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To have a good (near invisible) junction between two triangular zones means succeeding, with different lines boldness and angles, to cover the paper with the same proportions of colors. If it is visually good, it means that the drawing instrument is well calibrated, and that all the calculus were correct.
In my next drawing D65 n°6 I will have a lot of junctions like this one, the challenge will be to make them all as good as this one! :)
(CLICK ON THE PICTURES TO ZOOM)
After this RGB (pseudo-) “Maxwell triangle,” I am drawing the faces of a prototypical “colorspace” made of 6 primary colors : Ult. Blue, Reddish-Orange Cadmium, Cadmium Yellow, Cobalt Turkish Blue, Cobalt “Pink,” and a Green made with the Yellow and a Phtalocyanine Green.
I made so much mistakes recently that I decided to start this study by simple tasks. It’s also more “readable,” or “logical” for the viewers to start the drawing there, I guess.
The detail below is a work-in-progress, 3 colors are still missing. Only the triangular part pointing towards the bottom is finished: every triangle contains 3 primary colors, and the final result will be a progressive gradient. You can imagine that it’s like the 2-D pattern of a 3-D crystalline shape: every triangle is one limit-surface of this small 3-D colorspace, that will be later represented less schematically (the “lie” here being the similar distance between every primary color.)
This work is the logical continuation of this post (if you remember)
…Maybe you noticed a difference in the colors of my pictures: they are more intense or saturated than usual. I used a X-Rite colorchecker to calibrate the digital camera. However, it’s far from being perfect, another digital compromise. Still, looks better than without, but my Bluish-Magenta (Cobalt “Pink”) looks totally blue, digital color photo is sometimes depressing…
The previous post about D65 n°4 starting was false alert.
A lot of being human is about being stupid, and what happens then is failed works.
This is the ‘new’ or ‘real’ D65 n°4
CLICK ON THE PICTURES TO ZOOM ON ‘EM!
I still have to measure the colors I made from pure and mixed pigments here to be sure and more precise about that, but a priori I would estimate that about half of them are either badly rendered by the digital camera, or simply un-displayable on a standard computer screen (outside the sRGB gamut!)
The 41 colors I did so far are an attempt to get very close to ‘MacAdam’s limits,’ i.e., the best colors that can be made from pigments or other colored materials without ‘cheating’ with fluorescence (anyway fluo or ‘neon’ colors are fugitive, and another constraint of the colors made here is lightfastness… only highly lightfast pigments are used.)
Pigments are: Ultramarine Blue (Greenish,) 5 types of Phtalocyanines: Reddish-Blue, Cyan, Blue-Green and 2 Greens; Cadmium: Red, Red-Orange, Orange and 4 Yellow types; PR122 Sennelier & Lukas; Cobalt: Turquoise Brilliant & Dark, Pink; Lamp Black; Titanium & Zinc Whites.
Some colors might look like blacks while they are extremely saturated & dark colors (my darkest color is actually a Blue, not a Black! Its reflectance adds up to 2.6%!)
Next update I’ll clarify what’s possible to display on a screen (tomorrow probably.)
It’s been weeks since I started to ‘expand’ my collection of ‘primary colors.’ I have around 50 of them now, and it’s not finished.
If you wonder what I call a ‘primary color’ here’s a definition: in my system, it is a color that cannot be made from others. For example, If I superimpose opaque blue and white lines, I get a light blue that is less saturated than a blue made from the actual mixture of the 2 pigments. So that mixture becomes a ‘primary color. From this perspective, there’s an infinity of primaries, but still much much less than non-primaries.
A guy called Joshua Horowitz, (see: http://web.mit.edu/joshuah/www/ ) helped me solving the problem of defining primaries by programming a code that automatically ‘excludes’ non-primaries, among other things …
‘Primary’ colors: mixtures of organic/inorganic color pigments
a list of primaries
The little proto-software also allows a 3-D visualization of my ‘colorspace’ in CIE XYZ mode:
3D XYZ colorspace, every line intersection is a primary color
More important, the software automatically ‘solves’ a list of colors by giving max. 4 primaries for each target color, a great gain of time & simplicity…
I am now ready to explore the entire colorspace…
(temporary) gamut of my pigment-colorspace, and below:
‘genetic code’ of the picture above (Yxy colorimetric coordinates, sets of 4 primaries, necessary amounts for color matching)