tag:blogger.com,1999:blog-2999230124118604245.post557420093111040240..comments2024-03-18T07:23:32.809-04:00Comments on Gurney Journey: The Color Wheel, Part 7James Gurneyhttp://www.blogger.com/profile/01870848001990898499noreply@blogger.comBlogger49125tag:blogger.com,1999:blog-2999230124118604245.post-35172188671934401152023-05-23T13:56:06.011-04:002023-05-23T13:56:06.011-04:00Hi James,
you are sharing true gems by just readi...Hi James, <br />you are sharing true gems by just reading my mind cracked...the comments are full of gold, thank you very much for sharing and nurturing this important knowledge! MisoMišo Löwyhttps://www.blogger.com/profile/05666250958672438540noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-64070284760057354612022-07-31T06:41:11.555-04:002022-07-31T06:41:11.555-04:00This article is brimming with information about se...This article is brimming with information about selecting all of one color like this. I have additionally discovered an article anybody can check <a href="https://clippingpixel.com/how-to-select-all-of-one-color-in-photoshop/" rel="nofollow"> Select All of One Color </a>, for more data, it was knowingly more instructive. You may discover more insights regarding it here.Sarah Jordanhttps://www.blogger.com/profile/08754675116616804039noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-46713459289510377572020-09-04T08:02:18.665-04:002020-09-04T08:02:18.665-04:00Amos, quick answer is that the complements for you...Amos, quick answer is that the complements for your visual perception are not exactly the same as the pigment complements. It's more yellow-blue rather than yellow-purple.James Gurneyhttps://www.blogger.com/profile/01870848001990898499noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-74136905839607318752020-09-04T02:12:12.966-04:002020-09-04T02:12:12.966-04:00Hello James, thank you for the article, how about ...Hello James, thank you for the article, how about the complementary color in the YURMBY wheel? like the traditional wheel, there are red-green, yellow- purple, and blue and orange?Amos Pangihutanhttps://www.blogger.com/profile/03500117630952175097noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-3482815973770158852020-08-28T07:23:24.341-04:002020-08-28T07:23:24.341-04:00Thank you for this article James. It really is fun...Thank you for this article James. It really is fun to wrap your head around the idea of Subtractive and Additive colour models. Fascinating that orange is complementary to blue when mixing colour but that yellow is complementary to blue in the way we see. I found interesting that the science of after image is still not fully understood, with opponent process theory being the most likely answer: https://en.wikipedia.org/wiki/Afterimage <br /><br />I put together a synthesis of this information with a few of my own thoughts into a video. I hope you don't mind me sharing: https://www.youtube.com/watch?v=HYmuc31Wog4 and thanks again for letting me feature your work! You are an inspiration as always.Anonymoushttps://www.blogger.com/profile/12145776537180069069noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-4008395539725886382019-08-18T10:55:30.795-04:002019-08-18T10:55:30.795-04:00Hi James, Thank you for your fabulous book Colour ...Hi James, Thank you for your fabulous book Colour and Light which I am enjoying immensely. It is delightful to find such a helpful and insightful book that brings light and clarity in relation to this complex topic. I am able to comprehend how the colour wheel relates to both additive colours for RGB or whether one wants to adopt the subtractive colours of CYM depending if you dealing light or pigment. Had to learn to be open to step away from the traditional RYB model introduced during childhood by those who are not familiar themselves to the subltle dynamics of colour theory. <br />Before adventuring in experimenting with Gamut Mapping, there is one detail that I would like some clarification which is confusing me. In the Yurmby wheel as you reach towards the centre of the wheel, is the chroma being reduced because the complimentary colour is being introduced gradually more to each concentric arch? E.g If you have red at its highest chroma by the perimeter of the wheel, then as you reach the centre introducing the complimentary colour with a gradual increase of opacity until each reach 50/50 of each that you end up completely neutralising another? Alan Rollehttps://www.blogger.com/profile/05838756978353397317noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-26086818701406359982018-12-19T05:02:25.862-05:002018-12-19T05:02:25.862-05:00Coming from an architecture background rather than...Coming from an architecture background rather than fine arts, I've been relearning contemporary Color Theory anew. When I ws in school in the 70s "theory" was a cardboard Artist's Color Wheel. While my thinking of "paint" is Munsellian, the pervasiveness of Digital lends organizing "Color" in-accord with your YURMBY system logical, and it bridges to the HSV Universe of Digital Color.