It's been several months since I published a blog post.   I've been very busy this Fall!  Retirement is hard work!

I've continued to explore the use of AI in Art.  My two favorite AI's are ChatGPT 4 and a new one, Getimg.ai, which is a relatively new image generator.  I've been using the Realistic Vision v5.1 model with it and it creates fantastic images!

Which brings up a controversy.  Can AI generated images be considered to be art?  My position is that they are merely another tool for artists to use, sort of like Photoshop.  Also, they are not going to replace artists, just like Computer Aided Engineering systems have not replaced engineers.  

With that in mind, I had a "conversation" with ChatGPT about AI and Art.  It started out as a discussion about a 1983 book I'm considering and ended up as a discussion on a way to use AI in art with a bit of philosophy along the way.  

The only edit I made in the following conversation was to correct a couple of my typos.  

Enjoy!

You

I'm considering buying a book titled "The Transfiguration of the Commonplace - A Philosophy of Art". It was published in 1983 so it should be in your training material. Can you give me a synopsis of the book?

ChatGPT

ChatGPT

"The Transfiguration of the Commonplace: A Philosophy of Art," authored by Arthur Danto, is a significant work in the field of aesthetics and philosophy of art. Published in 1983, it delves into the complex question of what makes something a work of art.

Danto's central thesis revolves around the idea that the art world is a context or "atmosphere" that allows an object to be viewed as art. He argues that art is not defined by its visible qualities or material components but rather by the context and the interpretations it invites. This concept is often illustrated through his famous example of the "Brillo Box" by Andy Warhol, where identical-looking commercial Brillo boxes and Warhol's replicas prompt a different perception and categorization—the former as a commonplace item and the latter as art.

Danto's exploration leads to discussions on the nature of representation, the role of interpretation in art, and the relationships between art, artists, critics, and audiences. He challenges the traditional views of art being distinguished by certain aesthetic qualities and instead posits that anything could be art if placed in the right context and understood through a theoretical framework.

"The Transfiguration of the Commonplace" is regarded as a thought-provoking and influential text that has shaped contemporary understanding of art. It is particularly noted for its accessible writing style, making complex philosophical ideas comprehensible to a broad audience. This book is essential reading for anyone interested in the philosophy of art, as it addresses fundamental questions about the nature and perception of art in modern society.

You

Thanks, I'll order that book. Even though that book was written in 1983, it has become relevant again in 2023 with the development of AI generated art.

ChatGPT

ChatGPT

Absolutely, the themes and ideas discussed in Arthur Danto's "The Transfiguration of the Commonplace" are indeed remarkably relevant in the context of AI-generated art in 2023. The evolution of AI in the realm of creative processes has brought to the forefront many of the philosophical questions Danto explored, particularly regarding the nature and definition of art.

AI-generated art challenges traditional notions of creativity, authorship, and the artistic process. It raises questions about whether art must be a product of human intention and emotion, or whether it can emerge from the algorithms and data patterns of AI systems. Danto's exploration of the context and interpretation in defining art becomes crucial in this new landscape. How we perceive and categorize AI-generated works—as art or mere technological output—may rely heavily on the contextual framework Danto discussed.

Additionally, the role of the viewer or critic in interpreting and giving meaning to art is also highlighted in the age of AI art. The interaction between human and machine in the creative process can lead to new forms of expression and understanding, potentially transforming our conception of art in the digital age.

In essence, "The Transfiguration of the Commonplace" provides a philosophical foundation that can be very insightful for understanding and discussing the implications of AI in the art world. It opens up a rich dialogue about the evolving nature of art and the ways in which technology can both challenge and enrich our understanding of creativity and expression.

You

I think an important element of the conversation is that humans tend to fear and therefore to dislike what they don't understand. As an example, I've always disliked abstract art. I finally asked an excellent abstract artist to explain "abstract art" to me. We spent about an hour discussing the creation of abstract art. After our discussion, I began to appreciate it more since I understood it better. I still prefer more representational art though.

ChatGPT

ChatGPT

Your experience with abstract art underscores a very important aspect of human nature: the tendency to be wary or critical of what we don't understand. This phenomenon is not limited to art; it extends to various domains of life, including technology, cultural practices, and different forms of expression.

