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Art Lessons: Color Wheel

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[music]
Talking about color.
Color is everything.
Sir Isaac Newton was actually the first
one to technically create the color wheel.
He refracted white light through a prism
and
was able to get the colors of the rainbow
and bend into themselves.
So, wasn't really the color wheel that we
know today.
The color wheel we know today
was really based on what they were doing
at the bow how.
Before, that was very scientific.
Goethe, the great philosopher/scientist,
really was the one that started to kind of
get deeper into what Newton
had created and into the, what's called,
chromatherapy of color.
Really assigning colors to moods.
Assigning colors in a more scientific way
to emotions.
And in the bow-how school,
color was then applied to what we
traditionally know now as a color wheel.
So, let's get into the color wheel.
It's something that we all should know.
It's something that is very, very
important.
We all see with color.
And interestingly enough, women actually
see, this is scientifically proven,
women actually have a natural better sense
of color than men do.
10% of men are actually colorblind.
Not in a colorblind way where we see
everything in black and white, but
colorblind where we kind of switch the red
and green interestingly enough.
So, I've noticed that too, that for
whatever reason, women sometimes have
a a better more natural heightened sense
of color awareness.
And they're just more natural with color.
I myself am not a [COUGH] a natural
colorist.
I've had to really learn color through
color theory.
So, some people just have an organic
understanding of color.
Just like some people have an organic
understanding of value.
Or line.
Or rhythm.
Or hue.
Or saturation.
Or texture.
Or technique.
But I really, really studied color a lot,
and I find it to be never-ending.
It's like it's the rabbit hole.
Once you fall down the rabbit hole of
color, you're just, like, oh my god,
it's so deep.
It's so profound.
It's amazing.
So, I'm gonna go over some of my colors.
Obviously, we're gonna with my primaries.
And red, I'm using a cadmium red Liquitex
acrylic.
And as you could see on the back here,
it says opaque and it's marked black in a
circle, in a square.
It's marked black in a square.
That means it is not transparent, it is
opaque.
So I use an opaque cad red medium as
opposed to cad red
light which kinda moves more towards
orange So, this is cad red medium.
So now I've got the cad red medium down,
I'm gonna reach for
my next primary and I'm going to grab a
cad yellow light.
The reason I'm grabbing a cad yellow light
is because it's opaque.
The cad yellow medium is only, you see
that?
It's like a triangle in black and a
triangle in white,
meaning that it's a little bit
transparent.
So, I wanna go for something more opaque.
And incidentally, when you're mixing up
these colors, you might wanna add,
particularly for the yellow, a little bit
of white because it's not oil paint.
So, it doesn't have that opacity that it
should have.
So we're gonna cheat it a little bit by
adding a little bit
of white if we have to.
[SOUND] And, of course, the other color
that we're adding is blue.
So the primaries are red, yellow, blue.
And from that, you can mix all of your
secondary colors, and ultimately,
your tertiary colors and it goes on and
on.
Now, cerulean blue is the blue that I use,
as you can see, because it is opaque
as opposed to an ultramarine blue, was
otherwise known as a French ultramarine.
And ultramarine, believe it or not it's
blue, but it kind of feels a little red.
It's got a red shade to it.
Cerulean works better for this particular
thing.
Cerulean is a very intense light blue.
So, otherwise, known as bleu de cerulean.
Okay.
So now, we're gonna start with our primary
colors, and we're just gonna get it down.
I'm going to use a, I have a lot of
brushes at my disposal here,
but I'm going to use a bristle brush.
A bristle brush is used a lot in oil
paints.
The reason that I like using this for
an exercise like this is because this is
really able to absorb a lot of paint.
It's able to really hold a lot of paint.
This is another kind of bristle brush.
This is really able to hold paint and
absorb it.
And by holding paint,
you could actually load up the paint brush
with a lot of paint.
And as you put it down, it's there for
awhile.
You can do a large, long stroke, and you
will still have paint in your bristles.
