Complete Color Mixing Guide for Acrylics, Oils, and Watercolors: 2,400 Color Combinations for Each 9780811770279, 9780811770309, 0811770273

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Complete Color Mixing Guide for Acrylics, Oils, and Watercolors 2,400 Color Combinations for Each

JOHN BARBER

Complete Color Mixing Guide for Acrylics, Oils, and Watercolors 2,400 Color Combinations for Each JOHN BARBER

STACKPOLE BOOKS

Guilford, Connecticut Blue Ridge Summit, Pennsylvania

STACKPOLE BOOKS

An imprint of Globe Pequot, the trade division of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Blvd., Ste. 200 Lanham, MD 20706 www.rowman.com Distributed by NATIONAL BOOK NETWORK 800-462-6420 First published by Axis Publishing Limited in 2010 Copyright © 2022 Keo Media Limited Photographs on pp. 1, 2, 3, 24, 27, 80–81, 83, 136–137, 139 © Winsor & Newton Creative Director: Siân Keogh Editor: Anna Southgate Art Director: Sean Keogh All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review The contents of this book are for personal use only. Any large-scale commercial reproduction is prohibited without the written consent of the publisher. We have made every effort to ensure the accuracy and completeness of these instructions. We cannot, however, be responsible for human error, typographical mistakes, or variations in individual work. British Library Cataloguing in Publication Information available Library of Congress Cataloging-in-Publication Data Names: Barber, John, 1932– author. Title: Complete color mixing guide for acrylics, oils, and watercolors : 2,400 color combinations for each / John Barber. Other titles: Color mixing manual Description: First edition. | Guilford, Connecticut : Stackpole Books, 2022. | “First published by Axis Publishing Limited in 2010”—Colophon. | Summary: “With just 25 common paint colors, you can make 2,400 different hues, and they are all illustrated in this comprehensive guide. Better yet, each color mix uses only two paint colors, so matching results are easy to obtain”— Provided by publisher. Identifiers: LCCN 2021044974 (print) | LCCN 2021044975 (ebook) | ISBN 9780811770279 (paperback) | ISBN 9780811770309 (epub) Subjects: LCSH: Painting—Technique. | Color guides. | Color in art. Classification: LCC ND1488 .B37 2022 (print) | LCC ND1488 (ebook) | DDC 750.28—dc23 LC record available at https://lccn.loc.gov/2021044974 LC ebook record available at https://lccn.loc.gov/2021044975 The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/ NISO Z39.48-1992. First Edition

contents introduction

6

how to use this book

8

understanding color

10

the color wheel

12

watercolor mixes

22

acrylic color mixes

78

oil color mixes

134

index

190

6

introduction Watercolor as a medium developed from topo­graphical drawings worked in monochrome gray or brown ink. Although several artists emerged to produce works in the medium during the 18th century, it was J.M.W. Turner (1775–1851) who developed watercolor into a serious competitor to oil painting through his choice and use of color. Today watercolor is the medium of choice for thousands of painters working in a variety of styles and a broad range of subjects. Acrylics are readily mixed with water, but once they are dry, they are inert and flexible, and they do not become brittle. They can be applied in any manner from thin liquid washes to solid chunks of paint built up with the palette knife. Acrylics dry within a few hours, a quality that eliminates the problems of dust and cracking encountered with oil paints. Because these polymer resins are inert and, once dry, do not seep, many materials such as sand, metallic dust, or glass can be used to widen the possible range of effects in both craft work and picture making. Oil paints are made by mixing pigments with drying oils, usually linseed or safflower oil, although artists use many other oils to obtain particular handling qualities. The slow drying qualities of the oil medium enable the paint to be manipulated over long periods, allowing passages of painting to be removed or altered over several days. This does render the handling of freshly painted work difficult and makes the medium unpopular with vacation painters and travelers. For these artists who wish to paint in an opaque manner, acrylics or simply adding white paint (gouache) to watercolors are frequently used alternatives. about this book

This book on color mixing is intended for both amateur and professional artists, and it should prove invaluable both in the studio and when out painting on location. You can use it to precisely match any shade you want to reproduce in your work. The 25 colors chosen for the color wheels give a comprehensive

introduction

range of 2,400 two-color mixes. The selected colors have been chosen as the most useful for a wide range of painting. All the colors can be located in the color charts and matched by mixing only the two colors shown. This innovative method has the great advantage of enabling you to mix the chosen color with the absolute minimum number of colors, thereby obtaining the cleanest and brightest tints possible. The need to add a third or even a fourth color when attempting to match a color is avoided. (Generally, the more colors you mix together, the greater the tendency to produce a dull finished color.) Each pair of colors is shown in five degrees of a mixture, and on each color wheel percentages are marked as a guide to the proportion of each color that was used to produce the mix. Start with one color at full strength, and then add the second color gradually until the desired color on the wheel is matched. Note that these mixes were made using one manufacturer’s paints (Winsor & Newton); colors by other manufacturers will give varying results. choice of colors

It may seem surprising that several lovely subtle colors are not included. However, by looking at the appropriate color wheels, you will find very close matches to most shades. Experienced painters may find that some of their favorite colors are missing from the charts, but they may be surprised by how many can be replicated extremely closely with other two-color combinations. mixing color

When mixing colors, start with the lighter color and gradually add the darker color to it. In this way, you will avoid mixing too much paint. If you start with too much of the darker or stronger color, you will need a great deal of the lighter color to create the tint you are trying to achieve.

