ChromaStick Iron Brush Buiko

Have you ever wondered why painters don’t simply compare color by holding a brush with paint on the same line of sight as the subject?
Just like designers, restorers, printers, or colorists — anyone who has the ability to place two colors side by side.

It seems logical and convenient.
In fact, artists of all eras have consciously or instinctively tried to match color directly.
However, such attempts have proven ineffective for two reasons: the lack of a simple and stable tool for comparison, and the lack of understanding about the need to synchronize the lighting between the paint and the subject.
Without these conditions, this method loses its meaning.

On this page, I would like to introduce a tool for accurate color matching — the Chromastic.

A short overview of the tool is available here.

ChromaStick (from Greek Chroma — color, and stick) is a universal, exposure-adjustable tool designed for accurate color selection.
It allows the artist to mix paint on the palette and compare it directly with the subject — in terms of hue, saturation, and value.

The ChromaStick is set for proper exposure before starting a session and maintains stable conditions for every color check throughout the entire painting process.

The tool is intended both for precise color matching and for artistic reinterpretation of color.

Before starting work, the artist adjusts the angle of the tool’s blade to match the lighting conditions (more on this below), mixes an approximate shade on the palette, and immediately compares it with the subject using direct comparison
If needed, the color is adjusted right away — until it fully matches.

The ability to place the paint sample directly on the same line of sight with the subject and compare them side by side greatly simplifies the process of color selection.
Even a small difference in color becomes very noticeable, because both colors are seen next to each other, at the same time.

Try a simple experiment.
Choose a color from life — not the most obvious or vivid one, but something subtle and muted, like most colors in the real world.
For example, the color of human skin or the shadow cast by an object on a wall.

Match it using your usual method, carefully and slowly, aiming for maximum accuracy.
Once you think you've got it, apply the color to a flat surface (a palette knife or a strip of paper) and compare it directly with the object.

Even if you are an experienced painter, you’ll likely be surprised at how different the colors appear.
This simple experiment clearly shows how much our perception of color can differ from reality.

We perceive color only by comparing it with surrounding colors.
The brain never sees a color “in isolation” — it always evaluates how much lighter, warmer, or more saturated it is relative to what’s around it.
This is the foundation of how we see color.

That’s why, when two colors are placed side by side, comparison becomes much easier — and this is exactly what the method is built on.
Direct color comparison is a way to bypass the limitations of human perception.

It allows the painter to “switch off” the brain’s automatic color interpretation mechanisms.
When placed on the same line of sight, the paint sample enters the same environment and falls under the same influence of simultaneous contrast as the object itself — into the same “color environment.”

This creates equal conditions for both colors, allowing the eye to compare them more objectively.

The essence of the direct comparison method is to place the paint sample on the same line of sight as the subject and see both colors side by side, at the same time.

To ensure accurate comparisons, the paint sample must be placed on a flat surface.

Even a slight change in the angle or tilt of this surface relative to the light source can significantly alter the perceived lightness of the paint.
That’s why it is essential to maintain a stable position of the surface during each color check — the plane with the paint sample must return to exactly the same position as in the previous comparison, receiving the same amount of light every time.

Without stability, it is impossible to make accurate adjustments to the paint color, because each subsequent comparison would take place under different conditions.
The artist must be certain that after each correction, the sample is placed back into exactly the same conditions — in order to clearly see how the adjustment has affected the color.

Moreover, each new shade in the painting must be found under the same consistent conditions as the previous ones.
Only this way can correct color relationships be established between all elements of the painting.

Like laying bricks one by one, all the key colors in the work must be assembled carefully and patiently.
Typically, this comes down to about 10 to 20 essential tones.

The stability of the proposed tool ensures the consistency and repeatability of comparisons.
The adjusted and fixed rotation of the paddle toward the light source, along with the vertical alignment of the handle, creates identical exposure conditions for each comparison and color adjustment.
This stability is maintained throughout the entire painting session.

