no one. NO ONE has so concisely explained warm and cool colour to me ever - particular how the poles of the wheel work. In fact, I don't think many artists conceive this so clearly. Peter Donahue (aka Color Nerd) comes close but the 3D representation and your mixing... *chef's kiss*
My one criticism: his starting point is just the usual Munsell Color System, but he never names it. That's a very weirdly glaring omission and makes it feel like he's taking credit for discovering this system, but then again that's just how capitalist marketing works ("I talked to many artists," "I discovered," "using MY system," etc). Aside from that, this was an incredibly useful and informative presentation, really useful mental models for thinking about your paints and colors! Love how he tied it to the different art movements across time, and explaining how AND WHY the different paints behave differently in different blending scenarios, then bridging that into developing your own palates and color language.
The Munsell system starts from 5 primary colors: red/yellow/green/blue/violet. It makes more sense because there is more nuance between green and violet than between red and yellow and it seems more true to the complementaries of teal/red and green/magenta. I like the munsell system more because of that key difference. I also appreciate Gamblin creating this 3-d animation explaining a basic color space and mixing relations as it has helped me understand mixing so simply.
This is really an incredible resource. Thanks for putting these videos out into the world. I corresponded through email with Gamblin early this year, having a bunch of further questions about your color selection. Couldn’t believe how much time and effort was spent by this person over the course of our conversation. That’s how you keep customers for life. Cheers from Portland!
I can't thank you enough. this is precisely the information i needed. this video and animation explained and ( more importantly) showed me why the the common palette layout changes from cool warm to warm cool as it goes from orange to red. That never made sense to me before and always confused me.
the 17th and 18th century artists might not be that excited by today's range of colours because they were somewhat taught that, in a nutshell, too many colours is bad. that's why the academicists hated the impressionists. not to mention that the ones nearer to renaissance they were generally taught to only assign 1 local colour and only add black or white and to ignore the effects of colouring from lights, and to do otherwise its not true visual information.
I know I am viewing this many years after it was first presented, but I have a question, what Cool Orange and what Warm Violet are being shown on your color wheel you created?
I'm confused. This is Munsell's Color charting. What is "Gamblin Color Space" by comparison? Robert is referring to "my Color Space" here. I don't follow what is being owned here and find the lack of reference to Munsell's system to be concerning. Otherwise, this is a great video, and i'm looking at my modern paints with more respect. Is there a way to access the Color Space with all 98 colors offered marked within it? That would make for a fantastic tool.
Thanks for your viewing Navigating Color Space, happy you find it valuable. All efforts that we know of that model color space in three dimensions use a similar approach: the central axis is where the neutrals are found, and the more highly chromatic the color is the further from the central axis the color it is found, and lighter values are up and darker values are down. Most notable color systems that use this scheme are the Munsell, Ostwald, and L*a*b* (Uniform Color Space). In order to not violate any other system’s copyright, the color space in our video has 12 hue locations, which conforms closely to how many painters think about color, six major hues in a warm and cool version. But in our minds, the greatest value to painters this video provides is not the introduction to a three-dimensional color space, but to show that when colors are mixed they are drawn together in a mostly straight line through that color space. Visualize color space and you can visualize how your mixtures will travel through that space. And secondly how to “unzip” color space and lay it flat on your mixing palette in order to turn your palette into a custom version of color space for each painting session.
I am guessing that many of Gamblin's "modern" colors weren't even available when Munsell developed his 3-d chart. As the speaker points out, mixing white with a modern yellow will give a different result from mixing white with a mineral yellow. The Gamblin color space seems to take all possibilities into account, from "classical" to "mineral" to "modern." This probably draws heavily from Munsell (although Munsell did not invent the spherical color chart), but I certainly wouldn't charge the presenter with plagiarism either.
He should have given credit to Munsell. It’s the Munsell color system he is using. Appropriating others’ work and presenting it as your own innovation *is not cool* .
This is probably the best short talk on color I've ever seen.
We don't realize how special things are until we realize the struggle throughout history to get them.
no one. NO ONE has so concisely explained warm and cool colour to me ever - particular how the poles of the wheel work. In fact, I don't think many artists conceive this so clearly. Peter Donahue (aka Color Nerd) comes close but the 3D representation and your mixing... *chef's kiss*
My one criticism: his starting point is just the usual Munsell Color System, but he never names it. That's a very weirdly glaring omission and makes it feel like he's taking credit for discovering this system, but then again that's just how capitalist marketing works ("I talked to many artists," "I discovered," "using MY system," etc).
