![]() ![]() The precious pigments Vermilion and Ultramarine became our mental image for red and blue. This uneven distribution came about partly because our eyes are more sensitive to small differences among the yellow, orange, and red hues, and partly because pigments are more numerous for warm colors, compared to cool ones. It expands the yellow-orange-red section of the spectrum too much, so that red is at 4 o’clock instead of 2, and blue is at 8 o’clock instead of 6. Secondly, it turns out that the traditional YRB wheel is out of proportion, like a clock face with some of the numbers bunched up in one corner (see center of wheel). It’s a good painting exercise to do so, and it can result in a perfectly acceptable painting.* ![]() You could set up a palette with high-chroma orange, violet, and green as primaries and paint a satisfactory image from them. Green is not a composite color any more than blue is. Nor are any particular hues by their nature secondary colors. Each hue occupies an equally legitimate place on the outer rim of the hue circle and can claim full status as a primary color. There are a few problems with the traditional artist’s color wheel, and its concept of primary, secondary and tertiary colors.įirst of all, no color from the original spectrum has any higher claim to be a primary color than any other. ![]()
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