What Nobody Will Tell You About Color Theory

[@miro-hristov]

Hey Florent, interesting video, but I think there are some key technical points to address about pigment mixing vs light behavior that need clarification. That first example with after-images is actually showing something different - it's about how our eye's cone cells get fatigued from staring at colors and then produce opposite colors when we look at white (like seeing cyan after staring at red). The "optical-illusion" is about additive light processing, which is totally different from how pigments mix. And about CMY - painters don't avoid it just because "we're not printers" - pigments just don't work that way. Printers can make bright reds and blues because they use special inks and dot patterns - try mixing CMY oil paints to get vibrant blues or reds and you'll end up with muddy unusable colors. The color wheel you suggested might work great with RGB math, but it doesn't match what happens with real pigments. Like, you put blue and yellow opposite each other as if they'd make gray when mixed - but we all know they make green! It'd be neat if pigments worked like inverted RGB or normal CMY, but they don't - pigment mixing is way more complex with all sorts of layered reflections and refractions of light. Those old-school color wheels painters use (like Munsell), came from actually testing how pigments mix. Maybe check out how pigments really interact and do another video on that? And yeah, RYB isn't perfect, but there's a reason art teachers use it - it works well enough for learning the basics.

[@jc-aguilar]

Also, if you look at expensive printers they use way more than CMY, here is the list of cartridges used by an Epson printer: Epson SureColor P5000/P5070 * photo black * cyan * vivid magenta * yellow * light cyan * vivid light magenta * light black * matte black * light light black * orange * green

[@leif1075]

Wait question so if you stare at red and your cones get fstigued from.seeong red, then if you look at whote you will see it as cyan or not pure white becaise the red portion of the cone cells are fatigued so you will only see the other shades making up white aka the cyan and yellow or green? Want to understand. Thanks . And how do you know for sure?

[@kerriemckinstry-jett8625]

👍 I would've said something about light primaries not being exactly the same, but you did such a good job that I won't bother. I think his point (not quite clarified physics in the beginning aside) is that "primaries" don't really work when you're mixing pigments (they do for light). Just reaching for blue paint and expecting it be an exact compliment to whatever orange paint you pick up isn't accurate because pigments aren't like that. His point seems to be more about playing with pigments to see what they do together than to just completely trust RYB. His modified color wheel is more accurate in terms of what pigments do & isn't about primaries (hence why he moved some of the colors a bit away from where they "should be"). Light isn't mixed the way pigments are. However, yes, throwing new art students into a modified color wheel is asking for trouble. Perhaps it would be better if art teachers introduced RYB with a caveat, "This is a useful system but it isn't the only one. You may need to play with pigments to find which system works for you."

[@Ellionart]

I've seen another art teacher on KZbin just having two versions of each primary - colder and warmer. Like lemon yellow and cadmium yellow. One is better for mixing green, other is better for orange. That about covers it? Why does it need to be any more complex than that? And yeah is yellow really the opposite of blue according to this system? That's a good point...

[@jc-aguilar]

@ both James Gurney and Bruce MacEvoy, and others have said that the split primary palette has some issues. The colors are too close to create a large enough gamut. Look for “James Gurney the Yurmby wheel” and “handprint split primary fallacy”

[@MusicalRaichu]

I knew a lot of this since when I studied colour theory at university in 1980. Some teachers have caught on to the science, some have not. I found watercolour artists do use six primaries because they know that straight red yellow and blue can't give vibrant results. They use magenta red, red, ochre yellow, lemon yellow, turquoise blue and deep blue. In practice, they don't need a spectral green because it rarely occurs in nature.

[@AlextheENTP]

If we just acknowledge primary groups instead of single primary colours, it already makes much more sense. Usually what's sold as "red" in the primary colour triangle is specifically Cadmium Red - but it doesn't take long to realise that mixing this with cobalt blue will NEVER give you rich royal purple, but rather a muddy mauve (which is great if that's what you're after). Instead, those three single colours should be represented as three families: a spectrum of red that goes from the crimson that gives you "proper purple" to Vermillion; blue spectrum from Ultramarine to Pthalo; Yellow spectrum from Cadmium to Lemon. I've always been able to mix vibrant and accurate colours using this colour set (which is standard after high school, but should be from the beginning). That said, different media are available in different colours. For example, "classical" oil and acrylic paints are always available in the colours I'm talking about and the ones you're showing, but media like fabric paint come premixed into a bunch of specific colours and NOT the "artist basic colours" that I'd been used to. When I tried fabric painting, I found myself having to mix "final" colours with each other to make my intended colours. Now it seems that I was using your theory without knowing of it yet. So I can't deny that what you're teaching here has its place. I think both ways are equally valuable, and knowing what to apply when will make our work much smoother.