A key feature of the tool is the ability to adjust the angle of the blade’s surface for exposure.

Throughout history, painters have sought to match color directly, but they have consistently encountered a fundamental problem: a mismatch in lighting between the paint and the subject.
Without synchronizing the illumination, the painting would turn out either too dark or too light, and direct comparisons became meaningless.

Exposure adjustment solves this problem.
By controlling the light intensity on the paint, the artist can synchronize the lighting of the paint with the lighting of the subject — even if they are in different lighting environments.

This initial adjustment acts as a kind of tuning fork, allowing the painter to accurately compare paint with the colors of the subject and to carry out proper color matching.

Artists rarely work in ideal lighting conditions — such as a steady overcast day outdoors, when the lighting on the paints and the subject is nearly identical.
Much more often, they work in situations where the lighting on the palette and the subject differs significantly.

Let’s say an artist is painting a still life.
They are positioned near a window in the studio, while the still life setup is located slightly farther away.
As is well known, illumination doesn’t just decrease with distance — it decreases by the square of the distance.

This means that if you double the distance from the light source, the light intensity drops by a factor of four.
Triple the distance — and it drops by a factor of nine.
Even a small difference in distance can lead to a large difference in brightness.

If this lighting difference is not compensated for, then during direct comparison the artist will automatically transfer that difference into the painting.
If the finished painting is then brought up to the subject, it will look significantly darker than the original.

And the opposite is also true:
If the subject is more brightly lit than the artist’s working area (for example, by a strong lamp), the paints will appear darker than the subject.
If the difference is not compensated, the artist will be forced to lighten all the paints during comparison — and the painting will end up too pale and washed out.

Three sheets of paper placed at equal intervals of 1.5 meters from a window clearly demonstrate the principle.
By rotating the sheet, you can compensate for differences in illumination.
In the same way, by adjusting the angle of the tool’s blade, we can set the exposure so that the white paint on the ChromaStick matches the brightest area of the subject.

As a result, the pure white paint on the blade may appear darker — but this is simply the effect of compensation.
On the canvas, the paint will end up at the correct value: the lights will remain light, and the darks won’t turn into dead, black spots.

Exposure adjustment allows the artist to control the tonal range of the painting within a fairly wide spectrum.

As a result, the pure white paint on the blade may appear darker — but this is simply the effect of compensation.
On the canvas, the paint will end up at the correct value: the lights will remain light, and the darks won’t turn into dead, black spots.

Exposure adjustment allows the artist to control the tonal range of the painting within a fairly wide spectrum.

Adjusting the tool’s exposure allows the artist to synchronize the illumination of the paint and the subject — even if they are in different lighting environments.

If there is a lighting difference, the artist must set the exposure of the tool so that the brightness of the paint matches that of the subject.

By rotating the brass sleeve, the blade’s surface can be fixed at a precise angle to the light source (for example, toward a window), thereby adjusting the desired light intensity.

This critical adjustment directly affects the overall tonal balance of the entire painting.

Before starting work, place clean white paint on the ChromaStick and hold it up to the brightest area of the subject (you can also place a sheet of white paper next to the subject for reference).

Then, by rotating the paddle of the tool toward or away from the light source, adjust the brightness of the white paint so that it roughly matches the value of that lightest area.

(The brass sleeve of the tool has an internal thread and fits tightly onto the handle. It can be rotated by hand, or with a knife or pliers. This setting should remain fixed throughout the session.)

After the setup is complete, the artist can immediately begin working: mix the desired shade on the palette and directly compare it with the color sample. If necessary, the shade is adjusted until it fully matches.

The selected color is not the “true” color of the object, but how it appears from the artist’s point of view, under the existing lighting conditions. In other words, it is a visible, accurate color suitable for the painting.

Each individual color — and all the colors together — selected using this method will be harmonious both on their own and in relation to one another.

Moreover, by adjusting the exposure, the artist can consciously control the overall tonal range of the painting — or of specific areas within it.

