paint wheels

 
Outside of color theory, in the real world where color really matters, is color practice: mixing your own colors from paints.

This page gets you started with the best practice of all — making your own paint wheels.
 

why make a paint wheel?

Paint wheels are a great way to learn color combinations and to see how the paints of different manufacturers or palettes work together.

Because all the color combinations are presented in the framework of the visual color wheel, even subtle differences among palettes become obvious. (Elsewhere I use paint wheels to demonstrate differences between the "primary" and secondary palettes, and between the split "primary" and secondary palettes.)

Paint wheels are also a great exercise in basic mixing skills. With many different color combinations to create, you learn quickly which are the efficient and inefficient ways to mix colors.

Paint wheels let you explore color mixing through different ways of applying paint. The colors that result from mixing wet on the paper, glazing, or premixing on the palette are very different — and the paint wheel helps you see these clearly. You learn the advantages of different mixing techniques.

With a paint wheel, all the basic skills — following a pattern, preparing and mixing paints, keeping colors pure, applying paint with the brush, rinsing the brushes between different colors, sequencing glazes — are practiced at the same time, and everything is made easier because there is no distracting picture you are trying to copy.

Many teachers recommend that you explore color mixtures by painting a grid of lines or a mixing plaid, vertical on top of horizontal colors. This is fine for showing the relative intensity and opacity of each color in comparison to all the others, but the individual mixtures get lost in the color clutter, and the color mixing is limited to glazing (one color painted on top of the other).

A paint wheel is also more beautiful. The mandala shape, visual texture and radiant fullness of color, and the repeated movements of mixing and brushing the paint, make the paint wheel a soothing and insightful meditation on color and the physical act of painting.

If you mix by glazing one color on top of another, a paint wheel can be finished in about an hour. Try it!
 

how to make a paint wheel

There are many ways to make a paint wheel: here are some suggestions to get you started.

Basic Layout. I build paint wheels around the twelve point color wheel, which uses 12 different paints and gives 66 unique paint mixtures. This is usually more than enough to explore the range of watercolor paint mixtures around all parts of the color circle.

I paint each of the 12 colors an equal distance apart around the circumference of a large circle, then spiral the color mixtures toward the center of the wheel so that the mixed color is roughly on the mixing line halfway between the two paints used to make it. This creates a beautiful mandala like pattern when completed, and reveals differences in the apparent chroma of the mixed hues.

The paint wheel measurements I've found convenient are shown below.

a color wheel pattern for 12 paint colors

 
Constructing the Wheel. The paint wheel can be laid out in about ten minutes, in the following steps:

(1) Draw two crossed diagonals from the opposite corners of the sheet; the point where they cross is the center.

(2) Use a large drafting compass to draw eight concentric circles around the center of the paper, with radius of 17cm, 16cm, 13.5cm, 12.5cm, 10cm, 9cm, 6.5cm and 4.5cm. You can also use a strip of cardboard with holes punched into it at those distances: use a push pin to hold the strip at the center of the wheel, and draw the circles with a pencil placed in each hole.

(3) Draw a vertical line through the center, perpendicular to the top of the page. Use a protractor to divide one of these half circles (180°) into 12 equal units (15° each). Use an 18" or longer ruler or yardstick to draw the paint wheel spokes from one side of the outer circle through each mark and through the center of the wheel to the outer circle on the opposite side. (Do not draw the lines inside the 4.5cm inner circle, as there is nothing to paint there.)

The circle is now divided into 24 equal slices. The outer radius (17cm) makes a wheel 34cm (13-1/2") wide, just small enough to fit on a 14"x20" watercolor block (Fabriano Artistico) or standard half sheet (15"x22") of any watercolor paper. The inner radius (4.5cm or 2"), is just large enough so that 24 slightly overlapping brushstrokes with a 1/2" flat watercolor brush will completely close the inner circle.

Brushes and Other Formats. If your brush is wider than 1/2" or the paper you are working on is larger or smaller than I described, you will want to adjust the size of the wheel, the swatches, and the distance of each swatch from the center, to get the right pattern.

The 12 numbered swatches around the outside of the wheel are the samples of the 12 unmixed paints. I make these swatches with two strokes of a 1/2" flat brush, side by side to form a large rectangle, roughly 2.5cm wide and 3.5cm long, and make the inner swatches, where things get a little cramped, with a single stroke of the same brush (so these are only 1.3cm wide).