[@MarcinKebsMielczarek]

I found your color theory 3 years ago and it changed my painting drastically. Color mixing and blending has become easy and fun. I have prints of your color wheel around my workshop :) I have become kinda obsessed with monopigment paints and pigment codes.

[@FlorentFargesarts]

Wonderful! happy my work can help 😊🎨

[@MarcinKebsMielczarek]

@ I’m waiting for your live painting stream. I have some questions about cracked painting.

[@B1ackDahlia767]

That's my favorite video of yours. ​@@FlorentFargesarts

[@lehacarpenter7773]

Thank you! In order to pull maximum chroma from pigments, I have always started with finding the nearest neighboring available single-pigment paints according to the "wheel," and then choosing two that are of about the same staining power, so that one doesn't overpower the other. Nearest neighbors produce much purer results than primaries, in general, and experimenting to weigh things like staining strength and possible chemical interactions (as with ceramic glazes) is something we all just need to embrace if we want those powerful results. I also think that a lot of people don't realize that high quality, single-pigment paints are going to produce much better mixing results in general, once you learn the properties of the pigments.

[@djpokeeffe8019]

Interesting. Where can we see your new colour wheel please?

[@kohbold]

Great video. Random question, who makes your apron? It looks high quality.

[@Artist_Kevin]

CMYK RGB and Transparent white.

[@mikehiggins3281]

Go talk to a biologist about how the retina in your eyes work. Primaries should be based on the physics of the rods in your eye, which are sensitive to R G and B. That makes RGB the additive primaries. CMY are transparent pigments that subtract RG or B from white light. Unfortunately the goo in paint tubes a mixture of opaque and transparent bases with opaque reflective pigments and subtractive pigments. Color vision in animals evolved to do remote chemical analysis of food (before risking foraging). That is why we can detect pure spectral colors like red as well as band-gap colors like magenta.

[@lmlimpoism]

@@mikehiggins3281 Light & Paint mix in very different ways. Our rods observe red, blue and green light, but our paint can only really mix yellow, red and blue (Or nearby secondaries with primaries, for tertiaries.). red + green just makes a brown colour, nothing of use for us. in light, brown is essentially impossible unless you dim an orange light down so that its value is dark enough to produce a brown-appearing colour. This is why I love light & paints.

[@SethBondArtist]

Your video's are the only things that make sense to me. Thank you so much.

[@carmaela2689]

Although this is interesting and all, at the end of the day, being an artist is a form of self expression. If color theory eludes you or seems overly complicated, throw it out the window. Don't let that suck the joy out of self expression. Being a good color technician does not make someone a better artist than another person. If it helps them to better express themselves, great, but otherwise, it's all personal preference.

[@LillenArt2]

I would love to hear your opinion of having a warm and a cool version of each primary (red, blue, yellow). Your adjustment of the yellows in your color system seems like it would fit.

[@advntrrbndcmp3808]

There is an excellent Color Nerd video on this topic of split primary. He tests the concept and his conclusion is: its all flailing about to avoid acknowledging how bad RYB is, and it doesn't work. If you are going to buy six chromatic paints anyway, you will get the best gamut by starting with CMY(pthalo blue green shade, quinacridone magenta, bright yellow of choice) and adding middling intermediary colors (for example ultramarine, pyrrole red, pthalo green). Of course maximum gamut often isnt the goal with painting but if it is for you, and you only buy six paints, that's what you should be doing

[@tamaradrift2696]

🤯 this makes so much more sense! Your color mixing videos are so incredibly helpful

[@FlorentFargesarts]

Thank you so much 🎨😊

[@sameaston9587]

Before the post-quarantine inflation, I would have my students use a six color primary system not much different from yours (I made them mix their own green). But with living expenses, I now just use RYB in my classroom, and my original palette is listed as optional colors to purchase. The best I can do now is give the disclaimer of RYB's limitations, and mention there are other primary colors theories they should explore.

[@woodsstuffmx]

hello, i am new at learning to paint and on this video i am at 2/3 of it. So little did i have learned in the last 6 months now and so much you are saying that it is not really good but somehow wrong. Very interesting, i will finish to see this video and see it 1 or two times more to understand the logic behind your explanation. Thank you for sharing your knowledge.

[@just.a.cube.]