7

8

how to use this book

Each two-page spread features a named color from the ranges below. In practice, most artists will use far fewer colors than this. Color mixtures are added to each base color in different percentage strengths, which will help you achieve the precise shade you want. The colors are organized into color WATERCOLOR PALETTE

groups: yellows, reds, purples, blues, greens, and browns, with mix colors chosen as being of most use to artists working in watercolors, acrylics, and oils. The hue variations in­formation at the foot of each two-page spread shows you where to look if your mix is not quite what you want.

ACRYLIC PALETTE

OIL PALETTE

lemon yellow

lemon yellow

lemon yellow

cadmium yellow light

cadmium yellow medium

cadmium yellow pale

cadmium yellow

azo yellow medium

Naples yellow deep

quinacridone gold

cadmium orange

cadmium yellow deep

raw sienna

cadmium red light

orange

burnt sienna

naphthol red light

cadmium scarlet

cadmium red

quinacridone red

cadmium red deep

cadmium red deep

permanent rose

permanent rose

permanent rose

permanent alizarin crimson

permanent alizarin crimson

opera rose

quinacridone violet

quinacridone magenta

perylene violet

dioxazine purple

violet (dioxazine)

permanent mauve

ultramarine blue

cobalt blue

violet

cobalt blue

cerulean blue (red shade)

French ultramarine

phthalo blue green shade

French ultramarine

cobalt blue

cerulean blue hue

indanthrene blue

cerulean blue

phthalo turquoise

manganese blue hue

Prussian blue

phthalo green blue shade

phthalo turquoise

phthalo turquoise

permanent sap green

cobalt turquoise

viridian

olive green

cadmium green pale

permanent sap green

yellow ocher

emerald green

olive green

burnt sienna

viridian

raw umber

red iron oxide

Prussian green

burnt umber

quinacridone burnt orange

burnt sienna

sepia

raw umber

light red

Payne’s gray

Payne’s gray

raw umber

9

how to use this book

Use the at-a-glance percentage mixes to see what will result from a mix of two colors in a range of five different percentage strengths. The color at the center of the

“wheel” is 100 percent of the color named on the spread; the outer ends of the “spokes” are 100 percent strength of the mixer color. percentage mix The percentages of each color are indicated, from full-strength main shade at the center to full-strength second color at the edge.

section color: Colors are grouped into primary or secondary colors; related colors appear one after the other.

reds

reds

cadmium red deep Cerulean blue (red shade)

lemon yellow 100%

100%

20% / 80%

20% / 80%

ca

t al

40% / 60%

ue

dm

iu

m

bl

ob

e

ye

ld

llo

w

50% / 50%

c

pa

80% / 20%

80% / 20%

do

ne

w

de

lo

m

m

ag

l ye

iu

en

dm

ta

ar

in

e

e

ba

lt

tu

ue

rq

uo

ise

se

ne

ga

an

hu

bl

m

phthalo turquoise

7 7 7 more yellow

hue variations If your mix is not right, going back in the selector will give mixes containing more of a different color.

am

co

ca

orange

ul

cadmium green pale

60% / 40%

ep

ri

ch

tr

60% / 40%

violet (dioxazine) ac

en

50% / 50%

em

le

Fr 40% / 60%

indanthrene blue

in

gr

a er

Naples yellow deep

qu

en

more purple 8 8 8

base color One of the 25 colors shown opposite appears on every spread, with mixes of percentages of further colors.

mix color Full-strength swatches of the mixer color appear at the ends of the spokes of the color wheel.

understanding color An understanding of the basics of color theory and the color wheel is very important for every artist. It can help you realize endless creative possibilities for your work. Color, after all, is one of the fundamental tools of painting, and arming yourself with the knowledge of how to use its harmonies, contrasts, and characteristics will help add excitement and dynamism to the paintings you produce.

12

the color wheel

Successful painting often depends as much on the effects created by your color choice as on composition, which is where an understanding of how color works comes in. The color wheel is a great reference for artists. The three colors in the center are the primary colors. Primary colors are the ones that cannot be obtained by mixing other colors together. The middle ring shows the colors that are created when you mix two of the primaries. Red and yellow make orange; blue and yellow make green; blue and red make purple. These are called secondary colors and show the colors you can expect to create when you mix primary watercolors in your palette. All colors can, in theory, be created by mixing varying amounts of the primaries. The outer ring breaks down the secondary colors further into 12 shades. For each picture you paint, you will need a color to represent each of the primary colors so that, by mixing them, you can obtain all the secondary colors. The primary colors you choose should be determined by the scene you wish to paint. For example, if you are painting cool, clear skies and distant hills, choose cobalt blue to represent blue in the color wheel, permanent rose to represent red, and cadmium lemon to represent yellow. All three colors are cool, enabling you to maintain a consistently cool palette—no clashing “hot” colors will appear. Likewise, when painting a warm scene, use warm blue, red, and yellow colors for your primaries. This idea, along with using complementary colors, which appear

opposite each other on the color wheel and produce harmonious contrasts, will help you keep your colors balanced. A good exercise is to make color wheels for warm and cool colors. Draw several circles 4 inches (10 cm) in diameter and divide each circle into six pie slices. Paint your three primaries in alternate slices and then mix them: red with yellow for orange, blue with yellow for green, and blue with red for purple. Place these secondary colors in between the primaries, and you will see exactly which ones work out well for your picture. color terms hue