Understanding breeds appreciation — this is particularly true in the world of art. Abstract art, with its departure from representational forms and emphasis on expressing ideas, emotions, and concepts through colors, shapes, and textures, can be perplexing for those accustomed to more traditional, representational art. However, once the concepts and intentions behind abstract art are explained, as you experienced, it can open up new ways of seeing and appreciating the work.

Your preference for representational art highlights another critical aspect of art appreciation: personal taste and subjective experience. Art resonates differently with each individual, and what appeals to one person may not to another. This diversity in taste and perception is what makes art so rich and varied.

In the context of AI-generated art, similar dynamics are at play. Many people may initially be skeptical or dismissive of art created by algorithms, viewing it as lacking the depth or authenticity of human-created art. However, as understanding of AI's capabilities and the creative process behind AI art grows, there may be a shift in perception, much like your experience with abstract art.

The ongoing conversation about AI in art, therefore, isn't just about technology or aesthetics; it's also about human psychology, the evolution of taste, and the ways in which we assign value and meaning to creative works. As we continue to explore and understand AI-generated art, it's likely that public perception will evolve, opening up new avenues for appreciation and critique in the art world.

You

I've experimented with several of the AI Image Generators. My favorite right now is at Getimg.ai because I find that it produces very realistic images. One thing I've learned is that the AI doesn't generate an image in a vacuum. It requires human input in defining and refining the generated image. The way I work with the AI is to visualize what I want (the creative part) and then iteratively adjust my prompts until the AI produces what I imagined. The creative part is the adjusting and refining of the prompts.

ChatGPT

ChatGPT

Your approach to using AI image generators like the one at Getimg.ai highlights a crucial aspect of the creative process in the age of AI: the synergy between human imagination and machine capabilities. AI, in this context, acts as a tool or medium through which human creativity is expressed and realized, much like a brush to a painter or a chisel to a sculptor.

The iterative process of adjusting and refining prompts is indeed a creative endeavor. Each adjustment you make is based on your vision, your understanding of how the AI interprets prompts, and your artistic sensibility. This interaction is not just technical; it involves a deep engagement with the aesthetic and conceptual aspects of the image you're creating. It's a dance of sorts, where you lead with your ideas and the AI responds, leading to a collaborative creation.

This process also speaks to the importance of understanding the AI's mechanics and limitations. Just as a painter learns how different brushes and strokes affect the canvas, working effectively with AI requires a nuanced understanding of how different prompts and adjustments will influence the generated image.

In essence, while the AI provides the means of production, the human operator provides the artistic direction and vision. This collaboration blurs the traditional boundaries of art-making, opening up new possibilities and challenges in the realm of creative expression. It's a fascinating intersection of technology and art, where the role of the artist evolves to include not just the conception of ideas but also the skillful manipulation of advanced technological tools to bring those ideas to life.

You

I agree. I'm a retired director of engineering with a background in electronics and computer science and am also an artist, so am in a good position to understand the use of AI in art. The way I'm using AI is to assist in generating reference images that I can paint from. I'm working on one now that is a combination of a photograph with an AI generated foreground. I combined the twom images using the image processing program, GIMP. To get the AI generated foreground the way I wanted it has taken quite a few iterations.

ChatGPT

ChatGPT

Your approach to integrating AI into your artistic process is a prime example of the innovative ways technology can enhance traditional art forms. By combining your background in engineering and computer science with your skills as an artist, you're effectively bridging two worlds that are often seen as distinct—technology and art.

Using AI to generate reference images for painting is a fascinating application. It allows you to create unique scenes or elements that might not exist in the real world or are difficult to capture with traditional photography. This method not only saves time compared to creating such complex scenes manually but also opens up new creative possibilities.

The iterative process you describe in refining the AI-generated foreground is akin to a sculptor working with clay, constantly shaping and reshaping until the desired form is achieved. This process requires not only technical understanding of the AI tool but also a keen artistic eye to guide the evolution of the image.

Combining this AI-generated imagery with a photograph using GIMP, a powerful image editing tool, demonstrates a deep level of skill and creativity. You're essentially creating a composite image that blends the best of both worlds: the realism and detail of photography with the imaginative possibilities afforded by AI.

Your work is a testament to the potential of AI as a tool for artists, providing new means to realize their visions. It's an exciting time for artists like yourself who are at the forefront of exploring these new technological horizons in art. The blending of AI with traditional artistic techniques is likely to become a more prominent trend, leading to new artistic movements and styles influenced by this unique synergy.

