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"But the project quickly grew as the request made its way to Rational Painting ( http://rationalpainting.org), a well-regarded forum dedicated, among other things, to a Munsell-based approach to color. Could they order as a group? How precisely could we match the colors? Could the spectrophotometer be set to Illuminant C with a 2 degree observer, the standard that was used when defining the original Munsell swatches? Could they use Mars Black? Or perhaps Lamp? Ship to the UK, Germany, Australia? Who should sign off on the samples before going forward? And so it went, the questions at once helping to define the project while also expanding its reach. In the end the group settled on four Munsell values (N2, N4, N6, N8) ground in alkali-refined linseed oil and using a combination of Titanium White, Lamp Black, and small touches of various iron oxides (Burnt Umber, Burnt Sienna, Raw Sienna) to pull the otherwise too-cool mixtures back towards neutral. It was a balancing act that required great finesse on the part of the Lab, with the goal to always track as tightly as possible the spectral curves generated from an official, newly minted set of Munsell Grays.
As one can see below, the matches between the Munsell and Williamsburg Grays are nearly flawless as they stretch out across the spectrum, the slightest undulations animating the otherwise flat uneventful lines. The fact that any attempt at Munsell equivalents are constantly compared to such an exacting, universal model is one of the things that sets these colors apart. There is absolutely no wiggle room or poetic license here. Rather, the Munsell Grays are meant to form an objective and known scale that any other color can be measured against. Incorporated as a part of one’s palette, or system of mixing, they can allow a painter to adjust a color’s chroma in a repeatable and precise way that is simply not attainable otherwise."
I ended up getting down a rabbit hole of Munsell books and experimental paintings and charts - even clipping out chips onto my color checker to get the exact value and color mixture...…
Not surprisingly, it didn't suit my crazy personality so I bought the Williamsburg N s and in a matter of 2 minutes I have N2 - N9 at the top of my palette for reference (copying PaulF)…. PaulB - I think you were the one who turned me onto PaulF?
Anyway, I need to be diligent like this PaulB and really see where these can take me. Lately, I'm using N8 plus or minus as my go- to lights like on white tablecloths etc... I feel like I am cheating.
Williamsburg, yes, I misspoke earlier.
You better not have let any chickens near your beautiful painting!
Since we have dozens of new members it would be nice of you to re-post a photo of it.
Can you add a varnish over the easel?
Hmm.. Aren't you a perfectionist?
There are lots of better alternatives out there at 1/4 of the cost.
I can't think of anything that would make those stradda easels worth their cost.
Next step is to draw a few squiggles with the brush to place things.
is there any way to connect that left light notan value with the rest of the notan light value on the right? Even if just a sliver? Those two buds are just begging to be the connection (8 o'clock position if it was a dial) - connecting the lights and darks in some way is what I am learning is so important. Not that I know anything. P.S. that was funny about your wild rabbit. You do know you will have to paint a wild rabbit in all of it's glory soon. the darks are already connected easily - just imagine walking along that light notan side and needing a path - there is just one little gap to connect the light notan.*(if you believe in the power of notans)
PaulBNext step is to draw a few squiggles with the brush to place things.Denis
... vampire robots and all.