Hue indicates the strength of a color from full saturation down to white. In practical terms, if you buy any color labeled “hue,” it means that the color is less than full strength. This is used as a way of reducing the cost of expensive pigments. tone

Tone is the degree of darkness from black to white that creates shade and light. For example, in a black-and-white photograph you can see and understand any object independently of color, solely by its graduation from light to dark. The word “shade” is often used instead of “tone.” color

Color results from the division of light into separate wavelengths, creating the visible spectrum. Our brains interpret each wavelength as a different color. The color wheel is an aid that helps us understand how colors are arranged in relation to each other.

the color wheel SECONDARY green

PRIMARY yellow

SECONDARY orange

SECONDARY purple

PRIMARY blue

PRIMARY red

13

14

the color wheel

COMPLEMENTARY COLOR

The colors that are opposite each other on the color wheel are called complementary colors. These work together to create a harmonious reaction. Try using them side-by-side in your work—they will each appear to be stronger by contrast, bouncing off of each other.

TRIADIC COLOR

Triadic color occurs when a “chord” of three colors is used in combination. A mixture of any two colors of the triad used next to a third, unmixed color will give many different effects. A triad of colors from any part of the wheel is the basis for a good color composition.

the color wheel

15

SPLIT COMPLEMENTARY COLOR

Split complementaries create three colors: the first color, chosen from any point on the wheel, plus the two colors that come on either side of the first color’s natural complementary color. These three colors will give plenty of unexpected color schemes.

INDOOR/OUTDOOR TEST The indoor/outdoor test is designed to show the effect that artificial or subdued lighting has on colors when compared with daylight. If you look at the four strips indoors, you can see hardly any difference between the colors on the right and the ones on the left. Step out into the daylight, and you will be able to see that the right-hand side is noticeably darker. This sort of phenomenon plays an important part in how we perceive color, and all artists have to be aware of it. Although it is never quite as obvious as in the experiment, it does help to explain why art studios are built with high skylights, ideally facing north. For artists whose pictures depend on great color accuracy, good daylight is essential.

16

watercolor harmonies

This sketch of the coast of Ireland, with its sparkling waves and fleecy clouds, was painted with a narrow palette of cool blues and grays that suggest pale sunlight and the distance of the coastline. It was created with just three colors—cobalt blue (blue is the coolest color on the color wheel), Payne’s gray, and yellow. This winter scene is created around four colors—cobalt blue, Hooker’s green, Payne’s gray, and burnt sienna. The most important element is the cool gray background, which establishes that this is a misty day. The dark trees make a series of verticals that create the stillness of the scene. The clever use of burnt sienna makes the other colors look even cooler.

watercolor harmonies

This is a richly painted still life, with warm oranges, reds, and yellows in the flowers, a wide range of greens in the leaves, and a solid rectangle of deep blue in the watering can. The pink wash over the table and far wall brings in purple shades. The blue color of the can is taken up into the background leaves to make a soft, turquoise green. This vibrant still life uses most of the colors of the color wheel to create an overall feeling of warmth.

17

18

acrylic harmonies

The atmosphere of this picture is created by the all-pervading red of the underpainting. Even the greens and blues are brought back toward the warm end of the spectrum, with all sorts of subtle purples holding the harmonies of color together to beautifully evoke a mysterious Parisian twilight.

This detailed scene contains a wealth of texture and modeling, but the dominant color note is the cool gray of the cock bird’s back. In combination with the bright yellow greens and the blue gray of the rocks, it hardly leaves the cool blue end of the palette, except for the blush of sienna on the bird’s throat.

acrylic harmonies

The woodland trees in winter filter the weak sunlight into patches on the forest path. A dominant motif of thin vertical lines gives the picture a feeling of repose, and the blurring of the trunks by the low sun adds the element of infinity.

Ultramarine and raw umber keep all the tints cool, and weak yellow ocher warms the snow color where the sun penetrates the mist. This painting amply demonstrates the value of using only a restricted palette of colors in some of your works.

19

20

oil color harmonies

The yellow-green-blue range from the color wheel saturates the scene, and it is the bright, almost pure cadmium lemon spots that add the sparkle and interest. The appearance of the burnt sienna in the foreground accentuates the greens.

These barges on the Thames below Westminster Bridge act as a foil to the sparkling water painted in a range of closely related cool colors, with hints of the sun’s warmth in the pinks. Here the violet and permanent rose from the color wheel provide a range of tints for the reflections that influence the color temperature throughout the picture.

oil color harmonies

The Wildstrübel, which translates as “tousled head” because the mountain always seems to have a wreath of clouds around its peak, was painted from a mountain house across the valley. In contrast to the Thames painting, the light and air are crystal clear

and the whole range of blues and violets crisp and defined in clear patches. The clouds rising from the valley floor were scumbled on after the rest of the picture was dry, a technique often needed in this sort of oil painting to avoid blurring existing details.