So, that's important as opposed to one of
these which is,
you know, a synthetic, flat.
A Winsor-Newton synthetic flat, it's a
little lighter, so
it's not gonna hold that paint.
You can't build up all of that reservoir
of paint that you could then unload.
It's a little bit lighter.
So you've got to think about these things
as you choose your brushes.
So right now, I'm gonna just hold a lot of
brushes in my hand,
except this one, cause it's huge.
Not gonna happen.
Okay.
So, let me start
by putting down the red, and we're not
mixing any of this.
We're gonna just put it down right here,
and as you can see,
this loads right up.
Loads right up.
So, I divided it into six triangles, like
a pizza pie.
And from here, from this six,
that's really what you need.
That's all that you need to get that
information.
Now, I've done,
I don't know, maybe a hundred of these
color wheels.
I've done a bunch of different color
things throughout my student career and
my professional career.
And I really never feel like I don't learn
something when I do this,
believe it or not.
I'm always learning.
I just feel like an eternal student and
I'm just there's always something new.
There's always something that I can learn
from a book or
something that I, you know, accidentally
teach myself.
So, it just really, really never, never
ends: the learning.
And the more you do it,
the better you get and the more you apply
it to your painting.
So it's really interesting.
So I use this straight here to get that
straight line cause I don't want it to be,
I don't want it to be messy.
So I use my mahl stick.
And I created my own mahl stick with a
ball, pink ball,
that I've impaled on this rod, and what I
do is I lean it down like that.
That way I could control it like this.
So it's like a lever.
And I control my straight like that.
It's like, in oil painting they have a
mahl stick like this,
so they don't smear the paint.
So with acrylic, you don't really need a
mahl stick for
that because the paint dries so fast.
But for me, it's more of a control thing
to get straights.
People are always like how did you get so
many straight lines?
It's incredible, it's all straight,
everything straight.
It's crazy.
Let me tell you how, right here, this is
my secret.
Don't copy this, I just, gotta trademark
it, eventually.
It is just a stick and a ball.
You know, a stick and a ball.
So, as you can see.
Bam, bam,
bam.
And I just like to be as clean as possible
with this,
even though it's just an exercise.
You really, it's really important to kind
of get your paints down,
and ooh, that's a beautiful red.
Red is so beautiful.
You know, with chromatherapy.
Everybody uses the knowledge of color to
entice you, to manipulate you.
Big businesses as a big part of their
programs,
think about all the different colors of
all the different restaurants.
There's a lot of color theory that goes
beyond art.
Color theory is applied particularly to
fastfood restaurants.
The yellows and the reds, they figured out
that that makes you hungry.
Certain colors make you wanna eat fast.
Certain colors, you know, entice you.
Certain colors make you wanna eat and
leave.
So certain colors are very effective,
particularly for kids.
So, there's a lot of big companies that
make this part of their curriculum.
The curriculum of big business because
it's powerful.
Color is a very powerful thing.
Think about, you know, fashion is just
pervasive
in every part of culture and pop culture
color.
[MUSIC]
[MUSIC]
So now I'm gonna start with my blue.
I'm gonna take my cerulean blue.
I'm gonna load it up.
It's not a bristle, it's flat.
And I'm, I'm gonna put it down, like that.
So, obviously, I'm putting it here because
it is another primary color.
And I'm using it right here.
And eventually, I will mix my secondary
colors between the red and
the blue, which will be a violet,
that's right.
So, just kind of loading some paint on.
It's a really, really great exercise to
do.
And you can take this and
build it out, and keep going and keep
going and keep going.
And try different color mixes, you know.
I mean, just because I'm not using
ultramarine, doesn't mean that
you shouldn't try it to see what kind of
colors you get because those that.
You might get a color that you're doing a
painting, you're, like, wow,
I mixed that in a color wheel and I wanna
use that color there.
And what happens is the more you do this,
the better you get.