Using just red yellow and blue is all you need. Many famous portrait artists could get away using just red, yellow, white, and black. For a beginner like you I would recommend focusing on the chromatic value of the tones of the painting more so than the color

[@woodsstuffmx]

@@just.a.cube. thank you so much for your comments. I am trying to use only 5 colors. red, blue, yellow, burnt umber and white. Up to now i was going not so bad. I try to understand the value, not so easy. again thank you

[@jaapvanderleest]

As you mention in your talk: the primaries are yellow magenta and cyaan. Why not demonstrate with these primaries to see if you get 'all' other colors by mixing?

[@DROPTHEGRID]

The best colour wheel is the wheel one makes oneself. It's a good exercise and I commend others to try it. Its not as if anyone really goes I want colour a or b where is my chart. You are right about working in pairs. Making it work IRL is a kind of alchemy

[@onetruetroy]

Excellent video. I like all mediums and prefer gouache. I don’t have a standard palette and will setup based on the colors of the subject or reference image. I typically have an example of yellow, green, blue, and red pigments that closely match the most vibrant colors I see. I can always mix down those. If I have more than one of those vibrant colors due to greater difference in temperature or value, then I expand the palette. My rationale is that if I have premixed tubes that matches the colors I observe then there’s less chance of me muddying them. Plus, I will generally never run out of that color while filling a larger area. I’m horrible at trying to mix an exact match. I have over 40 great colors in each medium so it makes sense to me to start with what I have. Sometimes I’ll need to add a color because it appears differently on the surface immediately or when dried. Swatch books are absolutely valuable time savers.

[@kenkelly5848]

this is the basis for the entire printing industry. back in the day colour separations were made in a photographic process where an original (photo/diaPositive) was photographed onto pan film using three gelled filters that were red, green, blue. it was an amazing process and it was essential for modern colour communication.

[@Reginaldesq]

I did colour camera during my apprenticeship and in my 4th year was transferred to the Scanning dept. As I remember it to get yellow we used a blue violet filter. The subtractive colours of Cyan, Magenta and Yellow in theory make every other colour (except for specialty colours, fluro, gold etc). In practice, the inks are not pure so whilst an equal amount of each colour should produce grey, in practice it starts to turn brown. Hence black. Black was used to replace the dirty colour (3rd colour), but there were limits, too much replacement made the picture begin to look unnatural. Back in the day, you could point to any part of a picture and I could tell you how much Cyan, Magenta, Yellow and Black was in it to within a few percent. Because, thats what we did all day long.

[@hiddenwings91]

This makes way more sense. When creating art, it's like I subconsciously knew this. Thanks.

[@benjaminaustnesnarum3900]

I was introduced to "Blue and Yellow Don't Make Green" by Brian Wilcox during my BA in illustration. He talks about the myth of primary colours, colour bias, and the two-primary system (a warm set, and a cool set) Mixing colour is influenced by the specific pigments used, as each pigment has subtle undertones and biases. Some blues lean toward green, others lean toward violet. Some yellows have a greenish or reddish tint, etc. Mixing the "wrong" bias can result in dull or unexpected variants. (Note that this doesn't apply to digital media in the same way.)

[@rdendelacruz4332]

Rewatched this......this video blows my mind.......awesome!

[@JaySolomonK]

Ultramarine blue, red alizarin crimson, and cadmium yellow can mix the whole Munsell palette, thalos, quinacrine, cobalt are very strong colors that i prefer not to use unless there is a purpose for that.

[@mimilikankkunen4865]

Mixing colors as light work additively (get more light) apposed to pigments, which are substractive (tend to get darker)

[@rachelb1119]

I've always been very intuitive with color mixing and never put too much stock in any of the color wheel variations because they just don't work as advertised, lol. Throwing magenta on my palette solved most of my problems when it came to getting a good range of colors for what I want to paint. This trend of deep diving into color theory has been interesting and a lot of creators are talking about it and there's always lots of debate in the comments which is amusing. Didn't know color theory was such a hot button topic.

[@B1ackDahlia767]

THANK YOU, @FlorentFargesarts. This incorporates the phenomenon of "stygian blue" that I've been so fascinated with. *I've been suspicious that I may actually have the tetrachromacy gene all of my life.

[@invisiblevfx]

Hey bro, not so fast. You can’t call them inaccurate they are different models. Ryb is useful because they give you grays when mixing paint which is invaluable. In the rgb model if you mix these using light you get white but not with paints.

[@alisonhendry2928]

Whoa. Fascinating. Enjoyable to listen to the argument and then read the comments. I still think the old fashioned primary secondary etc is a simple way to teach basic colour theory, but I did not hear any mention of warm and cool tones in this video. This is SO important for mixing. And mixing is what it’s all about anyway. I feel the colour wheel is based on light . Who can’t name the colours in a rainbow and then say our colour wheel is wrong? It’s just simplified. I do agree with you that saying a primary is a colour you can’t mix is not quite right as I can get a lovely deep red from a warm orangey red by adding cool pink red. The actual pigments IN the paint really matter, not the names. Brands also differ. Mixing and learning is playtime. And practice. Thanks for this video, my brain is ticking😂. ..