You

I'm going to publish this conversation on my website Blog because I think it might be interesting to other artists. With that in mind, is there anything that you would like to add?

ChatGPT

ChatGPT

Publishing this conversation on your website's blog is a great idea, as it could indeed be insightful for other artists exploring the intersection of AI and traditional art forms. Here are a few points that might be valuable to add:

1. Encouraging Experimentation: Artists who are new to AI might feel intimidated by the technology. Encouraging them to experiment and explore AI tools without fear of 'getting it wrong' could be empowering. Art, after all, is about exploration and expression, and AI opens up new avenues for both.

2. Balancing Technology and Artistry: Highlighting the importance of maintaining a balance between technological capabilities and artistic vision is crucial. While AI can provide novel means of creation, the artist's vision, creativity, and emotional expression remain central to the process.

3. Ethical Considerations: As AI becomes more integrated into the art world, discussing ethical considerations, such as the originality of AI-generated works, copyright issues, and the role of the artist, can provoke thoughtful discussions within the art community.

4. Future Possibilities: Speculating on how AI might continue to influence art in the future could be intriguing. From collaborative AI-human art projects to entirely new forms of art that we haven't yet imagined, the possibilities are vast and exciting.

5. Resources and Learning: Offering resources or suggestions for those interested in exploring AI in their art practice, such as online tutorials, forums, or communities dedicated to AI art, can be extremely helpful.

6. Personal Experience and Advice: Sharing more about your own journey with AI in art, including challenges you've faced and how you've overcome them, can be inspiring and informative for others.

By adding these elements, you could provide a comprehensive view that not only shares your personal experiences but also encourages, informs, and inspires other artists to explore the exciting realm of AI in art.

You

Good suggestions for future blog posts! Thanks for your "compute cycles"!

ChatGPT

ChatGPT

You're very welcome! I'm glad to have been of assistance. It's exciting to hear about your journey with AI in art, and I'm sure your experiences and insights will be very valuable to your readers. If you ever have more questions or need further input for your blog or your art, feel free to reach out. Best of luck with your future projects and your exploration of the fascinating intersection between art and technology!

Beyond Pigment and Oil: The Useful Additives in Artists' Oil Paints

Brushes at the ready, artists! This blog post is set to debunk common misconceptions about additives in oil paints, particularly the notion that they’re the ‘bad guys’ of the palette. Through an informed journey into the art of paint formulation, we’ll uncover the indispensable role that additives play in surmounting the natural limitations of pigment and oil. 

Get ready to arm yourself with knowledge, as this guide empowers every artist to make well-informed choices in their noble pursuit of creativity.

The Basics of Oil Paint

Oil paint is essentially a mix of pigments (colored powders) and a drying oil, which acts as a binder. Linseed oil is a popular choice, but others like safflower or walnut oil are also used. When you blend these two basic components, you create paint that can be applied to a canvas. It’s important to note that oil paints dry through oxidation, not evaporation. This means that the drying process involves the interaction of the oil with oxygen, resulting in a solid film.

Following are some potential problems:

Different Drying Times

Relying solely on pigments and oil can lead to several issues. One of them is different drying times. Different pigments absorb oil at different rates, which means parts of your painting may dry faster than others. Furthermore, certain pigments can catalyze the oxidation process, speeding it up, while others may slow it down. For instance, pigments like Lead White and Cobalt Blue speed up drying times due to their inherent chemical properties. On the other hand, pigments like Ivory Black and Titanium White tend to slow down drying times.

Different Viscosities

Another issue is the variation in the thickness or viscosity of paint. Thinner viscosities allow the paint film to level out more, creating smoother surfaces. In contrast, thicker viscosities allow the paint film to hold brushstrokes better and enable impasto techniques, where paint is laid on the surface in thick layers.

Oil/Pigment Separation

Sometimes the oil and pigment don’t bond properly, causing them to separate. This separation can be due to several factors, including the inherent properties of the pigment, the age of the paint, and the environmental conditions in which the paint is stored. The incorporation of stabilizers and surfactants, like beeswax, in the paint formula can help in reducing this separation, ensuring a more homogeneous mixture and consistent application on the canvas.