The more familiar you get with color, and
the more you're able to
utilize it on a daily basis without being
afraid, that's the thing.
Color can be very scary for people.
Color is very scary.
It's kind of you really like to stay in a
comfort zone with respect to color.
And I think that it's really important to
kind of experiment and
take it beyond your wildest imagination.
But you have to do this by having a basic
understanding of the principal
color theory, because that's what this is
really all about.
It's really all about knowing
what your basic,
your basics are that you need, knowing
your primaries, knowing your secondaries,
knowing how to mix your tertiary colors,
and then taking it from there.
Once you figure that out, then you could
expand upon it.
So I'm just using this brush here.
It's a little bit of a round, and getting
the edges.
Once again, my trademarked ball and stick.
And, that will be my blue.
That will be my blue.
[FOREIGN] I don't know why I feel like,
for some reason, French.
When I get into color, I wanna speak
French.
[FOREIGN].
[SOUND]
But that's how it is.
Okay, so now we got the blue in there.
Our third primary, and this is the, these
three colors are primary
because from these three colors, you can
mix every other color in the world.
Now, my next brush I'm going to use is
this beautiful Amsterdam flat.
Just because I haven't used it, so I just
wanna see it.
Now, I don't know if I'm gonna need to mix
to get white on here,
to load up with white, or if this is going
to be substantial, see?
Even though it says it's opaque, look how
transparent that is.
That's not good.
So what I'm gonna do is I'm going to take,
my titanium white, right here, this is
titanium white.
And as you could see on the back, look for
that, that's important.
The black square, that's opaque, that's
really important.
So titanium white is a super staple.
And I'm gonna take a little bit of that,
put a little bit down on my palette.
Now, if you look at my palette, you
can see that I'm resting it on the wet
cloth here.
I've taken a wet paper towel, and I've put
it down there.
That way I can keep my paints wet for a
long time, plus.
[SOUND] I have my air brush that I'm, that
I'm blowing spring water through.
No, I'm kidding.
It's distilled water.
[SOUND]
Maybe it's tap water.
I really have no idea.
Okay.
So I'm doing that, keeping that wet all
the time, and
just really cooling myself down on summer
days and that's actually true, I do that.
I will be painting in heat and I will just
cool myself down with that.
So as you can see i'm just going to take a
little bit of that white,
I'm going to mix it in there.
What that's going to do is it, because
white is opaque,
it's going to make it more opaque for me,
like that.
And I'm gonna probably have to do two
coats of this, unfortunately,
because it's still a little too
transparent.
Oils you will not have this problem,
acrylics you will.
But what I love so much about acrylics,
and
I've been painting with acrylics now lets
see.
What am I, 21?
For a long time let's put it that way.
So, acrylics is just, you know, you got a
lot of advantages,
they dry really fast which I really love
they.
They clean up really well.
You can really mix a lot of different
colors.
You can blend really nicely, you can do
dry brush nicely.
Acrylics have a lot of benefit, and
ultimately for me they're not as toxic,
they don’t smell, they don’t permeate the
skin, they don’t get deep into
the skin because of all of the solvents
you have to use with, with oil paints.
t don’t say that oil paints are not
beautiful, they're gorgeous,
they're gorgeous, they're, feel like
they're, they're more gorgeous
ultimately because you, you really kinda
get the texture of flesh with oils.
But with acrylics I, I truly believe it's
a lot safer,
a lot less toxic and ultimately has more
longevity.
And I also think you can get the same
buildup
with oils if you really learn them well.
So for me it's a, it's a safety thing,
it's a health thing.
Even though you're working with plastics I
just don't, I just feel for me it is.
Okay, so we're getting that, kind of
building it up.
You can see you get a nice tooth with it,
too.
And, then I'm gonna come in with my
sabeline,
West German brush here, and.
See as, as I go along the edges, and I
paint along the edges,
I'm going to just go to a smaller and
smaller brush.
Because these smaller brushes, you can
have more control with it.