The large inner swatches are the same size and also made with two strokes of a flat brush, which means their outer edges lie two circles with radius of 13.5cm and 10cm. The single stroke at the center starts at a circle with radius of 6.5cm and ends at the 4.5cm inner circle.

Each of these 12 paints makes a mixture with its neighbor on the wheel: to show these mixtures, there must be swatches located between each of the 12 paints. This adds another 12 "spokes" to the wheel, making 24 radial "spokes" in all, The 24 "spokes" are separated by 15° of a circle (360° divided by 24).

If the palette you want to use contains fewer or more paints, such as 9 or 7 or 16, then just order these colors around the color wheel according to the visual or mixing color wheels. Multiply the number of paints you use by 2, then use a protractor to divide the circumference up into this number of equal segments (for example, 9 paints make 18 "spokes," and 360° divided by 18 is 20°).

Finally, each of the 12 paints makes a mixture with the 11 others. The locations of these mixtures are shown as black rectangles in the diagram, for mixtures of the red orange paint at position 3. Thin lines connect each swatch with the paint the red orange is mixed with. (Notice that paint 3 is mixed with paint 9 two times, and these swatches are located on opposite sides of the inner circle.) Then simply rotate this pattern of black rectangles around the wheel to locate the mixtures for the other 11 paints around the wheel.

Mixing Methods for Painting. First, choose the paints you want to use. I suggest you use the tour of the color wheel, or the location of single pigment paints on the artist's color wheel to choose your palette. (Four wheels using different paint selections are described below.)

Prepare the 12 pure colors beforehand by squeezing out equal quantities of the paints into the wells of your palette, and mixing with an equal quantity of water. This ensures you're working with the same concentration of paint in every swatch, and don't have to stop work to prepare colors.

You can mix colors in at least three ways: by glazing, mixing on the palette, or mixing on the paper. Each method raises slightly different problems and teaches you different things about the paints.

1. The fastest way is to mix by glazing (painting one pure color on top of the other). First lay down pure swatch of the "primary" yellow color (the pure color at position 1 on the circumference of the wheel), then paint the same yellow into the 12 rectangular areas to be mixed with yellow, 6 on either side, inside the wheel. Rinse your brush, let the paint dry completely, then move to the next color (deep yellow, position 2) in counterclockwise order around the wheel. Repeat the same pattern. You will paint the pure patch, and 11 new swatches, and at one swatch (between 1 and 2) you will glaze the deep yellow over the primary yellow patch you just painted. Let the colors dry, and move to the next color (red orange). You'll paint the pure patch, and 10 new swatches, and glaze the red orange over a deep yellow patch (between 2 and 3) and a "primary" yellow patch (under 2) you've just painted ... and so on, all the way around the wheel.

(Note: By applying the twelve paints in a different sequence, rather than in strict counterclockwise order, you can change which colors are glazed on top of any others. The usual method is to glaze the darker valued paint over the lighter valued paint, and the more transparent paint over the more opaque paint, so you may want to lay down the swatches for each paint in order of increasing dark value or increasing transparency. However, because the outer swatches are painted with two brush strokes, I just reverse the order in which the paints are glazed in the two strokes within each swatch, so I can see the result of layering the paints both ways. You can see the result, especially for violet mixtures, in the split swatches of this mixing wheel.

The glazing method helps you to learn the opacity, value and texture of paints, and glazing brushwork.

2. To mix on the palette, paint the pure swatch on the wheel, then lay out 11 large drops of this "base" color onto a large flat palette or mixing sheet. Rinse the brush. Now use the clean brush to pick up an amount of the next color equal to one of the drops already on the sheet, and use the brush to mix this color with one of these "base" color drops on the sheet. Then paint this mixture in the appropriate position. Rinse the brush, and go on to the next color. Paint in all the swatches in the locations shown in the figure above.

Then clean the palette, lay out 10 large drops of the next base color, and repeat. Each time you lay out drops of new color, you will reduce the number of drops you need by one. For the last color, you will only paint the "pure" swatch on the circumference.

This method helps you to learn the relative mixing strength of paints, and palette mixing skills.