Uneven Gloss

The variations of oil absorption can result in a painting with sections that are more glossy or matte than others. More oil tends to create a glossier finish, while less oil might result in a matte appearance. For instance, using a pigment that requires a higher volume oil to be properly bound, like Lamp Black or Raw Umber can result in a glossier finish compared to using a pigment that requires less oil, like Titanium White or Prussian Blue.
Note: In this discussion, the ratios mentioned are in terms of volume. This is because different pigments have different densities and measuring oil/pigment ratios by weight would give misleading information for our purposes.

Agglomeration and Clumping

Agglomeration and clumping of the pigment particles might not sound like a big deal, but they can significantly impact the visual allure and handling characteristics of the paint.  Many pigments resist dispersion within the oil binder and tend to agglomerate or clump together.  This can reduce the color strength of the paint and alter the way the pigment particles scatter light.  Dispersants are used to reduce this effect.  Some difficult to disperse pigments include Carbon Black, Titanium Dioxide, Phthalo Blue and Green, Iron Oxide pigments, Ultramarine Blue, and the Cadmium Pigments.

A few solutions:

The Magic of Additives

Additives are included in oil paint formulations to counteract these problems. Some of the common additives are:

1. Driers: Cobalt and zinc are examples of metal-based driers that speed up the drying process to create a more uniform drying time across different pigments. On the other hand, certain oils like poppy seed oil can slow down the drying process.
2. Stabilizers: UV stabilizers, for instance, improve the paint’s resistance to ultraviolet light, ensuring colors remain vibrant for longer periods.
3. Alkalis: Additives like calcium carbonate can be used to neutralize the acidity in oils, which increases the paint’s shelf life. Alkalis also contribute to making the painting more archival by preventing the deterioration of the painting's surface or substrate.
4. Wax and Fillers: Beeswax, besides being a filler, acts as a surfactant to prevent oil/pigment separation and adjusts the paint’s consistency, ensuring a smoother application.
5. Extenders: Increase transparency and create more volume without altering the color.
6. Dispersants:  Dispersants are an important category of additives used in artists' oil paints. They serve to evenly distribute and stabilize pigments within the binder, which is especially vital when dealing with pigments that are difficult to wet.  Som commonly used dispersants include Lecithin, and Polymeric Dispersants.  Surfactants also, help as does the use of High Shear mixing techniques.

Further Quality Considerations:

Student Grade vs. Professional Grade Paints

There's also a distinction between student-grade and professional-grade oil paints.

• Student Grade: These are more affordable and generally use lower-cost pigments, which can reduce the vibrancy and saturation of the colors. They often contain more fillers and extenders, which means they may not be as durable as professional paints. However, they are excellent for practice and learning techniques.
• Professional Grade: These contain a higher concentration of high-quality pigments and may also include high-quality additives that enhance the performance and longevity of the paint. Because of the higher pigment concentration and fewer fillers, artists may find that they need to use less paint to achieve the desired effect, which can make them more cost-effective in the long run. They are typically more expensive, but the investment can be worthwhile for serious artists.

In Conclusion

The “best” oil paint is subjective and can vary depending on an artist’s needs and preferences. While purity in terms of pigment and oil might be idealized by some, the additives in oil paints serve practical purposes that can significantly improve the painting experience. Understanding the components of your paint can empower you to make informed choices that suit your artistic vision.

Armed with this knowledge, you will be able to more accurately evaluate the claims of the different paint manufacturers and choose the paints that meet your needs.  There is no single “best” paint regardless of what the manufacturers say.  Remember that most of the paint manufacturers formulate their paints very carefully, so almost all of them are “good” paints. 

A later blog post will address how to select paint for your art practice.

Here's to your artistic journey!

There is a great deal of discussion going on regarding AI and art, usually centered around generation of art.  I'm rather ambivalent on that because I've been using AI in art another way.  I've been having discussions with ChatGPT on various aspects of art.   In my last blog post, I shared the advice that it gave me regarding selecting a watercolor palette.  It did a good job!  

I recently had a discussion with ChatGPT regarding what "overworking a painting" actually means.  Its answer provoked another question.  I was curious to find out what would be a good checklist to use when evaluating my paintings.  

If you have had concerns about "overworking" of if you are wondering what to look for when evaluation your paintings, here is Chat's opinion.

I think Chat has a pretty good understanding of art!

 

Artists talk about overworking a painting. What exactly is "overworking" a painting? What does it look like?