Always start with the big brush when you
can.
Keep as big of a brush as possible
throughout your painting.
That's the best thing to do.
Keep as big of a brush as possible when
you're painting because as you go smaller
you're going to, you're going to naturally
gravitate to more detail and
you don't want to do that.
You want to see the big picture of the
painting always.
So you want to be bold and aggressive with
a big brush.
Okay.
So this yellow, it's a decent yellow.
It's a little on the green side.
But that's okay for now.
[MUSIC]
[MUSIC]
So now we have our primaries.
These are all our primaries.
Now what we're going to do is mix our
secondary colors.
Mix our secondary colors.
Okay, so we're going to do red and yellow
is gonna give us orange,
yellow and blue is going to give us green,
and red and blue will give us violet.
So that's all super important.
Okay, so I'm gonna go back to my beautiful
loaded
bristle, where I have my cad red.
And, incidentally, I always keep paper
towels on hand.
And I'm all I just need that because
paints get crazy, and
I wanna be able to immediately wipe my
brush down and have it here.
And I usually have a garbage can right
here.
I can just throw it in the garbage can.
So, I'm going to mix this now by taking my
pallet knife.
And this is, as you can see this is a very
worn pallet knife.
I've probably been using this for 10 or 15
years.
So I take this pallet knife and I scoop up
the cad red and I put it down, right?
And then to make my violet, I take
an equal amount of that cerulean blue, and
I put it down like that.
And then, I blend it.
And as you can see, I like to kinda move
it around like that.
Really kinda up and down and just I'm
going circular,
clockwise, clockwise, clockwise.
And just then I will take my pallet and
swoop it over like that.
I will pick it up on the other side.
The flat and I will pick it up again.
And it's really about blending them
together to get that perfect violet.
And you see that violet right there?
It's not violet.
It's red right now, it's a little too red.
So gonna have to keep going, and
keep going until I get that violet and I
might even have to add white.
Now I'm mixing a lot of color here and
this is just not enough blue, just not
enough blue.
There we go.
There we go.
Now because the blue and the red is giving
me a little bit of this violet color.
The problem is it's just way to dark, it's
just way to dark for the,
for the eye to to see how blue or red this
is.
In fact, it's not even violet enough right
now.
So I'm going to have to add some white to
the mix and some more blue.
So I am going to add a little bit more
blue and I am going to add it directly
into the mass, like that.
Bam.
Then we will blend that up.
And I put a pallet paper on top of my
butcher tray so
that I don't have to deal with cleaning my
butcher tray every five minutes.
But the problem is that as you could see.
Watch.
It'll stick and pull up.
So that's a problem.
So sometimes I just deal with my butcher
tray.
Okay.
So we're kinda getting a little bit more
violet.
We're going to need even more blue.
And we're going to need a little bit of
white.
So I kinda know where I'm going with this
I know how to kinda get there.
So we're gonna lighten it up and bring it
more towards the blue.
Right now it's like right in here and it's
super dark.
So that's not really where we wanna be.
And on top of that I think I'm just going
to kill this palette paper and
move everything to my butcher tray.
[SOUND]
Like that.
[SOUND]
There you go.
Now, way, way
more violet-y.
In fact, way better.
Now you, it's a little bit gray.
The problem is you're not gonna get a pure
violet.
A pure violent in acrylic is like, you
know,
a dioxin purple gets pretty violet-y.
But this isn't bad.
And I could show you where we can go from
here,
we could take a little bit of this, put it
here.
Take a little bit of that white and you
could see,
you could even get lighter like that.
See that?
So it's a little bit lighter, but the
problem is it's grayer.
And I want to just show you guys maybe
making that a little bit bluer here.
So it's a, it's a little red, violet right
in here.
And then here, it goes lighter.
And then here.
You can see that.
It's a little bit kinda blue violety.
So somewhere in, somewhere in the middle.
And sometimes you just have to keep mixing
so you get it right.
