How to match the perfect value with oil paint. Munsell color mixing series 1

[@curtis1985]

That acetate trick is low key subtle genius. Could be used throughout the painting process especially when returning after a day or two, maybe having scraped your palette and wanting to pick up where you left off but…your colors are dried or thrown out.

[@flack_studio]

very true, if you want your paint to stay wet longer, cover your paint on your pallet and place some clove oil under the cover. The clove oil will absorb most of the o2 so the paint doesn't and will make them last longer. Setting in on the paint film on the painting can be corrected by adding and wiping off oil before you start painting again, that will show the correct Hue, Value, and Chroma so you can match it better. Also, using a limited pallet makes it easier to match colors. Best!!

[@sekarbhavani6322]

Very clear and concise description and technique for making a value chart.

[@flack_studio]

Thank you, I will be making more :)

[@MrDannycranberry]

Exactly what I needed! Great video.

[@flack_studio]

Thank you.

[@marcobi369]

Do you have more videos on this color mixing series? I'm curious how to manipulate the values of different hues

[@flack_studio]

Not yet I am still working on them, thanks for the info. I will try to add that to my future videos.

[@stonew1927]

Thanks. Now that you've gone through all that work, it would be good to see how you apply same values on a painting, so that us beginners can better understand the purpose of this excercise.

[@flack_studio]

I agree, this is just a beginning exercise, if you can master it without using a value swatch you will do much better with color. I will work on making a bridge video from this content to a poster study to a finished piece.

[@dw1028000]

This was a great video, well filmed! I was going to say raw umber is more yellow than orange (for example, RU in williamsburg it's 6.41Y ) but in Gamblin RU is indeed 10 YR.

[@flack_studio]

Thanks for the info. It is amazing how different colors are based on the manufacturer of the paint. How were you able to find out williamsburg is 6.41Y and Gamblin is 10 YR? Is there a resource online that has them labeled?

[@dw1028000]

​@@flack_studio Both Gamblin and Williamsburg have charted the HVC for each of their pigments -find on their respective websites. I dont know of other manuf. that do this, sadly.

[@fereshtehk241]

Appreciate your video. Could you please share where I can purchase the reference chart you used? Thanks in advance.

[@flack_studio]

Amazon or specialty book store, Munsell Student edition.

[@fereshtehk241]

@@flack_studio what is the name of that book or chart you showed? Thanks

[@akedee5178]

@@fereshtehk241 Have you known the name of the book? I am also interested in buying it.

[@fereshtehk241]

@@akedee5178 “Mansell book of colour charts”

[@troyingram716]

When you first pulled up the raw number it looked like you had a little grey on your knife?

[@flack_studio]

Yes, their might have been a little bit of grey on the knife from the previous mixture, but it was so minimal it would not have made a difference. To me being 95% correct in nailing the grey is good enough, for others it might not be.

[@AlexKellyArtUK]

As a painter, I adhere to the Munsell definition of color, which considers value, hue, and chroma when analyzing and teaching about color. I find it challenging to comprehend the strong emphasis on color matching, as it primarily serves as an exercise in mixing colors, which is undoubtedly valuable but holds limited significance in terms of the relational aspect of color, which is far more crucial. In a painting, the effectiveness of color shapes relies on their interaction with the entire composition and their relationship to other color shapes. Isolating color matching has limited value due to the relative nature of color perception. When I paint, my approach mainly involves working from life observation. I often use my palette knife to assess the value, hue, and chroma of the subject. However, this serves as a general guide only. It is only after the color shape has been applied to the painting, and when there are enough other shapes present, that one can judge whether the chosen color shape is appropriate for achieving the desired visual effect.

[@flack_studio]

I agree, relationships are key to successfully matching colors/values. I like to start with matching values, one thing at a time then match the hue, then the chroma. At least I have found that helps beginning painters start somewhere and navigate the Munsell color world, or any color world. It does have its limits. Thank you for the comments, working from life is very important.

[@MichaelCarter]

I do a lot of that

[@flack_studio]

It is fun to do.

[@gerryarty8342]

Flack, why not just place test paint on the value chip not need for acetate ?

[@flack_studio]

In case the value is wrong, the chips in the video are matt so it would be hard to remove without removing the color on the chip. If I had the glossy chips I would place them directly on the value chip so I could see it better and it would be easy to remove. Another alternative is to varnish or clear coat over the chip and then paint on it directly. Thanks for the question.

[@Bright-It]

Music off, please. Thank you for sharing.

[@flack_studio]

Thanks for the feedback, maybe in future videos.

[@atlantic_love]

Such a waste of paint, IMO. For what purpose, to say you can match the color?

[@flack_studio]

You are totally welcome to your opinion. Yes, you could view it as a waste of paint. Personally, if I skimp on paint and try to get it just close then things tend to not look right for my liking. If I just mix and match for some art pieces and not worry about how much paint I am using, it usually turns out good. Is it considered a waste if one is learning from the process of matching color..... possibly. If you can match colors then you can see color harmony and values better and know how to mix it, so you gain better control of your medium. One can always just buy a bunch of colors and values and use it straight out of the tube, but that person is not going to learn the skill of creating harmony in color and value for their paintings. Thanks for the comment.

[@atlantic_love]

@@flack_studio So you're suggesting that you're just learning to mix these colors? I doubt that, and that's a compliment just as my last post was. Now, if you're just doing this to help others, it doesn't really, as they're going to have to do it on their own and you benefit from all the likes and subscribes. It just sends a bad message all the way around, especially in this time of inflation I'm everything including the costs of art materials.

[@asimian8500]

What a stupid, brain dead remark. Waste of paint is an arrogant value judgment. Why is it even your business? Do you even comprehend what you're saying? Paint the way you want. I bet your paintings suck. Flack is doing something very specific which you obviously don't comprehend.

[@asimian8500]

@@flack_studio You don't have to justify anything to this idiot.

[@embryonicandcatatonic]

The only waste of paint is to let it sit unused in its tube for months or even years. Hue, value and chroma are the fundamentals of painting- in any medium - the Munsell system has been influential for that very reason for around a century. I agree that materials can be expensive, however you can use student grade paints and find canvas boards that you can prep with gesso priced quite reasonably if you take the time to look for them and if you're willing to put the elbow work in. Ebsy is a good place to look for cheap materials from people who have picked up painting as s hobby then given up. They often sell in job lots. I hope that's helpful.