<br /><br />Also, YURMBY places the named-primaries at approx. 60/120-degree interval around the wheel to conceptualize how Color is organized. The intervals of Munsell-to-HSV angles are irregular but similar enough...Ted B.https://www.blogger.com/profile/11341665121065592053noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-58964142685807420132018-12-10T11:09:01.840-05:002018-12-10T11:09:01.840-05:00Thank you, Richard Robinson, for sharing the link ...Thank you, Richard Robinson, for sharing the link to print the color wheel. I have been teaching all my students to think this way for many years with success. I did photo print-retouching and used only Indian Yellow, thalo blue, and Perm rose to airbrush and keep the paint invisible and transparent on the prints. (I had studied Maxfield Parrish's layering techniques and glazing by the old Masters). I used the principles to paint in oils. <br />There are many 'convenience' colors, to minimize mixing, but I trust I can get by with just these three, plus a smidge of thalo green to make a true cyan. Your color wheel was the correct scientific affirmation I was looking for. Carole Maynehttps://www.blogger.com/profile/08402255692269542423noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-64328580142587736302018-11-17T19:48:44.340-05:002018-11-17T19:48:44.340-05:00Thank you for renewing interest in this color whee...Thank you for renewing interest in this color wheel. Many years ago I discovered ''The Real Color wheel'' www.realcolorwheel.com. It makes many scientific and clear examples for the same principles you outline here. Plus has a very good printable color wheel I keep in my studio and a little one in my plein air supplies. Please notice how he shows ultramarine blue turns to brown with the opposite yellow/orange on that wheel.. Then notice how many painters have used that complement very successfully in paintings! (-: Carole Maynehttps://www.blogger.com/profile/08402255692269542423noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-56523993246973963592018-11-17T17:15:53.391-05:002018-11-17T17:15:53.391-05:00There's still this free digital version I made...There's still this free digital version I made: https://www.livepaintinglessons.com/gamut-mask/Unknownhttps://www.blogger.com/profile/08479885224909887077noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-16377200330850773982018-11-17T16:16:33.073-05:002018-11-17T16:16:33.073-05:00Patrick, I just painted my own YURMBY wheel. It wa...Patrick, I just painted my own YURMBY wheel. It was a great learning exercise, which is half the purpose of it.James Gurneyhttps://www.blogger.com/profile/01870848001990898499noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-47177100723525782892018-11-17T08:08:52.742-05:002018-11-17T08:08:52.742-05:00Chris, you're right to question that. Yellow a...Chris, you're right to question that. Yellow and blue pigment make green, not gray, as you probably suspected. However, a royal blue is opposite to yellow (not orange) in the machinery of the eye. You can test this for yourself by looking at a blue square for 30 seconds, and then let your eyes move to a white area below it. What color does it appear to be?<br />The argument of thinking in terms of blue-yellow complements when painting is that you might as well optimize your image to the behavior of the eye rather than the behavior of the pigments, because that's what matters to the viewer's experience.James Gurneyhttps://www.blogger.com/profile/01870848001990898499noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-10321420395530253752018-11-12T10:12:28.608-05:002018-11-12T10:12:28.608-05:00James your explanation of the yrmb wheel in your b...James your explanation of the yrmb wheel in your book light and color changed my life. It's such a great way to make cohesion in the palette aswell as knowing how to move a color. What always gets me though is how do you make grey from yellow and blue, that part of my mental wiring is the last hold out. Must have had an impactful kindergarten teacher haha take careChris Yoakumhttps://www.blogger.com/profile/15705899024031035349noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-41905261650683132252018-10-05T16:25:01.428-04:002018-10-05T16:25:01.428-04:00I can't believe this post is 8 years old... Re...I can't believe this post is 8 years old... Regardless, I'm curious if you know where I can purchase a durable (possibly plastic?) YURMBY color wheel? It seems a lot of the links provided in the posts either link incorrectly or are gone, specifically those providing a place to obtain the YURMBY wheel, Tobey Sanford or Alias 3D Media.