I feel like for this exercise
this is going to have to work.
And that is what is amazing.
You can get like hundreds of different
gray violets,
or hundreds of different red violets or
hundreds of different blue violets.
And it goes on and on and, you know, it
just depends on what you see.
Rarely do you, are you gonna get like a
really, really, really pure,
pure saturated violet.
Sometimes when you see flowers you get
that pure violet, or an eggplant,
you see that pure violet.
But you don't see pure violet in nature
like that.
So took me a long time right here to kinda
find this
wanna get my brush nice and clean,
cleaner.
And I wanna kinda see I'm rolling my brush
here, I'm rolling my brush.
I'm loading it up, I'm loading it up with
pigment.
Loading it up and putting it down like
that.
So the more time you spend mixing your
color, this is really important,
the more time you spend mixing, getting it
right.
You don't have to go back and redo the
whole thing.
Because I know how it feels, sometimes
you're just mixing colors in your palette.
And you're like oh my God, I'm wasting my
time.
What am I doing?
I can't believe I'm, it's taking me
forever to mix this.
Because you haven't found the right color
or you haven't found the right violet or
you haven't found the right value.
But realistically, the more time you take
to get it right.
You know, the more time you're going to
save yourself in the end.
So just be, mindful of that.
Okay, now, I'm just kinda loading that
paint on there,
panning as much as I can before I have to
come in there with a.
Smaller brush, and now I'm going to come
in with one of my small brushes.
And this is a nice one.
And I've got so much color here, it's
nice.
Coming on, gonna come here with my trusty
mall stick.
Look at that, straight.
Bam.
Like that.
I've seen people do color wheels that are
just, like, blah, blah, blah,
all over the place, and that's great.
But I just kinda like to keep mine pretty
methodical.
I mean, there's other people who would
think that this is a slop fest,
but I've certain seen, I've certainly seen
sloppier.
For me, it's an exercise of color theory,
and
really exploring how powerful, how
beautiful color can be.
And thta is our, that is our violet.
[MUSIC]
[MUSIC]
Okay now I have my first secondary color
which is violet.
Violet is beautiful and I'm going to
nix my second secondary color, my favorite
color in the world, orange.
I love orange.
It's warm.
It's sunshine.
It's feel good.
It's everywhere, when you look at the sky
and the sun.
Orange is powerful.
And going to take my red, my cad red, and
I'm going to take my cad yellow light.
And I'm going to mix it.
Like this.
And it's pretty good.
Pretty, pretty good.
Now of course you can go to a red-orange.
You can go to a yellow-orange.
You can go to all different types of
oranges.
Because there's many variations as I
showed you with the violet.
There's a color called Cad Red Light,
which kind of is close to this
right here anyway, which goes towards the
orange, and it's really beautiful.
But for all intents and
purposes, it's really good to know how to
mix your oranges, it's pretty easy.
And by the way, you should do this if you
guys have kids,
or kids love doing color wheels.
It's really fun, it's really exciting.
Kids are very stimulated by color.
So this is really great ex, a great
exercise for kids.
And let me take, let me just show you by
taking a little bit of that, and adding
a little bit more yellow, where we're
gonna with, where we could go with this.
As you could see, here the orange starts
to become [NOISE] lighter in value.
More yellow.
And less saturated.
There's less purity of color.
So really depends on,
you know, some people have different
interpretations of color.
Like, I definitely sat with a bunch of
painters and I've seen orange objects,
and I've seen four different painters who
are all excellent
paint that orange in a different way.
That's just the way the eye sees.
We're not gonna see colors the same.
So, I will just blend a little bit of this
in,
in case anyone there preferred that
orange, to this orange.
And, make that all orange, like that.
Okay.
So let's see.
I will take my nice Winsor Newtoned
flat here and load it up with orange.
And.
Paint it on in.
Remember as you put paint down especially
here on your palette, don't be chintzy
with yourself.
Load it up, it really takes time and
energy to constantly put paint down on
your palette.