For example, if the blade of the tool is turned toward the light, the painting will ultimately come out darker.
In that case, the paints will appear brighter during comparison — and you will automatically have to darken them to achieve a match, because the paint is receiving more light than the subject.

Conversely, if you reduce the amount of light hitting the tool by turning it away from the light source, the entire painting will come out lighter.

Here, a simple inverse rule applies:
more light on the tool — darker painting; less light on the tool — lighter painting.

It is important to note that if the artist’s working area is less illuminated than the subject of the painting, direct comparisons will not allow accurate tone matching. There will not be enough light on the tool, and the paint will appear darker than it should. There must be at least as much light on the paddle as on the subject of the painting. The artist’s working area and the painting itself, however, may be located in the shade.

This adjustment can be used deliberately — even within a single painting.

For example, if you don’t like the extremely dark shadows in the subject, you can temporarily reduce the exposure on the tool while working on those shadow areas.
As a result, you will automatically have to lighten the shadow colors when matching them.

The same applies to very bright areas of the subject — in such cases, you can turn the blade more directly toward the light source, and during comparison you will naturally have to darken the paint a bit.

This approach allows you to preserve accurate midtone relationships with the subject while avoiding overly dark shadows and loss of detail — as well as overexposed highlights.
(More on this in the video)

So, a stable exposure setting adapted to the specific lighting situation is essential — and fundamentally important.

A consistent vertical position, along with a precisely adjusted and fixed rotation of the blade toward the light source, ensures a systematic approach to comparison.
It creates equal conditions for each measurement throughout the entire session, making it possible to achieve high accuracy in color matching across different areas of the subject.

Maintaining consistent conditions for each measurement allows the artist to build up tonal and color relationships across different areas of the subject in a clean and controlled way — without muddiness or corrections on the canvas.

Each color found through this process will be in proper tonal and saturation relationships with all those that came before.
Like laying bricks one by one, this allows the painter to gradually assemble the larger color structure of the painting — which is essential for solid, well-constructed work.

First of all, the tool must be adjusted for exposure before use.
This means compensating for the difference in lighting between your workspace and the subject.
This is done by adjusting the fixed angle of the blade toward or away from the light source. This was written earlier.

Once the exposure is set, you can start working — mixing paint and directly comparing it to the subject.

The vertical position of the paddle is not accidental — it reflects the way paint lies on the surface of a painting.

This orientation is convenient not only for comparison with the subject, but also for matching colors directly to the painting itself.

In addition, the vertical orientation of the paint on the tool minimizes the influence of overhead light sources — such as the sky, sunlight, white ceilings, or indoor lamps — to which the glossy surface of oil paint is especially sensitive.

On the palette, the ChromaStick can be used with either side of the blade, which is very convenient during mixing.

After mixing an approximate color on the palette, you can immediately compare it with the subject and quickly adjust it in the desired direction.

When comparing color, the tool is lightly held between two fingers using the special cutouts in the brass sleeve.
Do not grip the sleeve tightly — this allows the tool to settle into a perfectly vertical position.

The tool is always held in the same position, with the special marker — a hole in the collar — facing the artist and centered.
The hand quickly memorizes this position, ensuring that each comparison is made under consistent conditions.

The wooden handle acts like a plumb line, maintaining a constant vertical alignment.
And the consistent rotational angle of the paddle relative to the artist provides stable exposure.

Together, these factors ensure the consistency and repeatability of comparisons.

Only a small amount of paint should be applied to the blade of the tool during comparison, and the surface of the paint should be flat and free of glare.

The neutral color of the steel blade has no color tint and does not affect the perceived hue of the paint.

Hold the ChromaStick next to the selected area of the subject, compare, and adjust until the color is as close as needed.

At first, when using the tool, it may seem that the selected color is far too dark — some colors may appear dull or muted.
But confidently place the chosen shades on the canvas — it will all come together into a unified whole.
You have to stay the course if you want the truth.

