from France. I have never seen such a great teacher for explaining colour. Thank you. I’m definitely going to do the colour wheel. Thank you Nelson!
Verrrry useful
you don’t know how much you solved my problem
and please make a chart of skin tune too
thanks alot
Are the bracketing colors listed somewhere?
Gamblin does give you the Munsell values and hues on their website.
But they are not mixing to Munsell and have just added Munsell notations to their paints. Which is good, however Gamblins Cad Yellow light won't be the same as Williamsburg or W&N.
Do you have an alternative for the YR Cadmium Orange from Vasari, it's hard to get a hold of for me.
You are so thorough, it’s wonderful to watch and you explain everything so well. As a beginner, I see that this is a great lesson in colour and value, but how is it used for an actual painting? ie other than creating these colour wheels and gain a better understanding, is it necessary to buy all these colours?
Sue, no, you can buy only a handful of the colors and still get a nice range for painting purposes. The only problem would be chroma. The less hues used, the more restrcited your chroma range will be. As far as application, that's coming.
And thanks for the message!
...Hello Neilson...question...to lighten a color, for example an orange, if I wanted to retain its chroma should I add a yellow...? or to lighten a red and keep its chroma, should I add an orange instead of just white? ...how do I lighten and retain chroma if just adding white will lighten but also cool a color down?
Very astute question! The answer is yes and no. Yes, you can do those things to keep the chroma up & raise the value, but ONLY if the hue itself is shifting as it lightens. I often have to do the very things you mentioned when lighting something in the studio with incandescent light. The strong yellow-orange of the bulb created a pull toward YYR in the local color as it lightens, and often requires a definte hue shift and more chroma than just adding white.
No if you're using daylight bulbs or working under natural light because the chroma typically reduces and the hue remains constant as the local lightens. No, that is, unless you are intentionally deviating from the actual lighting situation for design purposes.
But be careful, because if you shift the hue too much to keep the chroma high, the local color will look skewed in the lighter areas (a red object won't look red anymore because the hue shifts too quickly from one area to another). Now, this could still work if every other hue in the picture plane shifted at the same rate. Everything would look like it was lit by a strong, chromatic light. Does that make sense?
@@NeilsonCarlin yes this all makes sense ...so artificial lighting creates warmer/higher chroma lights as to natural ambient light ( not direct sunlight ) will decrease chroma in the light areas ...Im making an observation as we speak and totally can see the differences...thanks for this realization 👍🏾🔥🔥🔥
Sorry, Neilson!
I’m amazed at the content quality on this channel! One suggestion though, make sure to tell everyone to smash that like button and hit subscribe!