So the more you load up, the better.
Now, as I'm looking.
Well, it feels kinda orange.
No, I was gonna say, I could go lighter.
But I'm okay with this orange.
I'm not gonna tell you how it looks on
film, cuz I don't know.
But to my eye it looks pretty, pretty
orangey.
I like that orange I really like warm
oranges
that are a little bit in the dark kind of
that smokey burnt orange.
That's, that's actually my favorite color
in the world.
Always has been I don't know why but and
it's beautiful with accents if you see it.
Like on a figure and you just have a
little.
[SOUND] A little of that warm orange
somewhere.
Orange also makes me feel like, you know,
think about fireplaces and really warm
things like that.
Just gives me warm, a warm feeling.
And that's what's amazing about colors it
just, it kind of invokes, so
much in people and, you know, a lot of
memories, chromotherapy.
So, I'm gonna take my ruler and just kind
of block this in and.
Get that straight.
Now sometimes I just quickly wipe it down
if I make a mistake like that.
Ooh.
That orange is really pretty.
Really love it.
You could just fall in love with a color.
You know, it's just like, see a color like
this and it's just wow.
I could do this, I can just wear that
color and eat that color.
I used to, when I was a kid there used to
be a, an ice cream truck
when I was eating dairy as a child, I
don't anymore, but I used to.
I used to eat this thing called a
Creamcicle.
Man, and that thing was so orange.
I think I was, I was more into the color
of
the Creamcicle than I was the actual taste
of the Creamcicle.
I don't know why, it's like, you could,
you could tell, like,
they just, you really could dial into a
kid's psyche with color.
And I always was mesmerized by orange.
I'm really into orange, you notice?
I can't stop talking about how much I love
orange.
It's beautiful, God.
Okay, enough about orange.
I'm having a love affair with my orange
right now.
I love you so much.
You love me?
[MUSIC]
[MUSIC]
Now
that we have our second secondary color
down,
we're going to mix up our final secondary
color,
and that color is going to be green.
Now blue and yellow make green.
Now let's clean our palette off.
[SOUND]
Palette knife off, let's clean
our palette knife really well and
have your setup really convenient for you.
Do not make it sloppy.
It is not a good thing.
You have to keep everything organized.
Okay.
So, now I'm going
to go get into my blue and
my yellow.
[SOUND] And I'm actually going to
[SOUND]
So,
I'm going to now take this palette paper
and
put it down cause I really don't have any
space to mix colors there.
And I'm gonna take my blue and my yellow.
I might have to add some white to get it
feeling green.
Green's another one that's kinda hard to
achieve without
taking it down a little bit.
And I'm gonna take my yellow here.
[NOISE] And I'm going to mix it up.
Then we're gonna get it down.
I'll take my yellow, my blue.
[NOISE] Like that.
And that's pretty, it's pretty green.
Now with green, you know greens are
everywhere.
You know we mostly see in secondary and
tertiary colors,
like there's not a lot of, I actually got
a little red in there by accident.
That was not a purist thing to do.
But, like I was saying, you know,
a teacher once told me that they're not
pure colors in the world.
Not a lot, so when you use them, be
sparing with it and
use it intelligently and wisely.
So, what he meant is that if you really
look around in nature, there's a lot of
brown's, there's a lot of greens, there's
a lot of muted greens, muted blues.
Now what do I mean by that?
I mean brown like the earth, greens are
not
pure greens like if you look at a pine
tree or
any kind of tree, you see a lot of greens
that are not really saturated.
The grass, the earth, rocks.
Greys, a lot of greys, a lot of browns.
Rarely do you see like a bright yellow, or
a bright orange, or a bright violet.
You see that with flowers.
But rarely do you see it besides in an
artificial
setting when you have a lot of ads.
You know, billboards, neon signs, that
kinda stuff.
Then you see saturated colors.
But it's really man made, you know, like
stop lights.
