YES! I had an art teacher in college who had us make a color wheel using the acrylic paint colors that were purchased on our supply list at the beginning of the semester. We were not allowed to purchase any other tubes of paint and I recall it being next to impossible to mix and achieve purple!! I believe we were forced to use from our supply list cobalt blue and cadmium red to try and get purple, and throw in some titanium white, if it helps!😖 I don’t think anyone got anything but a medium grade on that assignment, which was totally unfair!!!😫

pauljs75 Finally a good comment!

wow

RBG works on a computer screen because it's an additive display. You start with black and add more power to either the red, green or blue dots in a pixel. With painting, it is by nature subtractive, since you can only remove natural light. A canvas doesn't supply its own light, so the subtractive color wheel works better.

I want to screen shot this, but it's too long!😢

Wizard of Arts why not screenshotting it a couple of times till you get the full comment?

Are you sure he didn’t mean the Purple fruit?

Thanks for mentioning this! I have not heard of the Robert Burridge color wheel. I will definitely be ordering one!🤗

Alba Whiteman I wouldn't totally forget the theory but I love your approach.

agree..want you're desired color's get your hands dirty and began mixing...

Well, the violet it makes is far better than the RYB violet, that’s for sure.

iLoveGuitar Are you just as confused today as you were 3 years ago? CYM are not the only “primaries” either.

lmfao

True

dude feels like he broke the da Vinci code...

the current color theory refers to pink as a tint or any color plus white

ricardo hananias what are The lightfast value's and from which manufacturers?

RGB uses Black as background and CMY white as background.. Exception are projectors.. because they use RGB on a white screen.. :D So the white Screen you see is the max. black level :D

@@TheRealJohnHooper but projectors can't project black, so their background uses white pigments but acts like black. That's why projectors are best viewed in darkness - then the white screen is black as it should be, but without absorbing the projection like a black screen would.

This is for paint in which you can get cyan, magenta and yellow paints. Some manufacturers do label these colours e.g. Daler Rowney's System 3 acrylics offers Process Cyan, Process Magenta, and Process Yellow, which allow students interesting experiments with mixing these true primaries with a bog standard introductory set of acrylics. I'm using the System 3 10 tube Introductory set + Process Cyan and Process Magenta. I'm afraid creating a series of colour reference cards to see what is produced. My conclusions so far are that one should use the colours that suit your subject. The true primaries of the colours are potent and work best for art that isn't based on nature as there are rarely pure colours in nature. One can do landscapes for example, with the traditional "earth" pigments, but adding the true primaries can add something to your arsenal if used appropriately.

Terri Light absolutely spot on. While I've been within an art school education, I've taken as much influence from graphics and have lectured in graphics. But even within that world, there has been an acceptance that RYBhas a place in pigment theory. Totally false. Within graphic design teaching, I had to go against conventional syllabus when teaching colour

Terri Light meant to add that in practise, the modern, digital realm of graphic design teaching is far more anchored in reality

I see what you mean Steve. However we do need to remember that it's colour theory not colour fact. In reality the c, m and y we have as printers or artists will never be perfect fully saturated primaries limiting the gamut until we use other tubes of paint. When I state that a primary colour cannot be mixed, I mean by ANY other colours. It's fairly obvious you won't mix any colour with a mixture of the other 2 regardless of what triad you choose. Fully saturated primary Cyan, Magenta and Yellow CANNOT be mixed with any other 2 pigments. I promote this colour theory for artists as a guide as to how to best understand colour mixing. If you want the best gamut and are only using 3 colours CMY is the best. The choice of primaries is not arbitrary. ask any printer manufacturer who uses 3 colours to choose anything other than CMY and they will not produce any acceptable results. The key to mixing vivid colour without polluting the mix is understanding where the primaries are in the colour wheel. Many artists think they can mix vivid green by mixing blue and yellow. By understanding the correct primaries, we understand that we must not use anything beyond cyan unless we want a tertiary or 'muted' green. It's not about limiting artists to the use of only 3 colours, its really about understanding how to mix them. More information on this is shown in my video Colour: Mixing with Primary Paint

Scott Naismith Well if we are limiting ourselves to color “fact” theory we find that the whole problem lays within using TRIADIC “primaries” in the first place and thus you are just chasing another rabbit down another rabbit hole. Factually, subtractive mixing requires every paint to be at “optimal” value/chroma at all tangential points along the wheel thus making ALL of them “primaries” IFF we want the largest color gamut possible from paint. Therefore, CYM are actually NOT the only “primaries” that can not be mixed by ANY other colors. Today of course we know that there are more than 3 “primaries” with hardly anyone actually choosing paints at the “optimal” Spectrum Triad positions and these paints are always close to RYB. You hold up the printing industry as your “primary” example and the fact is that they hold the same factual theory as the rest of us: The BEST Biased RYB (also conveniently labeled CYM) plus the the BEST arbitrarily chosen (that meets our suitable needs) other “non mixable” paints=the largest mixing range possible for us. Hence the printing industry follows the factual working palette that suits their arbitrary needs and is also why they invented Hexa and Hepachrome printers. What paints are “primary” today may not be “primary” tomorrow and history has shown this factually and a better pigment discovered may not be suitable for the printing industry or others. Yes Theoretical CYM is best for Subtractive EQUALATERAL TRIADS ONLY based on trichromatic vision of LMS Theory but color TRIADS are for grade school Theoretical Practice and it does not matter which paints you choose to show the example as long as they are not “true” mixing opponents. But it would be best if we started them out with bias/value/chroma type theory with the understanding of basic subtractive theory and do it with vivid colors because the kiddos love vivid colors a bit more than others but soon discover that the world becomes actually quite gray along with our mixes. It’s a fact that we always “pollute” our mixes. What you are really doing here is trying to teach an RGB light mixing system to your fellow subtractive paint mixing artists by replacing the fallible traditional system of RYB with another fallacy of CYM. CYM is the THEORETICAL TRIADIC OPTIMUM of Light/Vision for Subtractive THEORY but you wanted to stick with “factual” subtractive paint mixing. No matter what triadic system we use to “replicate” the gamut of color vision, we soon learn that all fail to completely “replicate” the gamut and the only “true primaries” is that of the Theoretical LMS and those are arbitrary and have imaginary as well as “real” colors and we discover that we ACTUALLY need all tubes of paint to be “primary” IF we want the largest possible gamut. I know this is redundant but redundancy is key to learning.

@@ScottNaismithArtist but then you have to admit that you can not produce a "true" red and blue from magenta and cyan you are only going to get a shade of the two colors.

@@richiejourney1840 Richie I think you have said what I with my very limited knowledge was inclined to believe, that it is not a static thing it depends what color you want to get. In pure pigment we have many more than RGB or CMY so as artists, if we want a wide spectrum of vibrant greens we may use a certain configuration of natural pigments. If you want violets you might use another basis. I don't think we need to have one 3 color primary model to rule them all when there are so many natural pigments available that will each combine to produce different segments of the wheel most vibrantly. Am I way off? Is the basis of the argument not that one 3 color model can more fully cover the spectrum? Why do we need one model over the other? I understand wanting to be able to mix as much as possible from as few pigments as possible, it seems that it depends on what color you are trying to achieve. Interested to hear more from you as I may have misinterpreted