<br /><br />At this point I'm probably just going to make my own. What value should I make the center grey? A 5 on a 10 scale? As the colors grey towards the center my monitor shows they look to be adjusting in value towards a 5 (blue goes lighter, yellow darker) Is this correct or should I be trying to maintain the original value of the color (i.e. yellow will stay at a lighter value than blue)?Anonymoushttps://www.blogger.com/profile/01218090213914852678noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-49287709423056416902017-11-16T12:43:18.420-05:002017-11-16T12:43:18.420-05:00Mifasola, please try this post, with its comments:...Mifasola, please try this post, with its comments: https://gurneyjourney.blogspot.com/2007/12/color-warm-and-cool.htmlJames Gurneyhttps://www.blogger.com/profile/01870848001990898499noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-68951350342786207592017-11-16T09:13:53.691-05:002017-11-16T09:13:53.691-05:00I still need a better explanation of the compariso...I still need a better explanation of the comparison of warm versus cool colorsDeborahhttps://www.blogger.com/profile/08206865382970396680noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-86432342520451351642016-10-23T15:14:16.226-04:002016-10-23T15:14:16.226-04:00Thanks, Robin. That's a really helpful comment...Thanks, Robin. That's a really helpful comment!<br />James Gurneyhttps://www.blogger.com/profile/01870848001990898499noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-25287778236724019042016-10-23T15:09:33.965-04:002016-10-23T15:09:33.965-04:00No need for two separate wheels. The behavior of i...No need for two separate wheels. The behavior of individual pigments is too complex to be predicted by ANY mixing wheel, so I would use the YURMBY wheel for visual design and intuitive or other non-wheel methods for pigment mixing strategies. Mixing wheels are bunk!<br /><br />Bruce MacEvoy at handprint.com has published an excellent chart of mixing complements. The chart shows all viable neutralizing pigments for each cool pigment, how dark the mixture will go, and what hue bias it might have, if any, and how much. From this chart, you can choose a handful of neutralizing pigments to use in tandem with your visual complements. This chart is gold! It's made for watercolor, but is still quite useful for those using other traditional media. Click on Color Theory, then Watercolor Mixing Complements.Robin H.https://www.blogger.com/profile/12519266671879332784noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-14171389772227825132016-09-04T12:48:04.031-04:002016-09-04T12:48:04.031-04:00Mellie, the subject IS confusing, there's no w...Mellie, the subject IS confusing, there's no way around it. That's because we're dealing with the intersection of visual perception, paint chemistry, and optics. One has to chose which of those systems governs the choice of complementary pairs. For example, blue and yellow are perceptual complements, but blue and orange are pigment opposites. The problem with choosing pigment properties to create a color wheel is that mixtures drift warmer and cooler on their way to a neutral point, and it depends on the pigment. You can read more about this on David Briggs' excellent website HueValueChroma: http://www.huevaluechroma.com/061.php James Gurneyhttps://www.blogger.com/profile/01870848001990898499noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-76584327632499938152016-09-04T08:08:10.756-04:002016-09-04T08:08:10.756-04:00I'm confused about the complementary colours. ...I'm confused about the complementary colours. <br /><br />I've been told all my life that the complementary colours are for example red/green. These derive from the traditional RYB colour wheel. <br /><br />But I have been learning that the RYB colour wheel is outdated and that a colour wheel based upon cyan/magenta/yellow primaries is more optimal. That gives us complements of red/cyan etc. <br /><br />Doesn't that mean that red/green aren't really complements? That everyone's getting it wrong?<br /><br />Hope someone can enlighten me!Melliehttps://www.blogger.com/profile/11506407316395323671noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-28579302042292938572015-05-29T03:54:12.668-04:002015-05-29T03:54:12.668-04:00The other two "absolute primaries", if i...The other two "absolute primaries", if it's true that we can't get lighter from darker value, would be yellow and magenta. That's interesting.dschttps://www.blogger.com/profile/05153318861070317827noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-32019953806971311932015-05-29T03:51:39.148-04:002015-05-29T03:51:39.148-04:00"Blue and green mix to cyan"
Does it re..."Blue and green mix to cyan"<br /><br />Does it really happen, either in light or pigment? To me it seems that cyan is the hue with the inherently lightest value and thus it would be like an "absolute" primary in a way, at least in its most saturated form. Whereas green and specially blue are inherently darker. Dark + darker = lightest?dschttps://www.blogger.com/profile/05153318861070317827noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-55587061666389496262015-04-18T07:42:33.740-04:002015-04-18T07:42:33.740-04:00Ericbud, a lot of good questions here. With your l...Ericbud, a lot of good questions here. With your last one, you're right, it's really hard to reproduce these wheels whether online or in print--that's one of the reasons it helps so much to paint our own wheels. I use the highest chroma tube colors I can find to paint the wheels, and mix adjacent hues if I need to shift hue. In #6 you brought up value, and of course all these wheels ignore the dimension of value, which would go up and down vertically from a Yurmby wheel sitting on the table.James Gurneyhttps://www.blogger.com/profile/01870848001990898499noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-55144974481323801152015-02-02T12:58:33.506-05:002015-02-02T12:58:33.506-05:00Many thanks for recording and describing this syst...Many thanks for recording and describing this system of colour control. Limiting colour is little taught and relies on an intuitive understanding that we don’t all come by, even if we have other skills. Much appreciated.