Those are really saturated because there's
light shining through it, right?
So it's white light shining through a
filter, so that's a lot different.
So in nature, when we're painting nature
and we're drawing from nature,
even the human figure.
You see the human figure, it's like,
you know, pink greys or browns, or off
white.
You rarely see a pure, pure color, maybe a
pure red on the lip.
Or maybe a little bit of pure red in the
nose, just a little bit,
or in the ears, light shining through the
ear.
But you really see pure, pure colors
You're looking mostly at tertiary colors,
the browns and the greys.
So, when you do see that accent, that note
of color, it's exciting.
It's like, feels good you got to know when
to use it,
you got to really be mindful of where you
place that.
And you have to know what note that is.
Is it gonna be a warm?
Is it gonna be a cool?
Is it gonna be a blue?
A hi, you know, is it gonna be a high
yellow?
Is it gonna be a, you know, a very deeply
saturated blue?
[SOUND] So you have to be mindful of that.
[SOUND] Okay.
So, now, we're kind of going in with our
last but not least, green.
Green feels like money, right?
Green has a whole other kind of
significance.
Green has been called the color of
jealousy, of envy,
ironically, its the color of money.
Here are the green monster.
The green eyed monster.
And green is just beautiful, and there's
so many different shades of green.
So many different, you know, in paint
there's viridian green.
There's hooker's green.
There's hooker's green deep.
There's brilliant green.
There's sap green.
There's [LAUGH] millions of greens, and
you can see why.
Because you can mix a millions type of
greens,
you know, by adding more blue, more
yellow, more white.
It goes on really endlessly.
So, it's an amazing, amazing color.
They're all amazing.
Color's just amazing.
If you could really dial into color and be
able to play with color,
in other words get the right value and
then kind of hit a color.
You could really play with art in a deeply
profound way.
There's a painter by the name of Asaro who
hits these values that are perfect.
So he's always got the right values.
John Asaro.
Check him out.
And then he'll just play with color.
I had a teacher, Harry Carmean, was one
of, notably one of the greatest draftsman,
figure draftsman, of our time.
Great figure draftsman.
He's got master series books.
Harry Carmean.
And he always thought that Vuillard and
Bonnard were the greatest colorists ever.
I personally love Monet.
Monet is my favorite color guy.
When I'm thinking what do I do for this
color thing?
What do I do?
I always look at Monet, and
I just think he is just brilliant.
People think like, oh Monet, he's cheesy
because he's in every apartment.
But Monet is seriously advanced, like what
he's doing with color is way out there.
Carmean might not agree.
Carmean used to say, oh it's Bonnard!
If you look at Bonnard, you see color.
That's how color is.
You see Bonnard and Vuillard, Vuillard!
Everything is Vuillard.
So, Carmean, Vuillard, Bonnard Monet.
You know?
John Asaro?
Some other people might have some other
ideas.
Look, you know, Picasso said in the end
there is only Matisse.
So maybe I don't know what I'm talking
about, because Picasso knew a lot.
And you got to give him a lot.
You know, when you're dealing with artists
like Velasquez, and Sergeant, and
Zoron, their colors are gorgeous.
But their values are so right, it like
doesn't even matter what their colors are.
That's how crazy they are.
They were such crazy good draftsmen and
such good painters, and
their color was so beautiful because their
values were so right.
Another good color is, actually bizarrely
enough, is James McNeil Whistler.
Whistler is really interesting, because he
would keep things
in like this grey muted tone that all the
sudden just had this note of red.
And you'd be like, aw, it's beautiful,
it's like chilling, like ew.
Beautiful.
So, Whistler's another one too to look for
as well.
Even though he would be kinda the furthest
person that you would think of with, for
color.
Okay.
Well, there you have it, my officially
finished color wheel.
You have your primaries which is your red,
blue, yellow.
You're secondary colors your orange,
violet, and green.
So play around with that.
Experiment with it, and have the best day
ever.
[MUSIC]