3. The third method is to mix on paper, by first laying down one color, then charging the swatch with the second color while the first color is still wet. This is the hardest mixing technique to do in a controlled way. You need to know the relative staining properties of the colors, as the staining color will strongly dominate the mixture if you put it on the paper first (when you charge the swatch with the second color, you basically glaze the second color on top of the pure staining color already sunk into the paper). This method also requires a lot of brush rinsing, which can add water to the paint in the mixing well each time you dip the freshly rinsed brush into the paint. In addition, the brush must be rinsed quickly or the first color will dry on the paper. So you have to move quickly, think quickly, and know what you're doing. It's fun if you know how!

With this third method, the paint staining power, behavior wet in wet, and brush cleaning skills become more of a focus.

Choosing colors that exactly match the twelve points of the color wheel is a good point of departure, but there's no reason to stick to this. I vary the paints I choose for different points on the wheel, to test the effects altering the basic color balance — for example, by expanding the range of reds and reducing the range of blues.
 

three paint wheels

I started with a paint wheel that follows closely Stephen Quiller's recommended paints for a twelve point color wheel (reading counterclockwise from the top): (1) Daniel Smith hansa yellow light, (2) Daniel Smith cadmium orange, (3) Holbein cadmium red orange, (4) Winsor & Newton winsor red, (5) M. Graham quinacridone rose, (6) Winsor & Newton quinacridone magenta, (7) Winsor & Newton ultramarine violet, (8) M. Graham ultramarine blue, (9) M. Graham cerulean blue, (10) Holbein marine blue, (11) Daniel Smith phthalo green (blue shade), (12) MaimeriBlu permanent green light. (The colors numbered in bold correspond to those recommended for each color point in the Quiller mixing color wheel.)

And this is the paint wheel that actually results, mixing the colors wet in wet on the paper.
 

 
Allowing for inconsistencies caused by my poor mixing skills, this wheel has some basic problems:

1. The red area is very large and not very well modulated — many of the mixed reds and oranges look very similar. (Why?) It seems the span and variety of the red and orange colors should be reduced to increase the color variation in the mixtures.

2. The swatches in the broad area under point 1 (hansa yellow light) are not darker shades of yellow or orange, but very dull greens or browns. I found I didn't get such an obvious "hole" when mixing colors on either side of other primaries, magenta or cyan. Yellow seems to be a special case. (Why?)

3. Ultramarine violet does not mix well with the reds. These may be paint mixing problems, or color mixing problems: I varied the paints to find out. (Answer: ultramarine violet is just not strong enough in mixtures.)

4. The color transition between the greens mixed with yellow and the greens mixed with cadmium orange is very sharp: the orange at point 2 does not mix well with greens. (This implies that the color distance between the orange and hansa yellow light is actually much larger — point 2 should be a deep yellow, not orange.)

Based on these observations, I changed my paints and tried again.

 
This second paint wheel attempts to correct the problems in the previous one by expanding the yellow range and darkening the tonal values of the blues. Paints were premixed on the palette to adjust the mixtures as accurately as possible. (This gives the wheel a flat, impersonal look, but I wanted to make sure I wasn't getting misled by inaccurate mixing on the paper.)

The paints used are: (1) Daniel Smith hansa yellow light, (2) M. Graham cadmium yellow, (3) Holbein cadmium red orange, (4) M. Graham cadmium red light, (5) M. Graham quinacridone rose, (6) Winsor & Newton quinacridone magenta, (7) M. Graham dioxazine purple, (8) M. Graham ultramarine blue, (9) Winsor & Newton prussian blue, (10) Holbein marine blue, (11) Daniel Smith phthalo green (blue shade), and (12) Daniel Smith permanent green light.

This new palette alters the wheel in noticeable ways:

1. The brown area under the yellows is smaller but still sharply defined. I found there is no way to get rid of this "brown hole." (This is the area in a visual color wheel where green gold, raw sienna, naples yellow and yellow ochre are located. They provide clean but unsaturated yellows in a palette.)

2. The transition between the dioxazine violet mixtures and the magenta mixtures is sharp. Dioxazine violet seems too blue against the magenta. (Solution: replace the violet by a redder color, or the magenta by a bluer color, to reduce the contrast.)

3. The blues seem too dark and homogeneous. (Solution: it seems better to pick blues that also provide a range of values, from dark to light, or a range of textures.)

4. The cadmium red light and the cadmium red orange are too similar. Reds that seem to have different hues are actually very similar in mixtures. (Solution: more contrast among the red hues is required.)

