- Publisher: Rockport (1989)
- Language: English
- ISBN-10: 0935603395
- ISBN-13: 978-0935603392
- Product Dimensions: 0.7 x 8.7 x 11.2 inches
- Shipping Weight: 1.4 pounds (View shipping rates and policies)
- Average Customer Review: 108 customer reviews
- Amazon Best Sellers Rank: #461,763 in Books (See Top 100 in Books)
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Blue and Yellow Don't Make Green Hardcover – 1989
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About the Author
Michael Wilcox has a varied background, including periods as a professional artist, a conservator of art works and an engineer, which in turn led to a study of light physics in relation to the needs of the artist. His studies led to the book Blue and Yellow Don't Make Green. Published in English, Dutch, Japanese, Korean and Chinese, this book has changed the way that countless artists now mix and use their colours. This publication was followed by The Wilcox Guide to the Finest Watercolour Paints which has led to many of the changes in the pigments used in artists' paints today. Specialist mixing palettes, workbooks and courses were then developed and the School of Colour was formed on an international basis. --This text refers to an alternate Hardcover edition.
Top customer reviews
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Like most, I was taught color theory in grade school, and using wax crayons, this simple theory worked to uncritical grade school eyes. I am an amateur hand dyer, and I found that the colors I was mixing were very unpredictable. Now, after reading this book and it's companion sample book, I find that I get much closer to the desired colors when working from pure dyes.
In cotton dyes, there four yellows, one orange, two reds, five blues, and two purples that are homogeneous or "pure" colors. This book went very far to explain how to pick the particular "pure" colors to mix to get the desired color, or close. Experimenting is still required to get proportions correct.
The theory and practice recommended in this text is NOT directly applicable to dyes, as paints are applied to the surface and dyes go into the material. Also the colors recommended are for paints, and some of the colors do not exist as pure colors in dyes. But the underlying theory is very useful and applicable to dyeing. I am very pleased that I found this book, it has helped me tremendously.
Unfortunately, the general American reader (especially those who lean towards the arts) is not very conversant with science and may find some of the concepts in this book rather opaque upon a first reading. This seems to be what has happened in in the cases of those who've given this book poor reviews. Without exception, they seem to have *completely* missed the basic premise of this book.
But if a reader makes the effort to read through again or work through it with a more left-brained friend, they will find a treasure trove of liberating information here.
It's true Wilcox takes a different view of the best way to gray and darken colors than some more traditional painters. Each system has its advantages and disadvantages. But the science behind his six-primary system is unassailable, as those who've taken the trouble to reproduce his color charts can attest.
The six-primary system (which Wilcox calls "color bias" and Ledand calls "split primary") works, plain and simple.