[@lucymiau5700]

Most of color pigments are already mixed pigments and therefore neither the RGB nor the CMY sceme does fit complete when mixing pigments. Your idea to combine RGB and CMY surely improves practical color mixing. At least, I would add a white and a black to the pallet of colors needed for painting. And maybe some already mixed vivid colors, too.

[@baptistepayendessinphoto]

No one teaches RBY color wheel without saying it’s limiting the range of colors you can mix. Everyone dissociate the painter palette from the printer one and tells that you should have far more than three colors in your set if you want an accurate représentation of what eyes can see. And about the fact that you can fake primary colors by mixing other pigments. It’s a complete nonsense : yes you can obtain a color that looks like cyan by mixing some pigments with white, but this result in a color that cannot be mixed to obtain dark tints, so it’s not cyan…

[@prussianroyalty]

in the old times..red blue and yellow are the colors that can be derived from nature in the purest form...we are talking about oilpaint tubes...try to research howpaints were made in the past..

[@toddbowlin5844]

Is there a reason you list the colors outside the wheel instead of exact places inside like ciecam? And can't you just mix raw umber and ivory black 50/50 with white to make a true string of greys. Then add the appropriate grey value to neutralize or dull the color like it's done in a Reilly pallet?

[@varflock9777]

I understand that the part about three colors that can't be created out of other colors may be wrong. But the part about an existence of three colors (likely cyan, magenta and yellow) being usable to make all other colors seems to be quite correct, especially considering printers do just that with reasonably good results. In defense of primaries: Printers use CMY(K) subtractive primaries and it works. Our monitors use RGB additive primaries and it works. Our eyes use something close to RGB primaries in most cases - we have three kinds of cone cells reacting mostly to the spectrums focused on red, green and blue (there are also rod cells, that react mostly to something between green and blue, but they're mostly just a kind of boost helping us see anything in dim light. Also there are rare cases of tetrachromatic people with four types of cones). So while the idea of primary colors may not be necessary for traditional art, it's a useful idea in general. Still - in form of CMY or RGB, not RYB.

[@FloraGaleFlower]

One note, for me yellow and purple are opposites, not yellow and blue. It's probably a quirk particular to my eyes, tho. The color that pairs with blue for me is a golden yellow that's halfway between yellow and orange. I suspect that the cone cells in my eyes are sensitive to slightly different wavelengths than the average.

[@Roman-GreenBoulevard]

Do You think it’s possible to do more videos where you comment and analyze paintings / photos? In termns of composition, color balance, elements weights and distribution.. Loved so much your videos about composition, they are really inspiring 💚

[@DROPTHEGRID]

You can't learn this from a youtube. You need to understand the nature of compounds the paints are made from and that a comes from trail and error. My main critique is you have not actually provided any practical demonstration of a method, perhaps in other vids you do. But thank you for giving me the motivation for making my own vid. It's been on my mind partly so I can understand my own methods.

[@Sephylis-tl4ll]

Only managed to see 2 out of three. Still, neat!

[@MisterrLi]

Hi, what bothers me in your video is the confusion of different color models. The different color models are actually modelling totally different properties. Mixing color as paint suggests one model, where yellow + blue = green, mixing color as light creates a different model, where yellow + blue = white. Color is also what we perceive, a property of the visual field, together with movement and shape, and in that color model we have primary colors defined in a different way: not those colors that create the biggest set of mixed colors, but the colors that are perceived as primary, in other words, that are perceived to have no other hue in them, for example a yellow with no perceived red or blue in it = pure yellow. After-images tell us a lot about how the eyes work, but the colors are not perceived in the eyes, the signals from the eyes goes to the brain for further processing and only later becomes colors if all goes well, we know this is so through research. So, we are better off, I think, to switch between different color models every time we need to model colors with precision.

[@hdub8093]

While some of this is true in your video, with CMY and RYB mixing and stuff, your dismissal of the use of the traditional color wheel might not be quite as simple.. you're forgetting that, the traditional color wheel as such, is to be used as a GUIDE, the mixtures one gets from a RYB combination is reliant upon WHICH sort of primaries one uses (alizarin crimson or magenta? cad red, quinacridone red or madder rose?.. etc) Painters, color printers and other uses, like digital, use different combinations of primaries If art teachers use RYB in art schools, it's for a reason, and they have to start somewhere... don't they?