21

watercolor mixes

The following pages feature 25 main watercolors that are the most popular with amateur and professional artists. The mixes provide excellent evidence of how few colors a painter actually needs to produce bright, vibrant colors. Use these mixes as guides to help you achieve the exact shade you want, whatever your subject.

24

papers and brushes

Storing your brushes upright resting on the handle will keep the bristles in good condition. If treated well, brushes will last for many years.

Watercolor painting requires very little equipment: pan or tube paints, sable or synthetic brushes, good paper, and clean water. In watercolor, fine pigments produce clear, bright washes that can be modified by the slightest amount of other colors. This gives the medium great subtlety and flexibility, but if the water in your jar is tinted, then all your colors are being mixed with that tint, however pale it is. It may not be particularly noticeable to you, but it is happening. The ideal solution is to use two large clear jars so that you can see how much the water is colored, using one to wash your brushes and the other to add water to your colors. In practice, most artists use only one jar, particularly when painting outdoors, and change the water frequently. To ensure the greatest color accuracy, all the color patches in this book were mixed with clean boiled water and a brush washed under the tap when each patch was finished, until the water ran clear. watercolor papers

The paper you choose will have a great influence on the way your paints work, and it is advisable to try a selection before investing in large pads of one type of paper. The surface preferred by many artists is a goodquality rough (or “Not”) watercolor paper, but much fine work has been done on papers and boards that were not originally intended as a painting surface. Tinted papers can also be used. On these the contrast between colors will be weaker, as every transparent wash will show some of the paper’s own color through it. J.M.W. Turner used many types of paper, including writing papers, and had slate-gray paper bound into sketchbooks for his Venice studies. To counter the

papers and brushes

25

darkness of the paper, he added white to his lighter tones. This is now standard practice with artists working on tinted papers. Most of the papers in his sketchbooks have quite smooth surfaces. brushes

The range of brushes now available is enormous. Pure sable brushes are the highest quality but expensive; combinations of synthetics and sable offer superior quality at an affordable price. A good starting set of brushes for most needs includes pointed sable brushes up to size 14 for tight control and accuracy; a couple of riggers for drawing long continuous lines (these can be synthetic or sable); broad, flat synthetic wash brushes, ½ inch, 1 inch, 2 inches (1 cm, 2.5 cm, and 5 cm); and a mop brush of squirrel hair for wetting the paper and brushing in large areas.

Try out a lot of different paper textures to find out which best suits your style of work. Paint patches of different colors on different surfaces to see how they react.

26

the watercolor palette

The colors below are the most popular watercolors with professional and amateur artists. They are all available in art stores and via the Internet. Colors included in many preselected paint boxes are also chosen from this range.

lemon yellow

cadmium yellow light

cadmium yellow

quinacridone gold

raw sienna

benzimidazolone

benzimidazolone

cadmium zinc sulphide, cadmium sulphoselenide

quinacridones, nickel azo

transparent synthetic iron oxides

burnt sienna

cadmium red

cadmium red deep

permanent rose

opera rose

transparent synthetic iron oxide

cadmium sulphoselenide

pyrrole

quinacridone

fluorescent dye/resin-based pigment, quinacridone

perylene violet

permanent mauve

violet

French ultramarine

cobalt blue

perylene

manganese phosphate

carbozole dioxazine

complex sodium aluminum silicate containing sulphur

cobalt aluminate

cerulean blue

Prussian blue

phthalo turquoise

viridian

permanent sap green

cobalt stannate

alkali ferriferrocyanide

copper-free phthalocyanine

hydrated chromium oxide

brominated copper phthalocyanine, isoindolinone

olive green

raw umber

burnt umber

sepia

Payne’s gray

synthetic iron oxide, chlorinated copper phthalocyanine

natural iron oxide

natural and synthetic iron oxides

carbon black, synthetic iron oxide

copper phthalocyanine, carbon black, quinacridone

the watercolor palette

27

suggested palette

It is a good idea for beginners to start with a very restricted palette of six colors and use the charts referring to these six colors to develop their color skills and discover their preferences. They can then augment their palette as they gain experience. A good minimum palette for a beginner is shown here:

cadmium yellow light

burnt sienna

cadmium red

viridian

French ultramarine

violet

Brushes come in many shapes and sizes, but most of those suitable for watercolor are made from sable (or other animal hair) or synthetics.