I also discovered I didn't like the look of the premixed (or "overmixed") colors as well as those mixed wet in wet or glazed on the paper. The colors looked too uniform, as if each one had been squeezed from a tube.

 
Here is still another paint wheel, using those gorgeous M. Graham paints almost exclusively, and applied in glazed layers (the technique I now prefer).

The paints are (reading clockwise from the top): (1) M. Graham azo yellow, (2) M. Graham cadmium yellow, (3) M. Graham cadmium orange, (4) M. Graham cadmium red light, (5) M. Graham alizarin crimson, (6) M. Graham quinacridone purple, (7) M. Graham dioxazine purple, (8) M. Graham ultramarine blue, (9) M. Graham phthalo blue, (10) M. Graham cerulean blue, (11) M. Graham phthalo green, and (12) Winsor & Newton sap green.

This wheel again shows me things about mixing that I hadn't noticed before:

1. I'm starting to get the variation in red mixtures that I want, especially in the less saturated colors. I did this by pushing the red orange (scarlet) color closer to orange, and the magenta toward quinacridone violet. Variations in chroma and lightness are important to consider in a mixing palette. Hue isn't the only attribute in paint selection — chroma and lightness matter!

2. The M. Graham phthalo green is intense, and produces very nice dark mixtures with the blues and violet. These can be lightened by dilution. This turns out to be a pivotal color in most palettes I tried. Color intensity and dark value are the two factors I use in deciding the brand of phthalo green I prefer.

3. I was less and less satisfied with the somewhat dull mixtures that cadmium colors seem to produce. They are splendid mixed among themselves, or right out of the tube, but they muddy too much in mixtures with staining colors elsewhere on the palette. I started trying other pigments for the warm side of the color wheel. (Later I found that repeated brushing creates most of the "mud" effect in these mixtures, not the pigments themselves.)

4. M. Graham cerulean blue is a lovely paint, but it's not green enough for point 10 on the wheel. I began to explore the cobalt turquoise pigments as alternatives.

These few variations suggest how the wheel can be used to explore the mutual effects of different colors, paint manufacturers, mixing methods and application techniques.

The paint wheel shows very clearly how much the color wheel is an abstraction that needs to be used very carefully in color planning. Real paints, different kinds of brushwork, slight variations in hues — these all have very noticeable effects on the range of mixed colors a palette can produce.

Some color texts imply that one red orange is as good as any other. This is just not the case.
 

lessons from a paint wheel

Trial and error with paint wheels — changing the hues in the twelve positions around the wheel, the paints for each hue, the manufacturers for each paint — taught me the many tradeoffs I faced in choosing a working palette.

A paint wheel based on the tertiary color wheel forces you to choose twelve paints to fill each color slot. This may seem to be an arbitrary and silly exercise. But it leads you to consider the alternative paints available for each color slot, and to think about the effect that one paint selection has on the mixtures it makes with all other paints. These are the two fundamental problems you must face in any palette design.

The wheel below is based on a palette I discovered with the paint wheel method after about thirty variations in the selection of 12 paints. It's not the selection I would use now, but I still like it.

 
The paints used are (reading counterclockwise around the twelve color points of the tertiary color wheel): (1) Winsor & Newton aureolin (or Daniel Smith hansa yellow light), (2) Winsor & Newton indian yellow (or Daniel Smith hansa yellow deep), (3) Daniel Smith perinone orange, (4) Daniel Smith perylene scarlet (dark and slightly subdued), (5) Winsor & Newton quinacridone red, (6) Winsor & Newton quinacridone magenta PR122, (7) Winsor & Newton winsor violet (dioxazine), (8) Winsor & Newton french ultramarine blue, (9) Winsor & Newton prussian blue (now I would use Winsor & Newton phthalo blue GS), (10) Winsor & Newton cobalt turquoise light (more evocative than cobalt turquoise), (11) Winsor & Newton winsor green BS (winsor green YS is not as dark or powerful), (12) Winsor & Newton permanent sap green.

I tried paint wheels with the siennas and ochres included in the orange to yellow slots, but found it was better to explore these pigments as part of a separate earth palette.

Paint wheels made me explore every part of the color wheel, the saturated colors with the unsaturated, the mixtures I was familiar with (blue and green) with the mixtures I'd never tried (turquoise and violet).

