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Nothing gets past you.

Agreed. The color wheel no longer maintains those coincidences with 7 distinct colors. Yet, all the colors have a mixing and a visual complement, even indigo.

Yes, University of South Alabama. This is the kind of thing we do every day.

Yes that is tricky. The afterimage thing really does help (not sure if that's in this video or not). Taking a black and white photo can help too, but the camera probably isn't converting the values all that accurately. In general it's going to help, but don't rely on it. I'm glad you like the videos!

In the scenario I'm laying out, the transparent color is always in between the values of the two parent colors. This may not be the most realistic, but it's the most challenging exercise and will help you master the mechanics of how the colors interact. In a still life or in the real world, most transparencies result in the overlap being darker. In this paper situation, a darker transparency is just too easy.

That specific example doesn't work because the inside color is darker than it's parents. It looks good but it's a lazy solution. The bigger problem is that since the two parent colors are almost exactly the same value, there's almost no chance for the student to find a color with a value that could be between the parents. Making the blue slightly darker would solve the problem.

Hey, I'm glad you liked it. I see a lot of people that naturally paint in patches but don't know if it's okay. As soon as they realize it's a thing, their work gets a lot better.

@@shamback7575 - Im not surpirsed! - Its something I have definitely played with but it was never conscious. Also gives me more insight into why people always talk about Cezanne as the father of modern art, I could never quite see it, but it seems that he made this fragmentation or pixelation of the surface explicit in his painting - which was a catalyst of so much that followed.

Also I agree with idea that it makes a painting better - but interesting to speculate why that would be the case. I wonder if there is a particular delight in paintings that describe the visual world but dont hide their painterlyness. I remember the fascination of looking at Monet's poppy fields and the experience of walking near and far from the canvas and seeing the world dissolve into fragments.

You're welcome Gail! Glad you liked the video.

Well, then clean your palette Bucko.

Operative Design: a Catalogue of Spatial Verbs, by Anthony Di Mari and Nora Yoo. The book lays out the implications of perspective drawing like nothing else.

You're welcome Mary! I'm glad you found it useful.

@@shamback7575 do you cover inclined planes in any of your talks? Really quite fascinating the way it all works, so mathematically beautiful. Thanks

@@marymoquinart934 I don't think I do directly. Inclined planes can usually be solved by implication. Establish where it starts and where it's going using perpendicular and parallel planes, and the incline should be right.

Sure, the first 5 paintings are by Euan Uglow. The 6 drawings are by me. After the drawings, there's a painting by Lucian Freud and then three by Vincent VanGogh. The last is the famous portrait of Pope Innocent X by Diego Velazquez. I should have included something by Rembrandt to show how uncompromising he was with his information, but I didn't want the video to be too long. Thanks for watching!

@@shamback7575 can you do a video of Rembrandt?

@@drpg11 I'm not in video production mode at the moment, but when I get a chance I'd love to do something on the Great One.

My pleasure!

Thank you Mariela! I'm glad you found the video helpful.

Hey, I'm glad TH-cam sent you in my direction! Enjoy the videos and let me know if you have questions.

@@shamback7575 I've been studying the Perapective subject for a few weeks now so I could get everything ty 😅

Thanks Amanda. The Roberson's medium I'm referring to is from www.jamescgroves.com. Groves is in Maryland, USA so I'm not sure if shipping all that way will be worth it. He does everything by hand, so I don't think you'll find anything comparable locally. If you can find a medium referred to as Meguilp or Maroger's medium, you might get lucky. They ought to be similar but will have a different resin content.

No, I wanted to acknowledge the Van Gogh painting I used in the title scene. I don't think I mentioned it in the voiceover. I'm sure VanGogh used a similar approach, as the CoPrimary palette has been around forever. The colors used have changed throughout the ages, but the idea is ancient. For example, we might use Cadmium Red Light these days, but in the 1500's they would have used Vermillion. We use Alizarin Crimson but the old guys would have had a Cochineal Lake as their red leaning to violet.

Thanks Alan, for the kind words. I've given this talk so many times, now that it's a video I'm freed up to think about even more inane subjects.

You're welcome Shelia. Thank you for watching!

Sure. Let me know when the book comes out. If your youtube channel is any indication, it'll be unusual. That's what the subject of color needs. Most writing about color is the same useless blather in every book.

you're welcome!

When you look at something for long enough (7-8 seconds or more), the image stays on your retina after you look away. In the video, if you stare at the corner of the paper and keep looking at the same spot after I pull it away, you'll see the shape of the paper in a different color. In this video I'm referring to the hue of the after image being the opposite of the color you're looking at. If you want a more thorough treatment of after image, try: th-cam.com/video/qcKHApsABb4/w-d-xo.html There we use it to assess values.

Ha! You must be referring to the part about about abstraction being more real than real. Thanks for watching!

@@shamback7575 your voice gave me a similar impression just in the beginning, and maybe few other spots. Great vid

Hi Kaisla, thank you for the question. A resin added to an oil stabilizes the oil. If you have a paint layer with too much oil, a new paint layer will split and separate over it. A tiny addition of resin eliminates this and allows layering without this problem. Different resins also have different handling qualities that you might want to bring to the paint. Venice Turpentine, for instance, levels just like stand oil, so they work beautifully together. Oil, added to paint is a binder. Not a medium. A medium has at least an oil and a resin. Adding more oil to your paints is okay in very small amounts, but too much and the paint is too oily, becomes brittle and the painting will fall apart. Never break the 80% rule! Don't dilute your paint for glazes. This breaks the 80% rule, ruins the handling of the paint and creates an underbound and weak paint film.

@@shamback7575 Thank you a lot for the throughout answer! I've been using only linseed oil to thin my paints, and in small amounts it has worked well. I tend to overuse it, though, so I really have to keep the 80%-advice in mind. Do you by the way happen to know if there are any dammar mixes which would have no turpentine in them? I'm trying to slowly change my work space to be as non toxic as possible :) thank you again for all this valuable help.

@@kaislakuurama Turpentine is the only thinner that dissolves damar. If you're trying to keep things thinnerless, you can try a resin that is cooked in oil like amber or copal. www.jamescgroves.com has excellent oil resins that you can mix with any linseed oil and leave out the thinner.

Actual sunlight coming into the room turns the problem back into a standard lighting problem. In that scenario, the backlit wall would be even more dramatically dark and the value scheme would be a bit more complex. Since the sunlight moves, this isn't a scenario we see often in painting. It generally requires photography and that takes all the fun out of it.

@@shamback7575 thank you for the elaborate answer!

@@GingerNinjaaahh No problem, thanks for watching!

I buff it with linseed oil after every sitting. That palette is a few years old, so its got a few thousand layers of linseed oil.

Ha! High praise Julien! I appreciate it. I'm new to the digital format but the fundamentals of drawing don't change.