[@kerriemckinstry-jett8625]

I think his point is to remember that it's a simplification but the way it's taught in art schools is that it's The System, the one Right Way. In art class, we had a box full of color swatches & we did all sorts of exercises with hue & value, etc. Several focused on making the biggest contrast using colors that were more or less on opposite sides of the wheel (more or less because exact red & exact green aren't always the best contrast).

[@gaga1812]

colours not cutters :) huge fan and love your vids.

[@Saltycrowofficial]

I think what people get confused is that you learn early on that all colors make white and black is the absence of color. However, what they fail to realize is that this theory only applies to the LIGHT SPECTRUM. PIGMENT is a WHOLE different ballpark. This is why when you see videos of people mixing a rainbow of pigments like paint, silicone, bathbombs, it comes out a dark mauve color. Every time.

[@jc-aguilar]

I watched a video at the Royal Talens channel where Michael Mentler said that the wheel at 1:30 is a misprint. The original version had Yellow, Cyan and Magenta colors as primaries.

[@FlorentFargesarts]

Hmm, maybe so, that would explain a lot... still, it was spread as it shows and it is still incorrect and, in the end, the notion of primary is still irrelevant.

[@bluewren65]

I've been studying colour for a while now and this is brilliant. Of course, most artists know that the tradition RBY "primaries" is not going to work. Also, re the secondaries, I could always justify blue/orange and purple/yellow, but red/green has never made sense to me. I really like this idea of the visual complementaries and then using a third colour to pull the colour in a particular direction. I have always done this instinctively (ie I navigate the colour as you suggest), but I always thought it was me being too lazy to figure out how to do it with just two colours.

[@DROPTHEGRID]

Third colour. that's why I glaze it controls the shifts.

[@heracortes7301]

In my vision, lemon yellow opposite is bluish violet. While ultramarine afterimage is yellow ochre😅 just like in 9:26

[@AlexNik]

I love my greys mixed with Ultramarine Blue and Burnt Sienna. Another gorgeous grey is Phthalo Green and Magenta or Quinacridone Rose. But I use watercolours - I absolutly don’t know anything about oil mixtures. But I guess, colour theory works for most of the mediums relatevely similar 😊

[@johndavidpetty649]

RYB is not ‘wrong’, it’s not ‘a lie’. It’s just one of a number of systems for understanding the sensation in the brain that we call colour. It’s a simple one; it’s a basic one, but as you admit yourself it works well enough for many uses and purposes. If you want to use a more complex method, fine, but that doesn’t mean other methods are a lie, are wrong. They’re just different, just not the ones you choose to use. Ok?

[@ooqui]

All of this becomes much more complicated in tetrachromacy. With my form of tetrachromacy the opposite of a yellow cannot just be blue, but also red-green, or a "red-cyan". The opposite of red-green (a tetrachromatic form of "magenta" that others see as just a "magenta") can be a hue combo of a vermillion-green, vermillion or green. In tetrachromacy hue is 2-dimensional, so there are many _many_ more hue opposites. Because there are 4 "primary" colors in tetrachromacy, there are at least 15 totally unique hues (like red, yellow, green, cyan, blue, etc. in trichromacy), of which a few are completely new and unique tertiary hues. E.g. I can see a red-cyan that's not white but a unique hue. And a vermillion-cyan mix, which looks white to other people but is a unique hue for me also; and so on. With so many color opposites and harmonies designing things becomes a bit more challenging (if I can actually find a human-made paint that has that tetrachromatic color, which is rare).

[@iainwill3493]

Very interesting and scientifically accurate. My biologist's brain says, yey! But my artist's brain says an experienced practitioner can manage perfectly fine with the traditional 'primaries'. The only exception is if you're producing vivid, high chroma paintings. That being said.....if one is receiving one's initial artistic training, then yes, you can certainly benefit from your video 👍 Thanks for the wonderful content.

[@jimfoote8066]

How do you mix yellow?

[@jc-aguilar]

@@jimfoote8066 not exactly mixing yellow but you can create the illusion of yellow without yellow paint: kzbin.info/www/bejne/pGOyd3dqjceIask

[@FlorentFargesarts]

One point for you, yellow would be the only "real" primary, technically. It's a very specific hue that differs a lot from the rest. Doesn't make the notion of primary more relevant for painting though. Are you going to build an entire color system out of secondaries from yellow?

[@jc-aguilar]

Cesar Cordova has video where he paints a yellow subject (pikachu) without using yellow

[@iamllux]

Six colors? I was taught to start with green. You can get anywhere you need to go from there. Works for more than skin tones.

