In my last blog, I discussed the process of creating the Bi Colors. Here, in the example above, I have charted out the entire palette using the practical on p. 51 of my book, The Color Investigations of Robert Henri, Vol. 1. Although there is an example in Vol. 2, Image 7-6, p. 15 of this practical, the clarity of seeing the colors freshly laid out on the glass palette, gives one a truer sense of the optical properties of the semi-neutrals. One can observe the subtle shift within the Bi Color line. I have marked the locations of the R Bi, Y Bi and B Bi (tape) with the primary and secondary Hues on the last line. One can follow the primary, Y, descending along its color scale, moving vertically from its root note (top line) through the semi-neutral Y Bi to the Y hue.
Note that there are no secondary Bi Colors of O Bi, G Bi, or V Bi. Since the intervals between the tones along the semi-neutral Bi colors are close, Henri felt these secondary notes were unnecessary. It would be hard to insert an extra color between the present intervals. In the second image of the cool Bi Colors, I added white to the bottom of each note so that both the color temperature and the neutrality of the darker colors could be observed. I use these cool Bi Colors extensively in my work. They sit well next to warmer, more intense colors from the top line of root notes.
H.G. Maratta, through his Margo Paint brand, provided the artist with the 15 Bi Colors in tubes, creating a highly tuned palette ready for use. As Henri adjusted his choice of root notes along the top line, he would tube the Bi Colors he selected for each painting, not necessarily mixing all 15 notes. Note that if one uses a set palette, such as a major or minor chord, one’s Bi colors would appear slightly different for each chord, but related to the example above. The important thing is to create a harmonious palette that works for you. Changing the selection of the root notes of R, Y, and B, you get a specific set of Bi Colors that relate to this specific palette.
For myself, I am conscious of which inter-mixtures create the Bi Colors I am looking for, and I mix them directly on the palette as I paint. This is especially true for the landscape. This has come from years of practice. I imagine Henri did the same thing, as he was highly skilled. But if I am working within a specific chord, I will then tube my Bi Colors and Hues for this particular image. Find the method that gives you confidence in the act of painting.
I am including my recent Instagram video discussing the Bi colors and how to proceed to mix them accurately.
Hello. Which tube colours did you use to make the top row. And I assume the 15 colours in the second row are derived using the mixing chart included in your previous note.
I also note that the 12 colours in the top row could produce 12 Bi colours. But the 3 secondaries are excluded, which would leave 9 Bi colours. What is the rational that adds 6 more to the second row to get to the 15.
Thank you, Paul
In my video of the Bi color demonstration, which was posted on Instagram and on the blog, I use the pigments on p. 51, Version 1 in “The Color Investigations of Robert Henri, Vol. 1.” R- Cadmium red vermilion; Y- Cadmium Yellow + Raw Sienna + touch of Viridian; B- Ultramarine + Ivory Black. The Bi colors are derived by combining two mixes from the top row [at high intensity]. The reason to exclude the secondary Bi colors is obvious once you mix the palette yourself. The intervals along the Bi-color line are closer together, making it difficult to add additional colors that still appear distinct. Note that the secondaries appear in the third line of Hues. The mixtures combining the secondaries create the distinct Hues. B hue= V + G. The reason this design works is that the root colors are fully integrated in all the mixes. Plus, you only need to mix two colors to get the right balance of neutralization. And this can be done rather quickly.