Disk Micro Palette Oleg Buiko
A new tool for precise color work
Disk Micro Palette
Page under development
On this page, I would like to introduce a new tool for working with color: the Disk Micro Palette.
The Disk Palette is designed for selecting color along the edge of its surface using the method of direct comparison.
The Disk Micro Palette is a removable attachment for a handheld palette, designed for precise color work while painting. It acts as an intermediate link between the palette and the canvas: it allows you to check a color mixture very accurately in the context of the painting before the brush even touches the surface.
The Disk Micro Palette is a removable attachment for a handheld palette, designed for precise color work while painting. It acts as an intermediate link between the palette and the canvas: it allows you to check a color mixture very accurately in the context of the painting before the brush even touches the surface.
The paint is applied to the very edge of the disk and brought into the same line of sight as the required area of the painting. This allows the artist not only to match the color accurately, but also to consciously shift it in a more artistic direction. The search for the right hue is done before the brush touches the canvas, without any test strokes.
The main reason for mistakes in traditional color mixing is simultaneous contrast. On the palette, the mixture is surrounded by one set of colors, while on the painting it enters a completely different environment. The eye perceives the same color differently depending on the neighboring hues, so a mixture that looks right on the palette often appears different after it has been applied to the canvas.
Neighboring hues on the palette or on the canvas always distort the perceived color, which leads to mistakes. This is a fundamental property of vision.
In addition, a traditional palette and a vertical canvas are usually lit differently and receive different amounts of light. This leads to endless trial-and-error testing, which often results in muddy, overworked painting.
This short video shows how strongly simultaneous contrast can distort color.
Neighboring hues on the palette or on the canvas always distort the perceived color, which leads to mistakes. This is a fundamental property of vision.
In addition, a traditional palette and a vertical canvas are usually lit differently and receive different amounts of light. This leads to endless trial-and-error testing, which often results in muddy, overworked painting.
This short video shows how strongly simultaneous contrast can distort color.
The method of direct comparison implemented in this tool removes the main obstacle to precise color work: simultaneous contrast. The ability to bring two hues into the same line of sight, one on the edge of the disk and the other in the painting, practically “switches off” its influence. In addition, the parallel position of the disk and the canvas surface provides the same lighting conditions for both paint samples, making color selection predictable. A hue found on the disk will look exactly the same after it is applied to the canvas. More about the method of direct comparison at this link.
The paint is applied to the very edge of the disk. It is then brought into the same line of sight as the area of the painting, so that the two colors visually touch each other. The mixture is adjusted on the disk and only then transferred to the painting. This eliminates the need to constantly test paint on the canvas, which usually leads to the buildup of unnecessary layers, muddiness, and loss of freshness in the brushstroke.
The ability to place two hues side by side and compare them directly makes color work much simpler, because even the smallest difference in color becomes clearly visible.
The tool solves three main tasks.
The first is accurate color matching.
This is important when a hue needs to be placed as accurately as possible into an existing area of the painting: in a portrait, in skin tones, in halftones, and in other key parts of the work. Thanks to direct comparison along the line of sight, and to the same lighting on the plane of the disk and the canvas, the mixture can be brought almost to a perfect match before it ever touches the painting. After that, the artist can place the stroke exactly where it is needed with confidence.
The second is shifting color in a more artistic direction.
Using the existing colors in the painting as a reference, the artist can consciously adjust the new ones: make them stronger or weaker, shift them warmer or cooler, change their saturation. At the same time, the result is seen immediately, in the context of the painting, without testing it on the canvas.
You can mix a bold, unexpected hue and immediately see whether it belongs in the fabric of the painting or falls out of it, where it might work, and in which direction it needs to be adjusted. This makes it possible to search for more daring color solutions. The tool removes uncertainty: before you apply a stroke, you already see it “in action”. If the hue works, it can go into the painting. If it does not, it stays on the palette. The tool gives you a way to work with color thoughtfully and to find the most accurate and expressive solutions.
The third is integrating complex hues.
On a regular palette, when many different paints have been mixed during the process, these hues often seem dull or dirty to us. Because of that, we often ignore them or even scrape them away.
But when such a color is brought into the same line of sight as the painting, it becomes clear that even a very quiet, unobvious hue can fit exactly into a specific area, improve it, make it more complex, and make the painting subtler. This is one of the qualities of direct comparison: it allows you to see the real value of a hue precisely in the context of the painting. Very often, a weak and almost unnoticeable color turns out to be strong exactly because it lands in the right place.
This is especially important because, both in nature and in good painting, the main color structure is usually held together not by bright accents, but by quiet, complex hues. They support the main accents, connect color relationships, and make the painting more refined.
The first is accurate color matching.
This is important when a hue needs to be placed as accurately as possible into an existing area of the painting: in a portrait, in skin tones, in halftones, and in other key parts of the work. Thanks to direct comparison along the line of sight, and to the same lighting on the plane of the disk and the canvas, the mixture can be brought almost to a perfect match before it ever touches the painting. After that, the artist can place the stroke exactly where it is needed with confidence.
The second is shifting color in a more artistic direction.
Using the existing colors in the painting as a reference, the artist can consciously adjust the new ones: make them stronger or weaker, shift them warmer or cooler, change their saturation. At the same time, the result is seen immediately, in the context of the painting, without testing it on the canvas.