[@jotnarymir1393]

Have been looking for this for a while.!

[@bipl8989]

Artists should take a bit of physics. Monitors construct pixel color using RGB values, denoting red, green and blue values, each color having values of 0 to 255. (0,0,0) is black and (255,255,255) is white. (255,0,0) is pure bright red, (0,255,0) is pure green and so on. This allows setting almost 17 million colors in each pixel.

[@FlorentFargesarts]

Yep, pretty cool ! So much more potentiel than ryb.

[@miro-hristov]

ummm no, you should try mixing some oil paints first!😆 I too came from a RGB background into paints to find the hard way things don't work like you would expect. Very surprised Florent loved you comment without correction...

[@ryangierman4421]

The difference between RGB and pigment is that paint has impurities in it that cause unexpected color shifts when mixing. Plus, paint has additional properties that affect the color results. There is a great book called blue and yellow don’t make green. That will explain a lot. There also many other color models such as LAB for example. Color such as deep and fascinating rabbit hole!

[@jc-aguilar]

There is some physics involved but for the most part is about anatomy. It’s about how our eyes and brains react to the light in the environment around us and the subject that we are observing. If dogs could paint they would probably have different primaries and different color theory :).

[@PaulMollon]

You are totally correct, and thank you for pointing that out.👍 Moreover, anatomically, the human Retina is comprised mostly of Rods, light receptors and secondary are Cones, color receptors. The Cones in order of magnitude is: Red, Green and Blue. Hence why Homosapiens see in the Infrared Spectrum vs. the Ultraviolet Spectrum. In reality, Homosapiens see very little of the entire light spectrum.

[@just.a.cube.]

Tbf, you can paint perfect portraits using red, yellow ochre, white, and black

[@kevingibbons6215]

The color wheel is a demo to help people understand how color works,.... not a system to be used.

[@LotusBlossom808]

Ummm…. I think there’s something wrong with my eyes. Every time the screen changes to white, I didn’t see the inverted colors. The blue turned lavender and the yellow turned a coral red. I wonder what that means. 🤔

[@socratesthecabdriver]

It's funny that as i was posting something about artificial colorful lighting, and their positive and Negative effects, you post something that might just help me 😂

[@mariejackson3212]

Very interesting, thank you!

[@helenamcginty4920]

Weirdly I could see the light fitting behind my phone. My phone blocked out the centre of the fitting but I could 'see' it clearly. I know that what we see is only a tiny bit of the whole and that our brain fills in the rest from memory. This is the 1st time I have been acutely aware of it happening. My phone is not see through but I could 'see' through it. My brain had provided the centre of the fitting even though only a bit of it was visible at the side of my phone. I couldnt concentrate on your video, sorry, i was so taken with my 'see through' phone.

[@Bearwithme560]

Sorry, but what does "fitting" mean?

[@tedwallen4056]

Read the book, Blue and Yellow Don't Make Green by Michael Wilcox. It will change how you see everything. Great video, as always

[@HellRainGod]

Complicated, even basic of was for me. 1st dot didn't work, but second dot i was amazed at colour changes... Maybe why i always found colour mixing complicated. I must watch the 2nd dot again and again, might find easier now because of🍻👍

[@HellRainGod]

i did see first dot now change the colours on 2nd watch👍

[@HellRainGod]

Was more pastel colours i seen on the after imagines.

[@kickybirdsToo]

What if I don't see any color ...no after color. What then ?

[@tisi88]

0:45 nö, statt blau rechts unten war Violette bei mir, nicht dunkel blau🤔

[@michaelcheng9987]

It's HSV. You recreated HSV. You recreated it, and then shifting around variables when they didn't align with your beliefs. And then claimed that it's not always going to be accurate(which just negates the entire point you were building that everybody is "wrong" about how they mix colours). If you really wanted to be scientific about this, I would direct you to a wonderful little aphorism: "All models are wrong, but some are useful." Originally meant about statistical models, it's the idea that we keep trying to create hard rules and models for how the world works. But reality doesn't just conform to our perfect, neat model we expect it to. It's complicated, and because it's complicated, it's not like anything we come up with won't be wrong if it's not at least a little complicated. But that doesn't mean they're completely wrong, and hardly ever means they're useless. There are reasons these systems came about(like how I said you recreated a different model), and even if they're not accurate, they have uses. These models are not rules, they're tools. So rather than condemn other for using them, inform them, and make it conducive to open up that discussion and invite other people to explore, and create their own theories and opinions. And who knows? Maybe we will find a perfect model one day. But that's not going to happen if we simply just dismiss everything people have been researching about for centuries, and impose our own(that also happens to be eerily similar to another). You didn't go into the how and why different systems are used other than the implication "it's just always been like this", the limitations behind them that are explicitly called out, or even the different ways they're accounted for. But maybe you're not a science person. Then don't come here trying to be scientific, then do things like shifting variables because they "make it work better", or not even acknowledge that people _have_ studied it before. That is the antithesis of science.

