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Yes, just the same made I it , (array or matrix) and am getting very many hues. But many are simply unreasonable.
I also had another idea. I mixed a circular chart only of 3 colors (Red, Blue,Yellow) plus Black and White (almost a CMYK from print). Every possibility is visible. That helped me a lo. (more than the many squares of 10 colors) . Only: It cannot be made with 4 or more colors(you need more than 2 dimensions of a sheet).
So the question, exists a better way? According to your explanations: not.
I know, burnt sienna of company A is not the same of the company B. Another problem.
I read the threads about Munsell, CMYK, Cadfree-Paxton etc.. I collected all the different palettes, used by Chris Saper, Karen Wells, Marvin Mattelson and so on (and a few recommended from books or Cennini). I compared everyone with each other. Now I know, they are all the same from the theory. Differently is only the handling or comforts. But I must make a selection. There are some, which always are at this, like earthtones, ultra blue etc..
Maybe, my "way" to mix is wrong. I do it so:
-Examined the color.
-Established tests, how much portions is there from Red, Yellow, Blue. I start with the biggest part and try to manipulate it with the other parts. If it doesn't work , so I'm the quilty, 'cause not seeing all the fine nuances.
The next problem (you writing about it) is: after all attempts, I think, the only way to make a real translucent skin is: glazing and scumbling. Even if one said, I paint "alla prima" or directly, they overworks always the painting too (wet in wet or dried).
Have right, if I say, it is almost impossible to match immediately a real, breathing skin at that high quality what the members here posts?
If I correctly understand what you have said: It would be completely unimportant what colors I ever choose, if has a hue of the 3 basic colors, after long learning, I could do everything with that.
Colors above 3 are "only" more comfortable to mix.
Many thanks for your effort to help me!
[QUOTE]Even the way a single pigment behaves when, say, applied impasto versus in a glaze, or in a warm scumble over a cool underlayer, is instructive. It took me a long time to remember to add medium BEFORE getting the mixture
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