28

yellows

lemon yellow burnt sienna 100%

20% / 80%

m iu

t

le

o vi

dm ca

40% / 60%

d

re

50% / 50%

60% / 40%

80% / 20%

se

permanent mauve

cadmium red deep

et

ol

pe rm

vi

an

en

t

ne le ry

ro

pe

opera rose

yellows

29

French ultramarine 100% 20% / 80%

gr

ue bl

e liv

40% / 60%

lt ba co

n ee

50% / 50%

o

60% / 40%

Pr

n

us

ia

sia

id

n

r vi

bl

ue

cerulean blue

permanent sap green

80% / 20%

phthalo turquoise more red 8 8 8

30

yellows

cadmium yellow light burnt sienna 100%

20% / 80%

m iu

ol

50% / 50%

d

re

vi

dm ca

40% / 60%

et

60% / 40%

80% / 20%

se

permanent mauve

cadmium red deep

et

ol

pe rm

vi

an

ne

en

le

t

ry

ro

pe

opera rose 7 7 7 more yellow

yellows

31

French ultramarine 100% 20% / 80%

o

g

ue bl

e

liv

40% / 60%

lt ba co

n

e re

50% / 50%

60% / 40%

Pr

n

us

ia

sia

id

n

r vi

bl

ue

cerulean blue

permanent sap green

80% / 20%

phthalo turquoise more red 8 8 8

32

yellows

cadmium yellow burnt sienna 100%

20% / 80%

t

m iu

le

o vi

dm ca

40% / 60%

d

re

50% / 50%

60% / 40%

80% / 20%

se

permanent mauve

cadmium red deep

ol

pe rm

vi

an

ne

en

t

le ry

ro

pe et

opera rose 7 7 7 more yellow

yellows

33

French ultramarine 100% 20% / 80%

i

ol

gr

ue bl

ve

40% / 60%

lt ba co

n ee

50% / 50%

60% / 40%

Pr

n

us

ia

sia

id

n

r vi

bl

ue

cerulean blue

permanent sap green

80% / 20%

phthalo turquoise more red 8 8 8

34

yellows

quinacridone gold burnt sienna 100%

20% / 80%

m iu

t

le

o vi

dm ca

40% / 60%

d

re

50% / 50%

60% / 40%

80% / 20%

se

permanent mauve

cadmium red deep

et

ol

pe rm

vi

an

ne

en

t

le ry

ro

pe

opera rose 7 7 7 more yellow

yellows

35

French ultramarine 100% 20% / 80%

gr

ue bl

e liv

40% / 60%

lt ba co

n ee

50% / 50%

o

60% / 40%

Pr

n

us

ia

sia

id

n

r vi

bl

ue

cerulean blue

permanent sap green

80% / 20%

phthalo turquoise more red 8 8 8

36

yellows

raw sienna burnt sienna 100%

20% / 80%

m iu

ol

50% / 50%

d

re

vi

dm ca

40% / 60%

et

60% / 40%

80% / 20%

se

permanent mauve

cadmium red deep

ol

pe rm

vi

an

ne

en

le

t

ro

ry pe et

opera rose 7 7 7 more yellow

yellows

37

French ultramarine 100% 20% / 80%

o

g

ue bl

e

liv

40% / 60%

lt ba co

n

e re

50% / 50%

60% / 40%

di

sia

ri

n

vi

bl

ue

cerulean blue

permanent sap green

80% / 20%

Pr

us

an

phthalo turquoise more red 8 8 8

38

reds

burnt sienna lemon yellow 100%

20% / 80%

m iu w llo

ye

ol

vi

dm ca

40% / 60%

et 50% / 50%

t

h lig

60% / 40%

qu

et

in

ol

ac

vi

ri

ne

do

le

ne

ry

pe

go l

d

cadmium yellow

permanent mauve

80% / 20%

raw sienna 7 7 7 more yellow

reds

39

French ultramarine 100% 20% / 80%

o

g

ue bl

e

liv

40% / 60%

lt ba co

n

e re

50% / 50%

60% / 40%

Pr

an

us s

di

ia

ri

n

vi

bl

ue

cerulean blue

permanent sap green

80% / 20%

phthalo turquoise more purple 8 8 8

40

reds

cadmium red lemon yellow 100%

20% / 80%

m iu

t

w llo

ye

le

o vi

dm ca

40% / 60%

50% / 50%

t

h lig

60% / 40%

pe

go l

d

cadmium yellow

permanent mauve

80% / 20%

qu

t

le

in

ac

o vi

ri

do

ne

ne le ry

raw sienna 7 7 7 more yellow

reds

41

French ultramarine 100% 20% / 80%

i

ol

gr

ue bl

ve

40% / 60%

lt ba co

n ee

50% / 50%

60% / 40%

Pr

us

an

sia

di

n

ri

vi

bl

ue

cerulean blue

permanent sap green

80% / 20%

phthalo turquoise more purple 8 8 8

42

reds

cadmium red deep lemon yellow 100%

20% / 80%

m iu

t

w llo

ye

le

o vi

dm ca

40% / 60%

50% / 50%

t

h lig

60% / 40%

qu

et

in

ol

ac

vi

ri

ne

do

le

ne

ry pe

go l

d

cadmium yellow

permanent mauve

80% / 20%

raw sienna 7 7 7 more yellow

reds

43

French ultramarine 100%

20% / 80%

gr

ue bl

e liv

40% / 60%

lt ba co

n ee

50% / 50%

o

60% / 40%

di

sia

ri

n

vi

bl

ue

cerulean blue

permanent sap green

80% / 20%

Pr

us

an

phthalo turquoise more purple 8 8 8

44

reds

permanent rose lemon yellow 100%

20% / 80%

m iu w llo

ye

ol

vi

dm ca

40% / 60%

et 50% / 50%

t

h lig

60% / 40%

qu

et

in

ol

ac

vi

ri

ne

do

ne

le ry

go

pe

ld

cadmium yellow

permanent mauve

80% / 20%

raw sienna 7 7 7 more yellow

reds

45