There are many intriguing corners of the color wheel — the dull color areas under yellow, orange and green blue, for example — and mixtures I had never tried before (green blues and violet), which introduced me to a whole new world of paint textures, wet in wet color effects, and surprising color mixtures.

I learned that each color is at the center of a whole cluster of colors, like a bouquet, and that when you choose a color you choose it for the whole bouquet, and not for the color of the unmixed blossom.

Paint wheels taught me that I had been plucking the blossoms, choosing paints that were beautiful in themselves without concern for how they combined with other colors. My approach to color became more integrated, and disciplined by an understanding of how the entire palette works together, rather than how pretty each color is in itself.

I'll summarize some of the tradeoffs among color and paint choices that the paint wheel highlights, to suggest how it can help you in your own color explorations.

Start with yellow. Best is a wide contrast between just two yellows. (The siennas and ochres add to this part of the range in a distinctive way.)

A good choice is a light yellow (cadmium lemon or cadmium yellow pale, hansa yellow light, azo yellow light) and a deep yellow (nickel azomethine yellow, cadmium yellow deep, or hansa yellow deep). All other yellows are mixed from these. I found aureolin yellow (PY40) and nickel dioxine yellow (PY153) gave very nice results. I no longer use aureolin, and like benzimidazolone yellow (Winsor yellow, PY154) as a lightfast aureolin substitute.

The deep yellow must be capable of mixing well with all the blues. The light yellow should produce greens that are bright yet natural across all the mixing steps from yellow to blue green and blue. In that context I found bismuth yellow was too intense, nickel titanate yellow too dull.

With two yellows, there are 10 slots remaining in the wheel.

Reds can be contrasted primarily on hue, chroma and to a lesser degree on lightness; there are few texture variations among red or crimson pigments.

The red orange hue (next to the deep yellow) is only represented by a handful of pigments. The mixtures with the greens are a crucial test; I also looked for a good dark neutral in mixtures with the opposite blue. A medium orange such as benzimidazolone orange is too similar to the deep yellow and tends to be too light valued. I found perinone orange (PO43) made the most interesting mixtures, but Holbein cadmium red orange is a very intense color, slightly lighter valued, in the same hue. (Winsor & Newton cadmium scarlet is the closest red orange alternative.)

It seems very hard to get distinctive contrasts among mixtures with the red magenta pigments. The range of hues possible with these colors is fairly limited (everything tends to look "red") — another reason why the earth pigments are so valuable.

The solution I prefer now is to pick only two red hues — a middle red and a magenta, or a scarlet and a crimson — for the reds. This moves the violet hue from point 7 opposite the lemon yellow to point 6 opposite the yellow green (its true visual complement), and the magenta from point 6 to point 5 (opposite the blue green) adding another slot to the range of blues. This closely corresponds to the color points on the visual color wheel.

Back to the solution with three red magenta paints: the "warm" reds range from vermilion or scarlet through an intense middle red, such as Winsor & Newton winsor [pyrrole] red. The "cool" (crimson) reds range from quinacridone carmine to permanent rose. I chose a red from each group, enhancing the contrast by making the "warm" color darker and slightly less intense (perylene scarlet, PR149) and the cooler red color more intense and lighter valued (quinacridone red, PR209) for florals and tints.

For the magenta, I really came to like the strength of quinacridone magenta (PR122) in mixtures — both on the violet and the orange side — though I often go back to the darker mixtures that thioindigo violet or quinacridone violet can create. But quinacridone rose is an extremely flexible and beautiful color, and is probably the best magenta equivalent.

There is good separation in hue, lightness and chroma between the perylene scarlet, quinacridone red and quinacridone magenta. The perylene is somewhat dull, but I chose it because a bright red is the most 'artificial' of any color. It produces some stunning mixtures with yellows, greens and blues. I mix my "true" reds from cadmium scarlet and quinacridone rose (or magenta).

The yellow orange red crimson magenta mixtures must generate effective contrast among themselves, pulling new color harmonies from all the others. If all these contrasts work, there will be a rich variety across all the left side color mixtures.

Two yellows, a red orange, two reds and a magenta leaves six slots.

The violet slot is either a red or a blue violet, and this biases the color mixtures in the lower half of the wheel.

