On Oct 10, 2014, at 10:52 AM, Brad Funkhouser <brad.funkhouser@xxxxxxxxxxx> wrote: > What tools and techniques would help me gain a better understanding of any > metameric mismatch that is happening? I'd love to be able to predict it and > quantify it. I'm not sure where to start. You can do one better. Make your own charts using the same pigments as your artists are using. Doesn't take any skills more advanced than you learned in kindergarden -- or, you could elicit the help of one of your artists if you don't have ready access to the materials. Keep the charts relatively physically small; 8" x 10" is an easy-to-work with size. Use larger patches, on the order of half-inch squares, meaning you'd have room for ~300 patches per chart, or ~100 for larger patches. As much as possible, strive for uniformity of application, which will take either a couple-few coats if you don't know what you're doing or some careful brushwork if you do. Don't be afraid to make multiple charts; they're trivial to merge electronically with Argyll. Just be most carefully consistent in your workflow -- the exact same lighting, exposure, everything, for both shooting the charts and the artwork. Doesn't hurt to shoot the charts each time you set up the studio for a copy run just to be sure. If you wind up with a chart each for watercolor, oil, litho, etc., go ahead and shoot them all (as well as your inkjet) even if you're just shooting one medium; the more patches, the better. If you want a single does-everything chart, go for Golden Fluid Acrylics. They've got the same basic chemistry as all other artist pigments use but they tend to be both more saturated and easier to work with. You'll need to mix many of them with white to bring the chroma values up, but include multiple tints including solid masstones. You'll need to apply them to a well-gessoed surface that's been sanded smooth; plexiglass makes a good substrate (apply thickly with a roller for a few coats, then another coat or two with a squeegee for a smooth surface, then work your way up through sandpaper grades to a glossy finish). If you've got enough patches to spare, mix up not just tints but blends of different pigments; just doing so at random is going to get you some metameric matches. Cheers, b&
Attachment:
signature.asc
Description: Message signed with OpenPGP using GPGMail