Aside from that, this was an incredibly useful and informative presentation, really useful mental models for thinking about your paints and colors! Love how he tied it to the different art movements across time, and explaining how AND WHY the different paints behave differently in different blending scenarios, then bridging that into developing your own palates and color language.
Yeah it seems like this company is trying to take more credit than they've earned.
@@dobeeeeval More a sign of the times than anything else, and luckily it's merely irritating at worst. Certainly doesn't harm the ideas or info.
The Munsell system starts from 5 primary colors: red/yellow/green/blue/violet. It makes more sense because there is more nuance between green and violet than between red and yellow and it seems more true to the complementaries of teal/red and green/magenta. I like the munsell system more because of that key difference. I also appreciate Gamblin creating this 3-d animation explaining a basic color space and mixing relations as it has helped me understand mixing so simply.
Thanks Mr Gamblin !!! Best color information I've ever seen.
Finally I understand.....after so many years. Thank you!!!!!
This is really an incredible resource. Thanks for putting these videos out into the world. I corresponded through email with Gamblin early this year, having a bunch of further questions about your color selection. Couldn’t believe how much time and effort was spent by this person over the course of our conversation. That’s how you keep customers for life. Cheers from Portland!
This is a fantastic video to understand colours and colour mixing. Thank you for making this available.
I can't thank you enough. this is precisely the information i needed. this video and animation explained and ( more importantly) showed me why the the common palette layout changes from cool warm to warm cool as it goes from orange to red. That never made sense to me before and always confused me.
This was super helpful.
the 17th and 18th century artists might not be that excited by today's range of colours because they were somewhat taught that, in a nutshell, too many colours is bad. that's why the academicists hated the impressionists. not to mention that the ones nearer to renaissance they were generally taught to only assign 1 local colour and only add black or white and to ignore the effects of colouring from lights, and to do otherwise its not true visual information.
Mr. Gamblin, I soooo wish you made watercolor... Anyway, this was greatly helpful, thank you so much! :-)
I know I am viewing this many years after it was first presented, but I have a question, what Cool Orange and what Warm Violet are being shown on your color wheel you created?
I'm confused. This is Munsell's Color charting. What is "Gamblin Color Space" by comparison? Robert is referring to "my Color Space" here. I don't follow what is being owned here and find the lack of reference to Munsell's system to be concerning.
Otherwise, this is a great video, and i'm looking at my modern paints with more respect.
Is there a way to access the Color Space with all 98 colors offered marked within it? That would make for a fantastic tool.
Thanks for your viewing Navigating Color Space, happy you find it valuable.
All efforts that we know of that model color space in three dimensions use a similar approach: the central axis is where the neutrals are found, and the more highly chromatic the color is the further from the central axis the color it is found, and lighter values are up and darker values are down. Most notable color systems that use this scheme are the Munsell, Ostwald, and L*a*b* (Uniform Color Space).
In order to not violate any other system’s copyright, the color space in our video has 12 hue locations, which conforms closely to how many painters think about color, six major hues in a warm and cool version.
But in our minds, the greatest value to painters this video provides is not the introduction to a three-dimensional color space, but to show that when colors are mixed they are drawn together in a mostly straight line through that color space. Visualize color space and you can visualize how your mixtures will travel through that space.
And secondly how to “unzip” color space and lay it flat on your mixing palette in order to turn your palette into a custom version of color space for each painting session.
I am guessing that many of Gamblin's "modern" colors weren't even available when Munsell developed his 3-d chart. As the speaker points out, mixing white with a modern yellow will give a different result from mixing white with a mineral yellow. The Gamblin color space seems to take all possibilities into account, from "classical" to "mineral" to "modern." This probably draws heavily from Munsell (although Munsell did not invent the spherical color chart), but I certainly wouldn't charge the presenter with plagiarism either.
I wish he would mentioned the pigments and/or the colors used to layout the palette. Does anyone know what gamblin colors were used on that wheel?
Can using burnt umber because instead of black and greys to avoid losing intensity or will it change the temperature of the color?
Potrebbe spiegarmi con quali colori, vengono mescolati i colori puri a livello orizzontale partendo dal centro?
A good video, but pretty cheeky to claim the Munsell system as Gamblin's!!!
Excellent!!!!!!!
Awesome!
Interesting
Cool
He should have given credit to Munsell. It’s the Munsell color system he is using. Appropriating others’ work and presenting it as your own innovation *is not cool* .
My thoughts exactly. It is the Internationally standardised Munsell system - not his system.
Who ever thought color was so complicated
#MunsellColorSystem