<br /><br />A few questions if you don’t mind (perhaps some can be answered at the same time as they overlap but I’ve spend years painting and am still frustrated at my attempts with colour harmony- so if you could answer them i hope to fill in some holes in my education.).<br /><br />1 How did you get the colours that sit between the primaries (i.e. the secondaries)? Did you just mix the two colours you chose to be the heads of the families: like A and B and mixed them to get C ( the secondary ) or did you mix A and B along with different tube colours until you found something you liked? This assuming the tube colours you chose exist in their strongest hue on the periphery of the larger colour wheel and are used here only in very desaturated values but still lie inside the gamut shape.<br /><br />Or, is the secondary colour an entirely different, desaturated hue/colour, it’s hue uninfluenced by it’s neighbours. In this case the secondary would just be a greyed down value of the outside colour that sits between A and B on the periphery (as mentioned above).<br /><br />Influenced Gamut: http://budovitch.com/wp-content/uploads/2015/02/gamut.jpg<br /><br />3 When trying to re-create your gamut on the colour wheel (supplied from the Richard Robinson website) the colours have visible bands, or ”levels" of saturation as they head away from the centre. Are these “steps" made by just using greys or are neighbouring colours influencing each other? Or are complimentary colours being used to neutralize the chroma?<br /><br />4 This quote is pulled from your blog:<br /><br />"Now you’ve created the “heads of the families” or subjective primaries. Next, extend those colors into four different values or tones. Try to keep the hue and the saturation constant as you do so.” <br /><br />How are the hue and saturation kept constant? Just varying the amount of grey?<br /><br />5 When the sun sets over a town, all the colours are washed in a warm yellow light. Would this not be enough to maintain colour harmony without limiting your palette? I think of it as the “mother” colour system.<br /><br />6 If a tube color’s natural value places it not on the periphery of the colour wheel with the primaries but closer to the centre and within a chosen gamut, do you grey it down or use it full strength, tinting and shading it to create it’s own colour string?<br /><br />6 Where did the fourth colour string come from when you created your “triad” gamut here: http://budovitch.com/wp-content/uploads/2015/02/gamut4color.jpg<br />I believe the triad comes from the gamut and the fourth colour string is needed to finish off your set of primaries ( YGBR)?<br /><br />7 In reviewing your book I was examining this colour palette you created from a gamut. There appears to be much stronger and more chromatic options available in the gamut. Certainly colour reproductions change. Humans aren’t perfect but it appears you could have had at least 7 significantly different colour families to work with. Based on Richard Robinson’s gamut-making application and the gamut you chose you could have even more choice. But at this point you’re not limiting your palette as much.<br /><br />Could you please explain the discrepancy? http://budovitch.com/wp-content/uploads/2015/02/gamut3.jpgericbudhttps://www.blogger.com/profile/05404267875854746446noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-60127901402526316522012-03-20T09:16:29.082-04:002012-03-20T09:16:29.082-04:00Thank you so much for this series. I'm an art ...Thank you so much for this series. I'm an art student half way through my degree and I've had to teach myself colour theory completely on my own. <br /><br />In defence of the addition of cyan and magenta to our basic colour vocabularies: I have a linguistics background, and I think it's worth remembering that language has contributed to our understanding of colour, particularly regarding which colours are the primaries or basics. (I disagree with the hypothesis that colour names are evidence for a strong version of the Sapir-Whorf hypothesis however.) For example, Russian doesn't have one word for blue, distinguishing between a cyan-like light blue and a dark royal blue (goluboy and siniy). Italian, Turkish and Greek similarly distinguish between cyan and dark blue as basic colours. (Our word azure comes from the Italin azzuro.)Johanna Factotumhttps://www.blogger.com/profile/16306474818605230717noreply@blogger.com