[@christopherbarnes3915]

@@michaelcheng9987 I'd like to point out why he mentioned printers specifically rather than an RGB or HSV system used in screens. Colour mixes differently as light, than it does when mixing pigments. Light mixes additively, whereas pigments mix subractively, since pigments absorb certain colours of light. He never claimed to have invented anything either, he's just pointing out that the main way this is taught to artists isn't accurate, and he's put some work in himself to try and teach it

[@michaelcheng9987]

@@christopherbarnes3915 I am aware of the difference between light and pigment colour mixing. The diagram even mentions it's for painting. But printing is extremely different from painting. Dots on a sheet, not layers of paint. And CMYK is far from the only printing system, because it has limits others account for.(e.g. CMYKOG, or Pantone) But that wasn't the focus of my comment. The point was that he's trying to be "scientific" about coming up with a new system(which he called new), and then goes ahead and adjusts his results to better fit this idea of the "optimal" colour wheel. And there was also talk of other systems, but no mention? No summary of how they worked, no reason they were created, not even why they're used, or the limitations that have long since been found. It's like there was nothing but the barest research. Even on the "main 2", since many of them were in part influenced by the additive and subtractive models. I'm also asking how not only this is new, but everyone else is doing it wrong? If he meant everyone was "taught" wrong, maybe, just _maybe_ I can get what he was going for, but that's not what he said. He even references digital painting, which this uses as a basis(having areas of RGB and of CMY, something digital colouring wheels do already). Is that not how digital painting works? How is _that_ being taught wrong when they already use an additive model?

[@just.a.cube.]

I saw bright orange, teal, and deep purple when the screen switched to white

[@alisonhendry2928]

Just to add, I paint in watercolours. Was former oil painter.

[@nataliemcandrews9092]

Very good yes. This was interesting

[@guillermoperezsantos]

Red and Blue are not primaries in paint/pigment/subtractive color theory, they are "light" primaries

[@nozari28]

Whoa! Why did i only see the dark blue?!

[@han__nya]

Not even a minute in and I know that this is misleading. How is it that the primaries don't work, when if you stare long enough into a red square you will see green as an afterimage, which is literally the result of mixing yellow and blue? There's a reason there are 2 color systems, RGB AND CMYK, and as someone has already explained, pigments do not work the same in mixing like light does.

[@pamelacunningham8015]

Brilliant ‼️

[@LadyAnyaRomanov]

Mild cyan, light pale peach and lilac where the colours I saw....does everyone see different colours or are my eyes just weird? 😂 and the second set all are pastel colours....not the colours shown....is my brain just hooked up to rainbow pastels?

[@TheNightshadePrince]

I don’t see it like that, teal went to orange and red went to lavender.

[@GM-qz9fo]

You are very confused, wildly conflated data is confusing your arrived opinion. Mixing light is slightly different to mixing pigments, different rules. I can match any colour using those rules. ~So can you.

[@johncarmanarts]

Wow. The RGB primaries with secondaries and tertiaries is an extremely useful way for beginning artists to start understanding color. And despite your good intentions I think this video will confuse many and your perspective not nearly as useful to most artists as the RGB approach taught and used by the majority of artists. And to say you have been “lied to” is ridiculous. I also notice your work tends to have very cool and non vibrant color as compared to the best artists using the RGB approach. To present this as you having the secrets to color and the hundreds of thousands of other artists and teachers basing their approach on the RGB system are wrong and lying is off the chart click bait.

[@dudhman]

@@johncarmanarts Please calm down

[@Utrilus]

You're missing the thing that people who seek this video out are looking for something more accurate then RYB. A model for mixing paints reliably. So people who would get confused would not come to this video in the first place, things are self filtering.

[@JaneCooper190072]

2 sets of primaries thats why

[@anahenriques.]

I was shocked to know most countries teach Red - Yellow - Blue. Those are not the primaries I learned many years ago.