French ultramarine 100%

20% / 80%

gr

ue bl

e liv

40% / 60%

lt ba co

n ee

50% / 50%

o

60% / 40%

Pr

n

us

ia

sia

id

n

r vi

bl

ue

cerulean blue

permanent sap green

80% / 20%

phthalo turquoise more purple 8 8 8

46

reds

opera rose lemon yellow 100%

20% / 80%

m iu

t

w llo

ye

le

o vi

dm ca

40% / 60%

50% / 50%

t

h lig

60% / 40%

qu

et

in

ol

vi

ac ri

ne

do

ne

le ry

pe

go l

d

cadmium yellow

permanent mauve

80% / 20%

raw sienna 7 7 7 more yellow

reds

47

French ultramarine 100%

20% / 80%

gr

ue bl

e liv

40% / 60%

lt ba co

n ee

50% / 50%

o

60% / 40%

di

sia

ri

n

vi

bl

ue

cerulean blue

permanent sap green

80% / 20%

Pr

us

an

phthalo turquoise more purple 8 8 8

48

purples

perylene violet lemon yellow 100%

20% / 80%

iu

w llo

ye

m

m iu

d

re

40% / 60%

dm ca

ep

de

50% / 50%

h lig

dm

t

ca

60% / 40%

80% / 20%

go l

d

cadmium red

cadmium yellow

qu

a

in

ac ri

nn sie

do

t

rn

ne

bu

raw sienna 7 7 7 more red

purples

49

permanent rose 100%

20% / 80%

gr

ue bl

e liv

40% / 60%

lt ba co

n ee

50% / 50%

o

60% / 40%

ia

us sia

id

n

r vi

bl

ue

cerulean blue

permanent sap green

80% / 20%

Pr

n

phthalo turquoise more blue 8 8 8

50

purples

permanent mauve lemon yellow 100%

20% / 80%

r

w llo

i

50% / 50%

h lig

m ad

ye

um

40% / 60%

m iu

ed

dm ca

ep

de

t

c

60% / 40%

80% / 20%

go

ld

cadmium red

cadmium yellow

qu i

a

na

nn

cr

sie

id

t

on

rn

e

bu

raw sienna 7 7 7 more red

purples

51

permanent rose 100%

20% / 80%

gr

ue bl

e liv

40% / 60%

lt ba co

n ee

50% / 50%

o

60% / 40%

Pr

an

us sia

di

n

ri

vi

bl

ue

cerulean blue

permanent sap green

80% / 20%

phthalo turquoise more blue 8 8 8

52

purples

violet lemon yellow 100%

20% / 80%

r

w llo

ye

m iu

40% / 60%

m iu

ed

dm ca

ep

de

50% / 50%

h lig

m ad

t

c

60% / 40%

80% / 20%

go l

d

cadmium red

cadmium yellow

qu

a

in

nn

ac

ri

sie

do

t

rn

ne

bu

raw sienna 7 7 7 more red

purples

53

permanent rose 100%

20% / 80%

gr

ue bl

e liv

40% / 60%

lt ba co

n ee

50% / 50%

o

60% / 40%

Pr

n

us

ia

sia

id

n

r vi

bl

ue

cerulean blue

permanent sap green

80% / 20%

phthalo turquoise more blue 8 8 8

54

blues

French ultramarine lemon yellow 100%

20% / 80%

w llo

ye

m

iu

m iu

d

re

40% / 60%

dm ca

ep

de

50% / 50%

h lig

dm

t

ca

60% / 40%

80% / 20%

go l

d

cadmium red

cadmium yellow

qu

a

in

ac ri

nn sie

do

t

rn

ne

bu

raw sienna 7 7 7 more purple

55

blues

permanent rose 100%

20% / 80%

se ro

i

ol

gr

ra

ve

40% / 60%

e op

n ee

50% / 50%

60% / 40%

di

en

t

ri

vi

m

au

ve

perylene violet

permanent sap green

80% / 20%

pe rm an

an

violet more green 8 8 8

56

blues

cobalt blue lemon yellow 100%

20% / 80%

iu

w llo

ye

m

m iu

d

re

40% / 60%

dm ca

ep

de

50% / 50%

h lig

dm

t

ca

60% / 40%

80% / 20%

go l

d

cadmium red

cadmium yellow

qu

a

in

ac

ri

nn sie

do

t

rn

ne

bu

raw sienna 7 7 7 more purple

57

blues

permanent rose 100%

20% / 80%

se ro

i

ol

gr

ra

ve

40% / 60%

e op

n ee

50% / 50%

60% / 40%

di

en

t

ri

vi

m au

ve

perylene violet

permanent sap green

80% / 20%

pe rm

an

an

violet more green 8 8 8

58

blues

cerulean blue lemon yellow 100%

20% / 80%

iu

w llo

ye

m

m iu

d

re

40% / 60%

dm ca

ep

de

50% / 50%

h lig

dm

t

ca

60% / 40%

80% / 20%

go

ld

cadmium red

cadmium yellow

qu i

a

na

nn

cr

sie

id

t

on

rn

e

bu

raw sienna 7 7 7 more purple

59

blues

permanent rose 100%

20% / 80%

se ro

i

ol

gr

ra

ve

40% / 60%

e op

n ee

50% / 50%

60% / 40%

pe r

m

n

an

ia

en

id

t

r vi

m au

ve

perylene violet

permanent sap green

80% / 20%

violet more green 8 8 8

60

blues

Prussian blue lemon yellow 100%

20% / 80%

iu

w llo

ye

m

m iu

d

re

40% / 60%

dm ca

ep

de

50% / 50%

h lig

dm

t

ca

60% / 40%

80% / 20%

go l

d

cadmium red

cadmium yellow

qu

a

in

ac ri

nn sie

do

t

rn

ne

bu

raw sienna 7 7 7 more purple

61

blues

permanent rose 100%

20% / 80%

se ro

i

ol

gr

ra

ve

40% / 60%

e op

n ee

50% / 50%

60% / 40%

di

en

t

ri

vi

m

au

ve

perylene violet

permanent sap green

80% / 20%

