As a webcartoonist, and digital painter, I found that there was helpful information in this book, but found it lacked in the basic theory of color combinations. I just know now not touse the same reb blue nd greens to get the colors I'm looking for. Also, the helpful sections on doing browns and greens helped a great deal for colors I have a hard time mixing on a screen. Overall, It was helpful for making my colors more like the lifelike counterparts I was trying to replicate.

It is, I suppose, a reference book that every artist should possess and keep handy at all times. It is a book that I return to time and time again for assistance.

This book really is a 'must-have.' I originally read the first edition of this book, which I think presents his ideas in a clear and simple way without the daunting number of color charts that appear in the current edition. But his basic insight is explained clearly in both editions, it's easy to understand, and once you've read it YOU WILL BE ABLE TO QUICKLY AND PREDICTABLY MIX THE COLORS YOU WANT ON THE FIRST TRY!! And if you didn't mix enough you will easily be able to mix more and it will match the first batch.
I had given up painting when the frustration of not being able to mix the colors I wanted took all the fun out of it. But once I read the book and 'got it' I was energized to try this out for myself and it paid off immediately (in this edition much of what you need to know is in the first 33 pages before the color exercises begin). Right away I could mix the colors I wanted and do it over and over. Now I am painting again and enjoying it much more. And my paintings have improved, because as he points out, paintings made with a limited palette automatically have harmonious colors. It's surprising to learn that you can make most of the colors you need from so few colors. In art school I'd been told to use a 'limited palette' but nobody told me which colors needed to be in it or how many are considered a 'limited palette.' Here the author offers his own version which is the most versatile, and he tells you how you can modify it to suit yourself. Now that I'm in the habit of mixing colors myself I've also noticed that I can look at the paintings of the masters and decode how, for example, Winslow Homer could paint an entire scene with an orange-red, a greenish-blue, and white. Everything from skin tones to grey rocks to stormy blue oceans were painted with those three colors, and I can see how he mixed them and why they produced the effects that they did. As the author points out, color mixing is now a thinking process, it's no longer hit-or-miss.
I highly recommend this book!

I attended a three-day workshop during which time we learned about the school of color and the method Michael Wilcox uses to understand color. The book is a must for anyone who wants to understand his theory of color.
I plan to spend most of the summer studying this book. I love the book
Blue and Yellow don"t make Green.

The first thirty-five pages will change your view of color. Blue and Yellow Don't Make Green explains the common misperception - that paint colors "blend" to create a new color. In fact, a blue paint is not perfectly blue, and a yellow not perfectly yellow, so it matters a great deal which blue and which yellow you mix.

This book will explain why, and why we so often get mud instead of the color we expected from our charts or our limited understanding of how paint works. Read this, you will understand color a great deal more when you are done. Unlike so many other volumes, this is not a message repeated in every other painting book out there.