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Michele Rushworth · 01-12-2003, 12:23 PM

I guess I just don't get the value (pun intended) of using a printed color wheel at all as a tool in the studio.

I know all about hue, saturation, value, analogous color schemes, split complementaries and that sort of thing. But when I want a certain color, I just mix it. If I see a color (let's say the dull grey sky outside my Seattle window right now) I know that I'll need a lot of white, a bit of Ultramarine blue, and oh, maybe some Venetian Red and Yellow Ochre to desaturate the blue.

I'm very interested in seeing Michael's explanation of where the printed color wheel would come in.

01-12-2003, 12:23 PM	#23
Michele Rushworth CAFE & BUSINESS MODERATOR SOG Member FT Professional Joined: Jul 2001 Location: Seattle, WA Posts: 3,460	I guess I just don't get the value (pun intended) of using a printed color wheel at all as a tool in the studio. I know all about hue, saturation, value, analogous color schemes, split complementaries and that sort of thing. But when I want a certain color, I just mix it. If I see a color (let's say the dull grey sky outside my Seattle window right now) I know that I'll need a lot of white, a bit of Ultramarine blue, and oh, maybe some Venetian Red and Yellow Ochre to desaturate the blue. I'm very interested in seeing Michael's explanation of where the printed color wheel would come in. __________________ Michele Rushworth www.michelerushworth.com [email protected]