pe rm an

an

violet more green 8 8 8

62

blues

phthalo turquoise lemon yellow 100%

20% / 80%

r

w llo

i

50% / 50%

h lig

m ad

ye

um

40% / 60%

m iu

ed

dm ca

ep

de

t

c

60% / 40%

80% / 20%

go

ld

cadmium red

cadmium yellow

qu in

a nn

ac

ri

sie

do

t

rn

ne

bu

raw sienna 7 7 7 more purple

63

blues

permanent rose 100%

20% / 80%

gr

ra se ro

e liv

40% / 60%

e op

n ee

50% / 50%

o

60% / 40%

n

pe rm an

ia

en

id

t

r vi

m

au

ve

perylene violet

permanent sap green

80% / 20%

violet more green 8 8 8

64

greens

viridian lemon yellow 100%

20% / 80%

iu

w llo

ye

m

m iu

d

re

40% / 60%

dm ca

ep

de

50% / 50%

h lig

dm

t

ca

60% / 40%

80% / 20%

cadmium red

cadmium yellow ne

t

sie

do

rn

go

ld

bu

ri

nn

qu

in

ac

a

raw sienna 7 7 7 more blue

65

greens

permanent rose 100%

20% / 80%

ra

e ul

50% / 50%

r

ce

se ro

an

e op

40% / 60%

e

u bl

60% / 40%

80% / 20%

cobalt blue

perylene violet

h

m

au

c en

ve

Fr ar

m

pe rm an

a tr

en

t

ul e

in

violet more brown 8 8 8

66

greens

permanent sap green lemon yellow 100%

20% / 80%

w llo

ye

m

iu

m iu

d

re

40% / 60%

dm ca

ep

de

50% / 50%

h lig

dm

t

ca

60% / 40%

80% / 20%

go l

d

cadmium red

cadmium yellow

qu

in

a nn

ac

ri

sie

do

t

rn

ne

bu

raw sienna 7 7 7 more blue

67

greens

permanent rose 100%

20% / 80%

ra se ro

n

ea

l ru

40% / 60%

e op

e

u bl

50% / 50%

ce

60% / 40%

80% / 20%

cobalt blue

perylene violet

ch

m au

en

ve

Fr e in

pe r

ar

m

m

an

a tr

en

t

ul

violet more brown 8 8 8

68

greens

olive green lemon yellow 100%

20% / 80%

r

w llo

i

50% / 50%

h lig

m ad

ye

um

40% / 60%

m iu

ed

dm ca

ep

de

t

c

60% / 40%

80% / 20%

go l

d

cadmium red

cadmium yellow

qu

a

in

ac

ri

nn sie

do

t

rn

ne

bu

raw sienna 7 7 7 more blue

greens

69

permanent rose 100%

20% / 80%

ra

e ul

50% / 50%

r

ce

se ro

an

e op

40% / 60%

e

u bl

60% / 40%

80% / 20%

cobalt blue

perylene violet

h

m

nc

au

ve

e Fr e

in

pe rm an

ar am

tr

en

t

ul

violet more brown 8 8 8

70

neutrals

raw umber lemon yellow 100%

20% / 80%

r

w llo

ye

m iu

40% / 60%

m iu

ed

dm ca

ep

de

50% / 50%

h lig

m ad

t

c

60% / 40%

80% / 20%

go

ld

cadmium red

cadmium yellow

a

qu in

ac

ri

nn sie

do

t

rn

ne

bu

raw sienna 7 7 7 more green

71

neutrals

permanent rose 100%

20% / 80%

ra se ro

n

ea

l ru

40% / 60%

e op

ue

bl

50% / 50%

ce

60% / 40%

80% / 20%

cobalt blue

perylene violet

ch

m au

en

ve

Fr e in

pe r

ar

m

m

an

a tr

en

t

ul

violet more gray 8 8 8

72

neutrals

burnt umber lemon yellow 100%

20% / 80%

r

w llo

ye

m iu

40% / 60%

m iu

ed

dm ca

ep

de

50% / 50%

h lig

m ad

t

c

60% / 40%

80% / 20%

go

ld

cadmium red

cadmium yellow

qu

a

in

ac

ri

nn sie

do

t

rn

ne

bu

raw sienna 7 7 7 more green

73

neutrals

permanent rose 100%

20% / 80%

ra

e ul

50% / 50%

r

ce

se ro

an

e op

40% / 60%

e

u bl

60% / 40%

80% / 20%

cobalt blue

perylene violet

h

m

nc

au

ve

e Fr e

pe

in

ar

rm

an

am

tr

en t

ul

violet more gray 8 8 8

74

neutrals

sepia lemon yellow 100%

20% / 80%

r

w llo

i

50% / 50%

h lig

m ad

ye

um

40% / 60%

m iu

ed

dm ca

ep

de

t

c

60% / 40%

80% / 20%

go l

d

cadmium red

cadmium yellow

qu

a

in

ac ri

nn sie

do

t

rn

ne

bu

raw sienna 7 7 7 more green

75

neutrals

permanent rose 100%

20% / 80%

ra se ro

n

ea

l ru

e op

40% / 60%

e

u bl

50% / 50%

ce

60% / 40%

80% / 20%

cobalt blue

perylene violet

h

m

nc

au

ve

e Fr e

in

pe rm an

ar am

tr

en

t

ul

violet more gray 8 8 8

76

neutrals

Payne’s gray lemon yellow 100%

20% / 80%

r

w llo

ye

m iu

40% / 60%

m iu

ed

dm ca

ep

de

50% / 50%

h lig

m ad

t

c

60% / 40%

80% / 20%

go

ld

cadmium red

cadmium yellow

qu

a

in

ac

ri

nn sie

do

t

rn

ne

bu

raw sienna 7 7 7 more green

77

neutrals

permanent rose 100%

20% / 80%

ra

e ul

50% / 50%

r

ce

se ro

an

e op

40% / 60%

e

u bl

60% / 40%

80% / 20%

cobalt blue

perylene violet

h

m

au

c en

ve

Fr ar

m

pe rm an

a tr

en

t

ul e

in

violet

