Re: Pigments for neutral color balance in gum: (Re: Fish Eyes again)
Glad to read that. Unfortunately I'm out of PB15:3, will try it as soon as I purchase a new tube (tomorrow?). I have a nice gum portrait of my beloved one which waits its final cyan layer (and maybe another final final layer of black for Zones I - III) to be finished and admired (I hope)... Regards, Loris. 18 Eylül 2008, Perşembe, 10:08 pm tarihinde, Katharine Thayer yazmış: > Yes, PB 15:3 is the blue that seems to work best with PV19, in my > experience, if you wanted to stay with the PV19 and switch out the > blue, instead of the other way around. I guess I thought you were > asking what magenta would be more likely to produce good neutrals > with the PY42 and ultramarine. Either way, I think you've got the > right idea, > Katharine > > > On Sep 18, 2008, at 3:59 AM, Loris Medici wrote: > >> Thanks Katharine. Before dismissing PV19, I will first try using >> PB15:3 as >> the blue. Since the spacing between PY42/43 and PV19 is fine >> (albeit in >> the opposite direction of what McEvoy suggests; a yellow closer to the >> magenta instead of a magenta closer to the yellow), and PB15:3 is >> right >> opposite to them. If that doesn't give me acceptable results, then >> will >> try with a brighter / colder yellow and a redder magenta. For the >> moment I >> like PY42/43 because if gives nice / contrasty gradation gradations >> unlike >> the brighter yellows (I simply can't see the gradations when >> printing with >> a bright / transparent yellow). >> >> Regards, >> Loris. >> >> >> 17 Eylül 2008, Ã�arÅ�amba, 5:38 pm tarihinde, Katharine Thayer >> yazmıÅ�: >> >>> Hi Loris, sorry about taking off on a tangent. I'm just guessing >>> here, because I've not used that yellow (and would recommend using >>> handprint's mixing triangle as an initial screen, as I suggest on my >>> tricolor page) but I would definitely suggest a less blue magenta >>> with your combination. I've had good results with PR 175, a deep >>> scarlet, with ultramarine and PY110, and Marek recently reported >>> doing well with perylene maroon (PR179)-- which has a very similar >>> hue to PR175-- with PY 150, which is also kind of an off-the-beaten- >>> path yellow, and indanthrone, which like ultramarine, has more red in >>> it than a true cyan. >>> >>> It's a casual observation (I haven't done a careful study of this) >>> that PV 19 is more likely to be implicated in those ugly purplish >>> brown "neutrals" than other pigments; I use it only with yellows and >>> blues that stay pretty close to the pure primary hue. Since the >>> ultramarine is redder than a true cyan, you need a yellower red >>> rather than a bluer red like PV19 to balance it, and so forth. The >>> way I think of it is that in order to produce neutrals you need your >>> three colors to be sort of equidistant on the color wheel, and if one >>> is hue-shifted in one direction, then the others need to be shifted >>> in the same direction. Which is an implication of Bruce McEvoy's >>> mixing triangle: the triangle needs to enclose the center of the >>> triangle in order to be able to produce a neutral black; if the >>> triangle is way skewed from equilateral, it may not contain the >>> center (black) and the three colors layered won't add to black. If >>> that doesn't make sense, then I need to find a way to write it >>> better. >>> Katharine
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