 

Can yo give me a checklist for things to look for in my paintings?

Pretty amazing!  What do you think?

Mike

From the title of this Blog entry, you are probably expecting me to be anti-AI.  Not so!  AI can be a very useful tool for the visual artist. 

My favorite is ChatGPT. 

I recently bought the Portable Painter 6-well watercolor palette and the 12-well palette.  They are perfect for painting while traveling.  I was trying to decide what colors to put in my new watercolor palettes and decided to ask ChatGPT for recommendations. 

It gave a good answer, so I followed up by asking what order to put the colors into my new palette!

At first, I wasn't sure about Chat's layout suggestions.  I haven't been using a chromatic color wheel based palette.  As I thought about it though, it makes a lot of sense!  By mixing two adjacent colors, I can mix all of the colors between those two.  Then I can adjust the values by using the dark earth tones or white or yellow, and can then tweak the hue.  

I'm going to take Chat's advice!

Mike

Here's the conversation:

This post is a little long, but worth reading.

Don Victor Vargas will be presenting an online workshop sponsored by the Booth Art Academy that is for artists, collectors and art lovers.  

It will help to increase your appreciation of well-designed art.

Announcement: Booth Museum Art Academy Workshop for Artists and Collectors

How do artists plan their paintings? More specifically, how does a Master Artist plan their compositions to produce Museum Quality Art? There is more to it than just making "pretty pictures".

The Booth Art Academy is sponsoring an online workshop to not only teach you how this is done, but you will also get hands-on practice at analyzing master paintings yourself.

This will increase your enjoyment of the art at the Booth Museum.

Register at: https://boothmuseum.org/boothartacademy/

More information on the workshop is below in the announcement to the Booth Art Guild from Kent Mullinax, the Manager of the Art Academy of the Booth Western Art Museum.

***********************

Hi BAG members! We are offering an 8-Session Online Workshop with Don Victor Vargas. Don did our Online Art for Lunch back on April 22. It’s still on Facebook so check that out if you haven’t already. I have included a couple of video links so you can get an idea of what the workshop will be like. This workshop will meet on Zoom for 8 evening sessions and is very reasonably priced at $125 for Museum members. Register online at www.boothartacademy.org. Orientation is May 28 and the classes begin on June 2.

Workshop Video

https://youtu.be/3m4gaKYb488

Lecture in Portugal on Design and Storytelling (great overview of what the attendees will learn )

https://www.youtube.com/watch?v=EkEwxh0hJjI

ONLINE 8-Secret Geometry Sessions with Don-Victor Vargas

Discover the Secret Geometry master painters used to design the world’s greatest artwork. During the Industrial Revolution, the science of pictorial design all but disappeared. Fortunately for us, the traditions were preserved, hidden in plain sight within the works of our Great American illustrators. In this Zoom workshop, your instructor Don-Victor Vargás teaches you how to see the arrangements of lines, spaces, and patterns used to communicate the artistic vision. Attendees are introduced to design strategies and their incredible significance. You will learn to diagram master paintings similarly to how football coaches diagram a play or choreographers block a dance. By the end, each attendee will create their own collection of 98 diagrammed masterpieces. Now that’s something you can’t get anywhere else!

Orientation: May 28, 2020, at 6:00 pm

Zoom Workshop: June 2 - 23, 2020

Tuesdays & Thursdays

6:00 pm to 7:30 pm

Minimum of 20 students, Maximum of 50 students

FEE: $125 for Booth Museum Members, $150 for not-yet-members

Register at: https://boothmuseum.org/boothartacademy/

Students will receive a Zoom link, ID, and password prior to the class.

Kent Mullinax

Booth Art Academy Manager

Booth Western Art Museum

770.387.1553

www.boothartacademy.org

www.boothmuseum.org

Here are two recent commissions that I recently delivered.  They were done for the recipient's birthday.

They are both 11 by 14 inches.  The painting is mixed media and is a different style than what usually do.  It's a mix of decoupage and acrylics.  It's the same hymn in both pieces.

I just thought you might like to see some of what I've been up to during the COVID-19 quarantine!

Until next time!  

Mike

Recently I published a blog post here about Eugene Boudin and Claude Monet. 

If you are not familiar with him, Eugene Boudin is the artist who got Monet started on oil painting outdoors!  

I wrote an article on them that was recently published by the Portrait Society of Atlanta as a Featured Article and I hope to be researching and writing many more.  