You can mix a bold, unexpected hue and immediately see whether it belongs in the fabric of the painting or falls out of it, where it might work, and in which direction it needs to be adjusted. This makes it possible to search for more daring color solutions. The tool removes uncertainty: before you apply a stroke, you already see it “in action”. If the hue works, it can go into the painting. If it does not, it stays on the palette. The tool gives you a way to work with color thoughtfully and to find the most accurate and expressive solutions.
The third is integrating complex hues.
On a regular palette, when many different paints have been mixed during the process, these hues often seem dull or dirty to us. Because of that, we often ignore them or even scrape them away.
But when such a color is brought into the same line of sight as the painting, it becomes clear that even a very quiet, unobvious hue can fit exactly into a specific area, improve it, make it more complex, and make the painting subtler. This is one of the qualities of direct comparison: it allows you to see the real value of a hue precisely in the context of the painting. Very often, a weak and almost unnoticeable color turns out to be strong exactly because it lands in the right place.
This is especially important because, both in nature and in good painting, the main color structure is usually held together not by bright accents, but by quiet, complex hues. They support the main accents, connect color relationships, and make the painting more refined.
How to use it
The Micro Palette is attached to the edge of a handheld palette so that the disk sits in a comfortable area of the artist’s field of view. During comparison, the plane of the disk should roughly match the plane of the canvas. This is important: in this position, the paint on the disk and the paint on the painting receive the same amount of light.
The mixture is applied to the edge of the disk. The edge of the disk is then brought into the same line of sight as the required area of the painting, so that the paint sample and the area being compared appear visually side by side. If the color does not match, or needs to be shifted in a more artistic direction, it is adjusted directly on the disk.
If necessary, the disk can be rotated to the desired area using the rear handle.
The Micro Palette is attached to the edge of a handheld palette so that the disk sits in a comfortable area of the artist’s field of view. During comparison, the plane of the disk should roughly match the plane of the canvas. This is important: in this position, the paint on the disk and the paint on the painting receive the same amount of light.
The mixture is applied to the edge of the disk. The edge of the disk is then brought into the same line of sight as the required area of the painting, so that the paint sample and the area being compared appear visually side by side. If the color does not match, or needs to be shifted in a more artistic direction, it is adjusted directly on the disk.
If necessary, the disk can be rotated to the desired area using the rear handle.
Construction
The tool is quick-release. The Micro Palette attaches to a handheld palette and can be removed in just a few seconds.
The attachment is designed as a clip. It does not take up space on the main palette and does not interfere with the artist’s usual way of working.
It is designed to fit most standard handheld palettes.
The disk has a diameter of 12 cm. It remains compact, but thanks to its round shape it provides almost 38 cm of working edge, where different groups of mixtures can be kept: warm and cool, light and dark. At the same time, the tool adds almost no extra weight to the palette, as it weighs only 70 g.
The disk rotates around its axis. On the back side there is a turning handle, which allows you to rotate the disk quickly without touching the disk itself with your hands.
When mounted on a regular handheld palette, the disk is positioned at an optimal distance from the eyes and allows the artist to work without strain, while keeping the hand in a natural position.
The main parts are made of stainless steel. This is a strong and durable material, designed for many years of use. The tool comes with a 15-year warranty.
The surface of the disk has a satin finish. It produces very little glare, which is important for accurate color comparison, and it is easy to clean with a palette knife, any solvent, or a damp cloth. If necessary, the tool can be disassembled for more thorough cleaning. The reverse side of the disk can also be used.
The rotation unit uses Teflon washers, so the movement of the disk is smooth and controlled. The rotational resistance can be adjusted.
The geometry of the bracket is designed so that the disk sits in a comfortable position relative to the surface of the painting on the easel. If necessary, the angle can be adjusted to suit your own palette and hand by simply bending the bracket. This makes it possible to set the disk in a comfortable individual position.
The tool is quick-release. The Micro Palette attaches to a handheld palette and can be removed in just a few seconds.
The attachment is designed as a clip. It does not take up space on the main palette and does not interfere with the artist’s usual way of working.
It is designed to fit most standard handheld palettes.
The disk has a diameter of 12 cm. It remains compact, but thanks to its round shape it provides almost 38 cm of working edge, where different groups of mixtures can be kept: warm and cool, light and dark. At the same time, the tool adds almost no extra weight to the palette, as it weighs only 70 g.
The disk rotates around its axis. On the back side there is a turning handle, which allows you to rotate the disk quickly without touching the disk itself with your hands.
When mounted on a regular handheld palette, the disk is positioned at an optimal distance from the eyes and allows the artist to work without strain, while keeping the hand in a natural position.
The main parts are made of stainless steel. This is a strong and durable material, designed for many years of use. The tool comes with a 15-year warranty.
The surface of the disk has a satin finish. It produces very little glare, which is important for accurate color comparison, and it is easy to clean with a palette knife, any solvent, or a damp cloth. If necessary, the tool can be disassembled for more thorough cleaning. The reverse side of the disk can also be used.
The rotation unit uses Teflon washers, so the movement of the disk is smooth and controlled. The rotational resistance can be adjusted.
The geometry of the bracket is designed so that the disk sits in a comfortable position relative to the surface of the painting on the easel. If necessary, the angle can be adjusted to suit your own palette and hand by simply bending the bracket. This makes it possible to set the disk in a comfortable individual position.
This tool is patented.