In their working palettes, many artists omit a violet paint entirely, mixing all their violets from ultramarine blue and quinacridone rose or quinacridone magenta. It's useful to keep this alternative in mind, even though a paint wheel requires one violet pigment.

I eventually went with dioxazine violet (PV23) for the blues it could pull all the way into the greens, and the deep browns it created with the reds. Both cobalt violet deep or manganese violet are reasonable middle violet pigments; each is somewhat weak in mixtures but has an intriguing, assertive texture.

This fills seven slots. The remaining five slots will be a combination of blues and greens.

There are many shades of green possible by mixing the blues with the two yellows, so one or two greens is enough (and in a working palette using no green at all is feasible).

If two greens, then the contrast can be in hue (one blue green and one yellow green), or in chroma and transparency (a phthalo green and a cobalt green). There are not a lot of attractive green pigments to choose from: viridian is worth trying, though I found it too dull and weak in mixtures to suit my taste. The cobalt greens used to strike me as forbiddingly opaque, but I discovered that they can be poetic and flexible when used at higher dilutions and in an earth palette.

I chose Winsor & Newton permanent sap green (PG36) for the yellow green slot because permanent green light is too gaudy when mixed with yellow, but the sap green is just bright enough. For the blue shade there is really only phthalo green BS (PG7), which makes a lovely blue when mixed with dioxazine violet, and cools any blue color nicely.

This leaves three shades of blue to finish.

The various shades of blue must mix well with both the yellows and the magentas, and this reinforces the point that the yellows and cool reds should also contrast and mix well together. (For example, quinacridone red and quinacridone magenta work well with aureolin and indian yellow.)

For a reddish blue, it seems impossible to avoid the choice of either ultramarine blue (PB29) or cobalt blue — though choosing both doesn't work. Look at your choices of yellow, red and magenta to decide: if these colors are strong, then ultramarine is probably better. Cobalt blue is somewhat muted, but stunning with other muted and transparent paints.

Phthalo blue GS (PB15:3), prussian blue or cerulean blue are some of the possible choices for the middle blue paint. I prefer that this blue mix to a dark neutral with the red orange paint (color point 3), yet make clean color mixtures with the warm yellow (point 2) and the red (point 4). This makes cerulean blue less desirable, though for some landscape or portrait palettes it can be essential.

Finally, for the green blue, there are a handful of choices: cobalt turquoise, "marine" shades of phthalocyanine, or the marvelous manganese blue. I chose cobalt turquoise light (PG50) because it produces a subtle granulation and lovely color in mixtures with every other paint on the wheel — including a lustrous violet gray with quinacridone magenta. Manganese blue is less green — a good choice if you like its strong granular texture.

The blues must work well with the yellow green, the yellows, the red/orange, and the magentas. Typically almost any blue works fine with dioxazine violet, the greens, and all other blues.

My color education is ongoing, so I'd like to close with the paint recommendations I'd make today for each of the 12 color points.

 

1	benzimida yellow	PY154
2	hansa yellow deep	PY65
3	pyrrole orange	PO73
4	cadmium red deep	PR108
5	quinacridone magenta	PR122
6	dioxazine violet	PV23
7	ultramarine blue	PB29
8	cerulean blue RS	PB35
9	phthalo cyan	PB17
10	cobalt teal blue	PG50
11	phthalo green YS	PG36
12	phthalo yellow green	PG7+PY3

 
This is not necessarily the best working palette, but it is an excellent selection for learning the hue, value range, texture, staining strength, tinting strength, transparency, vehicle characteristics and mixing behavior of paints from all parts of the color wheel.

Whatever selection of colors you decide to use, look over the mixed colors in your wheel and tally up the paints your mixtures appear to duplicate. For example, the wheel shown at the top of the page gives convincing substitutes for colors such as alizarin crimson, permanent green, thioindigo violet, cerulean blue, indanthrone blue, cadmium red, quinacridone maroon, raw umber, and hooker's green, among many others.

By identifying the color location of other paints you use, you learn the position of the mixing point for each color, which helps you to reproduce the color at will from the actual paints on your palette.

In this way the paint wheel helpS you see the relationships among different paints, the tradeoffs in choosing one paint over another, and the paint combinations that create the widest and most attractive mixing possibilities.

Color is something you should explore for yourself by painting. It's really the only way to learn.

Good luck!

Last revised 11.12.2007 • © 2007 Bruce MacEvoy