You’ll be surprised at how far our ingrained, childhood-based assumptions about color are from the real colors of nature — and how calm and restrained those colors often are in life.

The tool helps you capture the true color of the subject in the context of its environment.

When comparing, I recommend looking with one eye — and focusing only on the blade with the paint.
Keep the subject slightly out of focus.

This helps avoid getting lost in small details and allows you to capture the overall color tone of the area.
It’s an important point.

For example, let’s say you need to capture the color of a patch of grass, a patterned background, or hair in a portrait — all areas filled with small details and subtle variations in tone.

If you look at such an area with one eye, keeping only the paint on the tool in focus, the background elements will soften slightly (an effect caused by lens accommodation in the eye).
This makes it easier to capture the general color and value of the area, without breaking it down into distracting details.

This is a very important skill for a painter.

A flat paddle on a straight handle is much more convenient for working on the palette, since it is essentially double-sided.
This makes it easy to wipe off excess paint from the back side.

It’s an important feature for working quickly with mixtures and also helps reduce paint waste.

In addition, the pointed tip of the paddle allows you to take precise amounts of paint for fine color adjustments.

The asymmetrical shape of the paddle of the tool was specifically designed for versatility.

It works equally well on different surfaces: the straight edge is convenient for handling paint on the firm surface of the palette, while the rounded side is better suited for working on the more flexible surface of the canvas.

The oval side of the paddle can be used both to apply and to remove paint from the canvas without leaving noticeable scratches.

The long handle allows the artist to avoid touching the paint on the palette or canvas with their hand, and also makes it possible to make broad, sweeping strokes.

If your paintings are usually small in size, the tool can be easily shortened.
This increases its maneuverability.

More on how to shorten the ChromaStick can be found in this short video.

The straight shape of the tool, unlike the curved form of a traditional palette knife, is much more intuitive and natural for hand movement, making it more comfortable to use on the palette.

Unlike a regular palette knife, which can only be held in one way, the ChromaStick can be held in various positions — close to the base or farther back, with a pen-like grip or a wrist grip.

It rotates easily in the hand, works with both sides, and is as flexible in use as a brush.

All of this adds variety to your working technique and complements the traditional palette knife when handling paint.

With a bit of practice, the tool can be used like a kind of metal brush.

The flexibility of the paddle has been carefully calibrated — it is not overly stiff, and has enough spring to make working on both the palette and the canvas comfortable.

The paddle of the ChromaStick can also be used as a micro-palette for precise work.

Directly in front of the desired area on the painting, you can use a brush to mix fine color adjustments right on the paddle — with almost surgical precision — to match even the subtlest nuances in your painting.
This technique is especially useful for finishing touches in portrait work.

(In my line of tools, there is a dedicated micro-palette designed specifically for this kind of fine work. See my website and additional videos for more information.)

Working from Life in the Studio

Working in the studio is straightforward – both the paints and the subject are generally under the same lighting. If there are any changes in lighting, they usually affect both the paints and the subject equally.

Before starting work, it is only necessary to adjust the exposure of the tool. If your working area is more brightly lit than the subject, you can lower the tool’s exposure. Conversely, if the subject is more brightly lit, increase the exposure by turning the paddle toward the light source.
(If the working area is too dark, direct comparisons will not work correctly. In that case, you need to increase the lighting at the workstation.)

Once the white paint is matched to the bright areas of the subject, you can begin – tone and color can be compared directly. The range of our paints is sufficient to match the entire subject (there are exceptions such as highlights or very deep shadows, but these can be handled by slightly lowering or raising the tone of these areas. More details in the video).

Working in sunny weather is one of the most challenging tasks for an artist. This is due to the colossal tonal range that the sun creates.

Our world is three-dimensional, and on volumetric objects, light is distributed extremely unevenly: one side may be glaringly illuminated by sunlight, while the other is immersed in the deepest shadow.

