Better Color Wheel - easier to understand - Artist Oil Painting Advice 

I didn’t know you were still making videos! Years ago your color mixing video with the cup still life had more impact to my understanding than anything I read or watched before and since. To this day I think of your advice every time my limited palette is getting prepped. Thank you sir!

It is because of your videos that I now only use a limited palette. It has transformed my art above and beyond. Thank you!

It is always a luxury to watch your videos, especially when they have a more purely technical nuance as in this case with the explanation of the chromatic wheel. Congratulations!

I learned how to paint with your videos while I was feeling my painting degree lacked the ‘know how’ of how to paint and I’m beyond grateful for this channel

Thank you Mark! You have made a huge, beautiful impact in the world! Bless you!!

The first video was fantastic. But this is the perfect addition. Thanks for sharing. ❤

you are such a generous person- in my opinion, a true teacher- someone who gives to elevate their students. Thank you for this generous wealth of videos.

Thank you for your generous advice. I keep rewatching your videos for inspirational instruction. You are a master!

Beyond grateful for your content. Most of what I know about mixing color comes from you and this answered all of the remaining questions I had.

Your prior color wheel was great, because it shows where white and burnt umber falls in relation to the color wheel. Then, it harmonized well with "If you want to make darker, use either blue or burnt umber" and "If you want to lighten, use yellow or white." Actually, it's because of your videos I was able to use AI to generate very wild and exciting colors, then use acrylic (failed due to fast drying) to match the color. I decided to get a small kit of basic oil paints, and it allowed me hours to match and play, and I soon learned using your guidance how to match even wild colors. Note: Very vivid colors (like neon dance rave colors) involve totally different pigments, but the same theory pretty much applies. Thank you very much for your guides and videos. You and Florence Fargas really opened up the technical (and even theoretical, you made painting to me seem like a beautiful experience more than just pigments on canvas) experiences. Thank you for that. I feel like I'm back in highschool making an oil painting self portrait again.

Thank you, maestro.

Your Studio is marvellous, so atmospheric as in the late 1900's. Thank you for your colourwheel method, excellent. Xxx❤

A much needed video! This has answered so many of my questions about mixing colors.

Great advice as always Mark! I think that there are so much usefulness out of the really strong tinting and opaque yellow ochre and venetian red NOT to put them in your line of paints that it is a shame, really. They are the bread and butter of my color mixing. Two series 1 pigments/colors that are so simple yet so common and useful. I might use something like 5 times more yellow ochre then any other yellow and the venetian red is 50%/50% with my pyrole red and magenta, just because it is so close to natural reds of the world when you mix in a little bit of white/black/yellow ochre... Anyway, just something to think about

This is a big step up from the previous version. Great job on the improvements!

Great job with the new color wheel, and explanation, enjoyed this.

Sensei, like how you are continuously thinking about teaching art and color theory. This is a great step forward.

I've been watching your videos and taking notes for over a year, and preparing a studio space per your specifications, and I've just completed my first painting using your method and Geneva paints--absolutely love these paints! Your limited palette and fist color wheel guided me through the process. Anytime I strayed off course, I would revisit your teachings. Its been over 15 years since I've painted or sketched and being creative again has brought me such joy. I am so appreciative to you for your web site, videos, and the time and care you have taken to share your gift with others. Thank you so very much! I wish the artist's forum was still available so I could share my first piece with other artists and get some feedback. The link you have on your site didn't work for me (probably operator error on my part). Can anyone share info about how I can join the artist forum?

Thank you, I am so novice to learning oil painting, I will take a few days to really understand. Has always I truly appreciates all your videos I have seen so far. Little note I have send a email and did not get follow up. No rush, just mentioning in case it when to spam.

Thank you so much for your videos !! I’m a self-taught artist .. no money for art classes😂.. but I learn a lot from your excellent advice. thank you

I will like to print this new wheel color. Excellent explanation. Thanks

Thank you for this, I have the hardest time with color,mixing it, what goes where, etc… I have to watch this again to really get it.

This is extremely helpful Mark! Thx very much!

Thank you! I love the old one and your instruction with it. Marvelous

thanks, your colour mix theory is easy to understand and works so well. thank you again

Always a pleasure to see your helpful videos, thanks 😊

Very interesting information, thanks for sharing.

Thank you!

Helpful enough Thank You

Thanks for the video.

Awesome. Definitely recall adding orange or yellow to lighten a red, or brown/burnt umber to darken it. Would be cool to have some other tricks for green, or white

Thanks

Very helpful, as always! Thank you!!

Definitely an improvement . I would/will indicate which circle is the tube color and not a tint or shade of it. I do not think for the purpose of the wheel you need as many values 5 is plenty. I find the wheel most helpful to lead me to the compliment of a color when I am mixing or targeting a color to help reduce the chroma. Or to create a shadow of a colored object. Great science is whispering to us.