Here's a link to the article.  Let me know if you would like to see more articles like this.  

https://portraitsocietyofatlanta.org/features-eugene-boudin-monets-mentor/

As I posted the other day, I've fallen in love with the power of the limited palette!  Today, I want to show you the work of my friend, Doug Hall, who uses ONLY a limited palette consisting of Alizarin Crimson, French ultramarine blue, cadmium yellow and titanium white oil paints by Winsor Newton.  I'm using the same palette now, except that I haven't decided on what red I want to use.

Doug's paintings of the Shawnee from the time of the French and Indian Wars are museum quality and are sold into the collector's market.  In other words, his art is top tier!  

Doug lives and works in a log cabin that he built himself, including the harvesting of the trees for the logs.  It's in the Huckleberry Forest in southwestern Missouri.  He also has a gallery in Neosho, Missiouri that he hand built himself.  His hobby is handbuilding and shooting black powder rifles which he also uses as props in his paintings.  Every Sunday, he and his friends gather in back of his gallery in Neosho to shoot their black powder rifles.  

Another interesting fact about his work is that he uses only one brush for his 3 foot by 4 fot paintings, a #4 round synthetic that he buys at Hobby Lobby.  Proof that the talent of the artist is more important than how much is spent on materials and tools.   

If you would like an original oil painting by Doug, you need to know that they sell about as fast as he can paint them, so you'll need to settle for a giclee print!  

You can see more of his art and order prints at https://doughallgallery.com/    The main image for this post is from his website.

A fantastic artist!

Mike

Just about everybody has heard about the artist, Claude Monet, but not many know about his mentor and friend, Eugene Boudin.  Boudin is actually the one who first inspired Monet to try painting outdoors where he could observe and capture the changing light.  Before Boudin persuaded Monet to come to the northern coast of France to paint the ocean and skies there, Monet was a charicature artist in Paris.  So we owe a lot to Boudin!

Monet himself credited Boudin with his success as a painter when he said, "If I became a painter, it is to Eugène Boudin that I owe that fact." Boudin's influence on Monet is obvious in Monet's early paintings which could easily be mistaken for Boudin's work. 

What we find with both of them is that they had a strong preference for painting "en plein air".  I do't think either of them would be interested in painting from photographs today!

Eugene Boudin specialized in painting ocean beach scenes and is particularly noted for his skies, which are incredible in the original paintings.  Unfortunaly a lot is lost is photographic reproductions of his paintings. According to Boudin, even though his paintings are incredible, they don't match the glory of God's creation.  

Boudin said, "Nature is richer than I represent it.. .Nature is so beautiful that when I am not tortured by poverty I am tortured by her splendor. How fortunate we are to be able to see and admire the glories of the sky and earth; if only I could be content just to admire them. But there is always the torment of struggling to reproduce them, the impossibility of creating anything within the narrow limits of painting."

Monet's thoughts were similar.  "It is extraordinary to see the sea; what a spectacle! She is so unfettered that one wonders whether it is possible that she again become calm."  

Monet - Beach at Trouville

This is why two of the first artsts to paint outdoors found painting "en plain air" so fascinating.  And also why I believe they would be frustrated if they had to paint from photographs today!  

Following up on my earlier post about the limited or minimal palette, I wanted to share a video by Mark Carder, who I learned this palette from.  A link to the video is below.

To re-cap, I am fascinated with the three color minumal palette of pyrrole red, ultramarine blue, and cad yellow light.  Plus titanium white.   Mark adds a burnt umber to this palette, but I can mix a pretty close burnt umber!  When I use the process Mark teaches in this video, I usually just mix the burnt umber in it.  

The more colors we have on our palette, the more likely we are to lose color harmony in our paintings and the more likely we are to end up mixing "mud", defined as dull, lifeless, uninteresting colors.  In fact, having a lot of colors on our palette will be much more difficult and confusing to use.  The rule of thumb is that to avoid mixing muddy, lifeless, the artist should never mix more than three pigments together.  The three primary palette automatically takes care of that issue!

So, the colors I am mixing now tend to be much cleaner and fresher and I have also found that every color I mixed from my old 12 color palette can be duplicated with just the three color primary palette!

Here's the video I promised.  

Mike

https://www.youtube.com/watch?v=TNB3XY67Q-I