The tonal difference between the brightest surfaces of objects facing the sun and the deepest shadows in sheltered spots can easily reach proportions of 1000:1 or more. This creates an enormous tonal range, which our painting, being a flat, two-dimensional surface, simply cannot replicate. Unlike a volumetric tree or bush in nature, it cannot simultaneously have areas brightly lit by the sun and areas immersed in the deepest shadow. The tonal range of our paints is much narrower than that of nature's colors.

However, thanks to the adjustable exposure setting of the tool, it is possible to significantly "compress" the tonal range of nature to a level acceptable for our paints (except, of course, for sun glare or clouds).

To narrow the brightness range, it is useful to divide nature into several tonal zones — for example, into three main zones: light, midtones, and shadows. For each of these areas, we adjust the "exposure" of light on the tool separately.

When we compare with the lighter areas of nature, we position the blade of the tool as much as possible toward the sunlight. This allows the paint on the tool to reflect the maximum amount of light, making it possible to correctly match the brightest tones in nature.

To match the midtones, we reduce the exposure on the tool by slightly turning it away from direct sunlight. This creates lighting conditions on the paint's surface that are more consistent with the midtones found in nature.

Finally, for the shadows, we reduce the exposure of light on the blade to a minimum. Under these conditions, the paint on the tool will appear significantly darker.

The desired effect occurs: to match the shadows in nature, the artist will automatically have to lighten the paint on the palette, which prevents the creation of dull, "black hole" shadows.

The simple rule here is this: the lighter the object we are painting, the more light should fall on the blade.

Of course, with such dynamic adjustments, some "manual" correction of tonal relationships will inevitably be needed in the actual study. But the actual hue and saturation of the color, when using such comparisons, are captured very well.

Thus, working in sunlight with direct comparisons is difficult but possible. The exception is when the painting subject is in backlight relative to the artist. In this situation, direct color matching is complicated because the tool itself ends up in the shadow.

However, there is a proven solution for this as well: one can photograph the subject and work in the studio from the photograph or from the computer screen. In these conditions, our palette will reliably and accurately cover the entire tonal range of the scene, as the photograph or screen compresses the tonal range to a level that is acceptable for working with paints.

When working outdoors on a cloudy or overcast day, we must choose a bright spot for the workplace. There should be no shortage of lighting. It is critically important to have open sky behind or to the side.

We position the tool’s surface to face the light as much as possible and begin working. In this case, we can easily capture all the light areas with our paints, except for the white sky or some bright highlights. Since paint is not capable of competing with such objects, the brightest areas in nature will have to be painted one or two tones darker, which is natural for competent painting.

Shadowed areas, to avoid making them too dark, can be painted by slightly turning the tool’s blade away from the light. In this case, we will automatically have to lighten the paint used for the shadows.

Important Note
It’s not recommended to place the ChromaStick directly against very bright areas of the subject during comparison — for example, a glowing white cloud in the sky.
Backlighting can make the sample appear dark, even if the paint is actually light.

It’s better to compare colors for such areas not directly but nearby — or to use your other hand as a shadowing background to block excess light.

This approach works well both when working from life and when comparing colors on a computer screen.

When working from a tablet, phone, or computer screen, it’s important to turn off auto-brightness and any other settings that automatically adjust the screen’s color.
You should also set the screen brightness so that the pure white in the image is not brighter than the white paint placed on the ChromaStick.

The white on the screen may have a slight bluish cast — that doesn’t matter — but it must not be brighter than the white paint on the ChromaStick.
When this condition is met, your paints can easily cover the full tonal range of the image.

However, it’s also important to remember: when comparing with the brightest parts of the image, it’s better to place the sample nearby rather than directly over them — to avoid backlighting that can make the sample appear darker.

One of the most useful features of the tool is the ability to precisely match color from the palette — for example, when painting from imagination or during the final stages of a work.
Color matching from the palette is also relevant when working from life — once the main color relationships of the subject have already been transferred to the canvas and the goal is simply to refine the painting within the existing structure.