I'm probably over complicating things here, but what about colour temperature of these primaries? Would you extend your chain of values to include that? Or make up a temperature wheel in warms or cools? For example I've noticed I gravitate towards using prussian blue over ultramarine. Both are pretty dark value blues with different temperatures and when mixed with yellow give very different results in greens. With burnt umber those blues are interesting chromatic blacks. Opinions? Btw, love your channel!

VERY helpful! Thank you.

Sorry. Been painting years. Still don't know what you are talking about. Just being honest. I just somehow mix up the right colors I am looking for. Works for me.

I did not know burnt umber was actually yellow. Thanks.

You can get the doctorate from physics now... Kinda personal development, oh yes :-) thanks for sharing. Franz

it does look better as string colors

Yes and no. You're going to desaturate your color when you mix in white to brighten it. So, you're not actually getting a brighter color, you're just getting a higher value. If you actually want a brighter color, you would paint a thin transparent layer over white.

Hi Mark! Thank you for the video. I reached out to you at your email about a month ago now about your classes, but I did not hear back. Are you still offering them?

Thank you so much for your videos! I have a question about the limited palette. Is there an inorganic alternative to Pyrrole Rubine? This pigment is great but I am a little uncomfortable with this pigment because it is organic. The old masters mostly used inorganic pigments. Can you get similar results with cadmium red? Are there other alternatives?

Please can you do a video demonstration with this method please 🎉🙏🙏

❤❤❤❤❤

I’d love to take a class but I’m in the U.K.

I really like what alex venezia doesn't with his 🎨. Eastoak studios has him explain it in a portrait demo. Alex is probably one of the best living painters in my opinion.

There is 34 second youtube video with a vivid illustration of the essence of color mixing when combining color subtraction. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-5inTryUaQyg.html As we know, color reaches our eyes in the form of light. For the purpose of simplification I will for the time being discuss the case of color mixing effect of translucent paint, such as watercolor. Allow me to re-state some basics, for the purpose of eliminating room for misunderstanding. Take the case of a Red area of paint, painted with the most saturated Red that watercolor can produce. White daylight shines on the pigment, and the pigment absorbs all color from it, except the Red portion. That is: a Red pigment is Red because it does not absorb Red light. If the starting light is white, then after the white light has interacted with the red pigment the Red portion has made it through, and that Red (portion of the) light then reaches our eyes. In the video I linked to: three color filters are used, and they are held up against a brightly lit window. The three colors are: Magenta, Yellow, and Cyan (Cyan blue) A Red is achieved by combining the Magenta and the Yellow filter. What happens is: the Yellow pigment absorbs the Ultramarine blue portion of the light, but allows all other light to pass through the Magenta pigment absorbs the Green portion of the light, but allows all other light to pass through The effect of combining the Magenta filter and the Yellow filter is that both Ultramarine and Green are absorbed, and thus a Red is achieved It was around 1860 (Yeah, more than 150 years ago) that researchers had figured out how to achieve a wide gamut of colors with inks that are translucent on the paper. That knowledge allowed the development of what is known as 'four color printing', which was already quite advanced prior to 1900. Four color printing uses inks with the following four hues: Magenta, Yellow, Cyan, and Black. (the black necessary to achieve sufficiently deep shadows.) Much of the power of four color printing is in the size/spacing of the dots. Much of the result is achieved by carefully arranging the amount of pointilistic effect. For four color printing the combination Magenta, Yellow, Cyan is the only choice. That combination allows a wide color gamut, while needing only three printing passes. (For very demanding purposes there are also sets of 6 inks, evenly distributed over the color wheel, but for the extra cost not that much is gained.) All printed color reproduction uses that triplet: Magenta, Yellow, Cyan. The inkjet printers that we use at home to print color use that triplet: Magenta, Yellow, Cyan. Of course, painters who paint in water colors do not limit themselves to buying a set of just three watercolors. Every painter buys a box with dozens of colors, all over the color space, and to obtain a specific color the painter chooses out of that plethora two colors that are both close to the desired color. That usually works out well. My point is, there isn't a single painter in the world who buys only the primary colors, for the purpose of mixing a range of colors. Any painter who attempts to mix desired colors from a set of just three colors discovers that that doesn't work. (Well, maybe a pointillist can make it work. But a pointillist achieves the result precisely by not physically mixing the paint.) There are armchair theorists who assert that painters can mix all colors from a set of just three colors, but in practice that fails. In the case of translucent paint, such as watercolor, mixing properties are comparitively predictable. When opaque paints are mixed they each dilute the effect of the other paint significantly. With opaque paint, mixing a Magenta and a Yellow may result in something with a reddish hue, but with low saturation. Recommended: The book 'Theory and practice of color', by Frans Gerritsen. Three of the pages of the book are not paper pages, but tinted transparents, for the type of demonstration as seen in the video that I linked to at the start.

slowly the reilly palette emerges and munsell becomes obvious

I‘m very sorry, but your colour wheel is wrong. The real primaries are cyan, magenta and yellow, red and blue are secondary colours.

I don't think people understood what you were saying, I'm surprised at the reaction.

blah blah blah

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