This Post provides a link with Chapter 13, the third of the five colour mixing chapters I promised to publish in the coming days. Its title is “Finding a maximum of colours”. As with the others Posts on colour mixing, I start with an image followed by an edited version of its “Introductory”.
Estimates have been given as to the number of different colours that can be made from mixtures of the paints available to artists. The smallest of these sug-gests hundreds of thousands. At first sight such enormous numbers might seem to be daunting. However, there is no need to worry. It turns out that the huge extent of colour space that they indicate is quite easy to navigate, both in theory and in practice. Chapter 13 explains the theory, while Chapter 14 shows how it is surprisingly easy to use it in practice. You can read Chapter 13 by clicking on the link below. Chapter 14 will be made available very shortly.
Other Chapters from “Painting with Light and Colour”.
- Introduction: the little known Science behind many of the original practical suggestions.
- Chapter 1 : The dogmas
- Chapter 2 : Doubts
- Chapter 3 : The nature of painting
- Chapter 4: Renaissance ideas
- Chapter 5 : New Science on offer
- Chapter 6 : Early Modernist Painters
- Chapter 7 : The perception of surface
- Chapter 8 : Seurat and Painting with Light
- Chapter 9 : Seeing Light
- Chapter 10 : Illusory pictorial space and light
- Chapter 11 – Finding a maximum of colours
- Chapter 12 : Colour circle – misunderstandings
- Chapter 13 : Finding a maximum of colours
- Chapter 14 : Colour mixing made easy.
Other Posts on colour and light in painting:
- What are colourists? (1): Some of the many meanings of the word
- What are colourists? (2): Difference between meaning of the word for Venetian Colourists and for Modernist Colourists?
- What does the word “colour” mean?
Chapters from “What Scientists can Learn from Artists”
These deal in greater depth with subjects that feature in the other volumes