In all these cases, the tool must be adjusted to match the plane of the painting.
If your canvas on the easel is not perfectly vertical — which is often the case — the ChromaStick must be re-adjusted.
For instance, if the canvas is tilted and catching a lot of overhead light, you’ll need to balance the amount of light hitting both the canvas and the vertical surface of the tool.

To do this, apply any paint mixture to the canvas and — using that same color on the paddle — rotate it toward or away from the light source until both appear equal in value.
Once they match, you’ll be able to accurately judge how any mixed color on the palette will look on the painting surface, whether it needs adjustment, and where on the canvas it will best fit.

This is a very important feature of the tool: it allows the artist to immediately see whether the paint needs to be corrected, and where it fits best within the work.
Used this way, the ChromaStick allows you to compare paint mixtures directly with areas of the painting.
This helps not only to select the right color, but also to immediately see how it will behave in the context of the entire composition or a specific part of it.

As a result, the artist no longer needs to constantly test paint directly on the canvas — a process that can lead to excess layers, muddiness, and a loss of freshness in the brushwork.

The tool helps solve the task of integrating new brushstrokes harmoniously into the overall color structure of the painting, avoiding random errors.
It allows the artist to work thoughtfully with color and to search for the most resonant color solutions.

If you're working from a printed photograph, the process is as simple as it gets — just position the sample close to the canvas and perpendicular to your line of sight.
Color matching from a paper photo is very straightforward.

You can adjust the exposure of the tool as needed.
If the photo or reference you're copying is too light, for example, you can increase the exposure of the tool by rotating the paddle toward the light.
This will give you the desired result — your painting will come out in darker tones.

Colors in photographs are often less saturated — or, conversely, overly intense — due to how cameras function and how images are post-processed.
Photos are usually high in contrast: the camera can blow out highlights and block up shadows, losing important detail.

These limitations often call for creative reinterpretation of the photo.
This is where the direct comparison method becomes an invaluable tool, allowing the artist to work thoughtfully with color.

For example, the dull shadows often seen in photos can be enriched by adding complex reflected colors, and the flat, washed-out highlights can be given clarity and depth.

Copying existing artworks is just as straightforward.

When the lighting conditions in the studio change, everything shifts together — the illumination of your workspace, the photo reference, the palette, the subject setup, and your painting.
Even if you switch to artificial light, there’s no need to adjust anything — everything will still be unified by the same overall tone and level of light.

During the learning process, copying master paintings is one of the most important practices — and in this case, direct comparison handles the task perfectly.
But this approach can also be effectively applied when working with a so-called “color donor” — where the artist uses the color palette of one artwork to create a completely different one.

In this case, a photograph or sketch serves as the basis for the drawing and composition, while the color solution is borrowed from another source — such as a classical painting or a work by a recognized master.

By applying the direct comparison method in this kind of work, a student can accurately identify and transfer color relationships from the donor artwork, analyze how the master solved similar problems of lighting and color harmony, and study how successful works achieve balance in color.

This approach is especially valuable for training, as it allows the student to work with proven, harmonious color solutions.
It helps avoid common mistakes in color selection and enables the creation of convincing color structures, even without extensive experience in handling color.

At the same time, it’s important to remember that this method is not about simple copying, but about creative reinterpretation of both form and color.
The artist must thoughtfully adapt the borrowed palette to the specifics of their own composition.

This can be a challenging task for a beginner — but in the end, it may result in a completely new and original work.
You can even use your own previous painting as a color donor.
Well-chosen, successful color solutions can be reinforced, emphasized, and carried over into a new painting with a different subject.

Working with color can be loosely divided into three main approaches:
– Accurate reproduction of the subject’s natural tones
– Selective adjustment — enhancing or softening specific hues
– Complete artistic transformation — creating a personal color palette

One of the key advantages of the direct comparison method is that it allows for creative reinterpretation of color — making it more deliberate, expressive, and artistic.