[@FlorentFargesarts]

It's everywhere ! You were taught better at least ! 😊

[@daphnestemmet4720]

You will get a shade of red by mixing violet and orange; not true red. Cyan is not blue. There are shades of primary colours which can be mixed, but the exact primary colour cannot be mixed

[@SigurdBraathen]

There is so much misinformation about primary colours on KZbin. You're close, you just lack white and black! (You can't mix proper white or black with CMY RBG)

[@korosheht5446]

"smart people who made the printer" Thats it fellas they got him 😢

[@FlorentFargesarts]

Oh no, they’re still smart, but evil 😈

[@davirosa]

Wanna catch a Guy of The red-blue and yellow primaries? Ask them what IS The result of mixing The complementaries "Red and Green". BROWN!! PHOWWWWWW Brown is not Gray! Thus...

[@palnagok1720]

They took chevreul' s system and wrongly applied it to paint.

[@imlistening1137]

Pigment and light do NOT have the same 3 primary colors!!!! BYR (CMY)- pigment BGR- light!!!!

[@melissaaldosari8024]

I saw blue, purple and yellow….?

[@invisiblevfx]

You are being sneaky. You moved the green with the excuse of having too much green and not enough orange but then you use this model as the new color wheel which fits the old color wheel where orange is across from blue conveniently creating grays when mixed. Look you can’t rectify additive and subtractive models into a unified theory.

[@Utrilus]

I find that sneaky bit fascinating for another reason. He's using that model for charting and predicting how colors mix. But then he ignores the objective placement and shifts them around. I would bet one of the reasons why the color mixing veers into other colors is cause he cut a chunk of greens out and replaced them with yellows. Tho probably the bigger is the chemicals that make up the colors and the colors not being quite one thing.

[@seanfaherty]

If you ignore the things you don't need why did you make this video ? a pile of theory that can be quickly figured out by mixing paint and trying to match values. Sometimes theory helps you figure stuff out. Sometimes theory distracts from just doing.

[@graziacavasino8884]

What nobody will tell you about colour psychology is that it is a bunch of pseud-scientific lies.

[@Reginaldesq]

I think colour psychology is very real but it cant be applied to all people equally. My wife firmly believed that different coloured smarties (like M&M's) tasted different, red ones tasted like strawberry etc. She argued with me when I told her they all tasted the same. The problem I have with it being applied to everybody is, it all depends on genetics and what happened to you whilst you were young and what culture you grew up in. All senses have this issue, sound, smell etc. As a teenager on school camp we were travelling across the desert in a Bus. The clutch plate melted. So, we stopped to make lunch, whilst some Swedish mechanics (on holiday, just happened to stop to see if we needed help) tried to get the bus going again. A friend of mine suddenly threw his plate in the air and started convulsing on the ground. We got him to a doctor that night. Doc said, it was triggered by the smell of the melting clutch plate because as a kid he nearly died in a car that was left running in a garage.

[@jamilsaraab2147]

You better show your own paintings to support your claim.

[@KellyB.-wi9nf]

I wish brown was real.

[@nerdnam]

Stare at the dot.... stare at the dot... going to switch to... commercial!

[@FlorentFargesarts]

Grrrr, so angry 😡they ruined it. Normally, I can review ad placement and I made sure this part didn't have ads but I guess KZbin treats itself with random ads every time the audio has a small pause, sorry about that 😅

[@sabineseufert1154]

Oh my gosh, come to the point.

[@chuzzbot]

Love the wheel, hate the explanation.

[@D-TroS]

Yes, everybody else hold color theory conspiracy. Where`s that illumi hat damn it.

[@FlorentFargesarts]

The truth is out there 🛸😲😵‍💫

[@victoralosi1461]

Cromalithogrhy

[@socratesthecabdriver]

🙏🙏🙏🙏🙏

[@TheBat39]

🤯🤯🤯

[@Artist_Kevin]

👋😎

[@lurkingreplyguy]

no one cares

[@invisiblevfx]

Actually the human sees twice the amount of greens than anything else.

[@atlantic_love]

Your comment is confusing

[@bipl8989]

@@atlantic_love There are twice as many green receptors in the eye than we have for the other colors. Humans can distinguish between many slightly different shades of green. Probably to avoid those sabertooth tigers hiding in the bushes.

[@Realone525]

I’m tired of people talking about RGB when it comes to painting that doesn’t work because those 3 work with light … and pretty simple for oils just get cadmium lemon, quinacridone magenta, cobalt teal, alizarin crimson, Ultramarine blue , yellow ochre, titanium white and burnt umber 🫠 you do not need anything else and there you have the cym and ryb … 😂 problem solved

[@Saltycrowofficial]

I think what people get confused is that you learn early on that all colors make white and black is the absence of color. However, what they fail to realize is that this theory only applies to the LIGHT SPECTRUM. PIGMENT is a WHOLE different ballpark. This is why when you see videos of people mixing a rainbow of pigments like paint, silicone, bathbombs, it comes out a dark mauve color. Every time.