Re: tricolor gum question - yellow
Well, these colors were chosen to try out Keith Taylor's palette which he uses for perfectly realized c-print gum equivalents. Of course, he uses a custom color profile that lets him create negs that are tailored to his colors. I've had some great results with these colors and my non-custom workflow, however every once in a while (and esp when using wax paper negs) I get a result that is more garish in tone.
I DO have other palettes I want to try in the future, but I am trying to get a baseline with these particular pigments for future work.
----- Original Message ----- From: "Katharine Thayer" <email@example.com>
Sent: Wednesday, November 18, 2009 6:47 AM
Subject: Re: tricolor gum question - yellow
Hi Paul, if you want a more muted yellow, the best way is to use a less color-saturated pigment. By that I don't mean less pigment, but a pigment that is inherently less saturated in hue. Jim has it right about cadmium yellow being high chroma; if you're looking for a muted yellow that makes terra cotta instead of bright orange, cadmium yellow isn't going to be it. If you want very dull muted shades, the earth yellows (yellow ochre, naples yellow) will do the trick, but if you want a more transparent, livelier color mix with less saturated hues, I'd head in the direction of quinacridone gold or PY110. If you do want a muted palette overall, then I'd also change out your other pigments to pigments with less saturated hues: ultramarine or indanthrone or prussian instead of pthalo; deep scarlet or even burnt sienna or burnt umber for the red. I like a muted palette myself, and pthalo in combination with quinacridone rose (point of information: the Daniel Smith "quinacridone red" is actually quinacridone rose (PV19) not quinacridone red (PR 209)) and a bright yellow make a palette that is altogether too garish for my taste.