When working the traditional way with an ordinary palette, this becomes difficult: colors are perceived in isolation, and issues like simultaneous contrast, color constancy, and other perception effects interfere (see the article Direct Comparison Method for more details).
This creates uncertainty — it’s unclear how a color will behave once it’s placed on the canvas, or whether it will fit the painting at all.

The first strokes on the canvas don’t bring much clarity either: surrounded by a blank white surface, even good colors look isolated and confusing — especially for a beginner.

And in the end, the brain tends to take the safe route: just repeat the colors of the subject or photo exactly as they are — without emotion, without imagination. It feels safer, more comfortable that way.

Direct comparison removes that uncertainty.
Even a beginner can immediately see how to “nudge” a color to make it more painterly: whether to push it brighter so it comes alive, or mute it to let the focal point shine.
The hesitation disappears — and the process becomes vivid, intentional, and interactive.

In this approach, the colors of the subject serve only as a starting point — the final palette may end up looking quite different.
Direct comparison helps the artist explore and experiment with those changes, leading to more interesting and expressive solutions.

When the paint is held up to the subject, the artist immediately senses whether the color will fit into the painting — much like a musician intuitively feels the right note within a melody.
Some colors feel natural and harmonious, while others fall completely out of tune.
And this becomes clear only at the moment of direct comparison.

These subtleties are difficult to sense on the palette — but in direct comparison, the artist can instantly feel whether the color will “work” or not.
Direct comparison allows the artist to intuitively recognize which colors and shades will function well in the painting — and which will not.

The tool lets you test these decisions in real time, without putting paint on the canvas, making the creative process more deliberate and precise.
It helps the artist choose colors consciously and boldly — even if they don’t match the subject.

Sometimes it’s the most unexpected shade, which might seem odd on its own, that brings depth and expression to the painting.

This way, the artist doesn’t just copy the subject, but actively works with color — finding intuitive, resonant solutions that make the painting feel whole and alive.

The stability of comparisons, combined with the synchronization of lighting between paint and subject, enables a fundamentally new way of working — one that differs from the traditional approach based on approximate color relationships.

The tool provides a high level of color accuracy, turning the process of color selection into a controlled, repeatable task — free from subjective error.

This makes the tool ideally suited for painting education, as it allows students to clearly observe how color changes during mixing, and to practice accurate color matching in a hands-on, visual way.
Its main advantage in early training is that it transforms color selection from an intuitive and often error-prone process into a conscious, structured, and interactive activity.

The shift from a childlike, instinctive sense of color to an informed, deliberate understanding is a crucial step in an artist’s development.
The direct comparison method — and this tool — help beginning painters move beyond vague assumptions and teach them to see color as it truly is.

Working with the direct comparison method is not just a technical exercise — it is a path toward deep understanding of the true nature of color.
The painter who uses this method regularly gradually becomes free from the illusions of perception.
Each direct comparison is a small lesson in seeing color objectively.
This skill becomes embedded in memory, building a rich, realistic internal palette.

Over time, the painter develops an intuitive feel for what real color should look like — even without directly comparing it to the subject.
This process is much like learning to play music.
At first, the student learns to play from sheet music — but through repetition and practice, they begin to play by ear, and eventually to improvise.

In the same way, a painter who has mastered the method of direct comparison gains a solid foundation upon which to build realistic and expressive work.

ChromaStick is a unique tool designed for artists of all levels, and it is patented as an innovative solution for precise color matching.
This is a high-quality professional instrument.

The handles are made from hardwood by the Roubloff company and coated with a chemically resistant varnish that stands up to most solvents, including acetone.
The collars are machined from solid brass.
The paddles are custom-modified from traditional palette knives using a specialized process.

Each tool is carefully assembled and tested by hand.

Important:
For left-handed artists, a mirrored paddle shape is required — please be sure to indicate this when placing your order.
If you need a shortened handle version, it can also be requested when ordering.