Note: To protect the privacy of our members, e-mail addresses have been removed from the archived messages. As a result, some links may be broken.

Lesson Plans


Re: "New" color wheel -long

[ Thread ][ Subject ][ Author ][ Date ]
John Hinkel (shinkel)
Wed, 28 Apr 1999 15:01:25 -0500


Betty,

Thank you for the wonderful information. Do you are anyone on this
list know the origin of the first color wheel?? My husband remembers
reading something about three people working on it together. He thinks
one was as a photographer. I think the color wheel is older. Anyone
have any information or book to refer?? Thanks.

Sue Hinkel
Mehlville School District (St. Louis County)
Forder, Bierbaum, and Beasley Elem. Art

Betty Bowen wrote:

> I'm having email problems, so I hope this only goes out once, and also
> I'm
> sorry I can't recall who is discussing this-
>
> For me there are Four color wheels that function in different
> situations.
> The "old" one is still the foundation - red, yellow, blue. Great for
> learning the basic theories, but when you are dealing with real
> pigments,
> there isn't a pigment that purely reflects one of those colors without
>
> "leaning" one direction or another.
>
> So, as a painter, I was taught to lay out what for me is color wheel
> #2: a
> palette made up of, for example, Thalo blue and ultramarine blue //
> cadmium
> yellow and lemon yellow // cadmium red and alizarin crimson. The
> reason
> behind this is - for example - Thalo blue shifts to green. So that
> means it
> visually includes yellow. Cadmium red shifts to orange (ever so
> slightly) so
> that means it, too, visually includes yellow. Therefore, when I mix
> cadmium
> red and thalo blue, sure, it's red and blue so it should make violet,
> right? - and it does, but its a slightly muddy violet, because both
> pigments
> include a little of yellow, which is violet's complement. Get it? But,
> if I
> mix ultramarine blue, which is on the violet side, which means it
> visually
> contains a bit of red, and alizarin crimson, which shifts also towards
>
> violet, which means it contains a little blue, I get a much more
> vivid,
> pure, violet, because it's just red and blue. See??? It's really
> based on
> warms and cools. Learning this gave me so much more control over my
> colors,
> I never mixed "mud" again. If that isn't clear, let me know. (as mud?
> -
> somebody had to say it;)
>
> The next color wheel is the "new" one you mentioned: cyan, magenta and
>
> yellow. There is really nothing new about that since the advent of
> commercial printing. Your local newspaper, if they have color photos,
> will
> usually be happy to give you some leftover color photo separations so
> your
> kids can see for themselves. They're on film so you can cut them up.
> It is
> useful, in my own experience, primarily when using transparent inks,
> for the
> same reasons I mention above. I would personally never teach it as the
>
> "only" color wheel to someone wanting to paint, I think it would lead
> to
> color mixing frustration.
>
> The 4th color wheel is light, which acts completely differently. I
> realized
> this as a kid on the school stage when I looked up and noticed all the
> stage
> lightbulbs were alternately red and blue. I asked why, and was told
> red +
> blue light = white. So that's fun to play with, like math equations:
> orange
> light + green light = ?
>
> Betty