acrylic color mixes The following pages feature 25 of the most widely used acrylic colors by amateur and professional artists. The mixes provide excellent evidence that you do not need a huge collection of paints to produce a wide range of bright, vibrant colors, whatever your subject. Use these mixes as guides to help you achieve the exact shade you want.

80

supports and brushes

An easel is a useful addition to your acrylic painting kit. If you keep all your paints, papers, brushes, and other supports together between sessions, everything you need is readily at hand when you want to paint.

Painting in acrylics can be done on almost any surface. A surface that has been covered with a brilliant white will give the brightest effects when transparent washes are used. Transparent washes work well on many kinds of paper, including those made for watercolor painting. When the paints are made opaque by the addition of white, the color of the ground becomes less important. Canvas, paper, card stock, hardboard, MDF (medium-density fiberboard), unglazed ceramics, and even nonferrous metal, as long as it has some texture to aid adhesion, can all give good results and make possible a vast range of effects. Acrylics are ideal for mural painting. The advent of acrylics has encouraged experimentation and made painting and craft work easier and more accessible to more people. brushes and tools

Any means of applying paint can be used with acrylics. Usable tools range from the fine sable brushes used for professional illustration to the knives and modeling tools used on textured abstract work, which have expressive possi­bilities when used with acrylics. Traditional hog-hair brushes

When selecting brushes choose at least one broad flat brush for laying washes, as well as several different-sized round brushes. Filberts, far right, allow you to produce soft, tapered marks and are good for softening edges.

supports and brushes

are excellent for acrylics, as are polyester and synthetic fibers. Rollers can be used in many types of picture making, and a wire brush can even be used to leave furrows and stipple marks in wet paint. A wide range of brushes made by many manufacturers are specially designed for use with acrylics, and their firm but flexible hairs work well with the traditional styles of painting. A word of warning: Be scrupulous about washing your brushes immediately after use. Once the chemical drying process has begun, it cannot be reversed. Wash your brushes in clean water until the water runs clear, and ensure that there is no paint left between the hairs near the metal ferrule. Some soap or dishwashing liquid will help you keep your brushes clean and reusable.

81

Acrylic colors can be used on canvas and, once they are dry, give results comparable to oil colors.

82

the acrylics palette

These are the most popular acrylics manufactured, available in art stores and via the Internet. Colors included in many preselected paint boxes are also chosen from this range.

lemon yellow

cadmium yellow medium

azo yellow medium

cadmium orange

cadmium red light

arylamide

cadmium zinc sulphide

arylamide

cadmium sulphoselenide

cadmium sulphoselenide

naphthol red light

quinacridone red

permanent rose

permanent alizarin crimson

quinacridone violet

naphthol AS-D

quinacridone

quinacridone

anthraquinonoid dioxazine

quinacridone

dioxazine purple

ultramarine blue

cobalt blue

phthalo blue green shade

cerulean blue hue

carbazole dioxazine

complex sodium alumino-silicate containing sulphur

cobalt aluminate

copper phthalocyanine

copper phthalocyanine; titanium dioxide; ultramarine

phthalo turquoise

phthalo green blue shade

permanent sap green

olive green

yellow ocher

copper phthalocyanine; chlorinated copper phthalocyanine

chlorinated copper phthalocyanine

quinacridone; brominated copper phthalocyanine

indanthrone; quinacridone

natural iron oxide

burnt sienna

red iron oxide

quinacridone burnt orange

raw umber

Payne’s gray

synthetic iron oxide

synthetic iron oxide

quinacridone

natural iron oxide

ultramarine; bone black

the acrylics palette

83

suggested palette

It is a good idea for beginners to start with a very restricted palette of six colors and use the charts referring to these six colors to develop their color skills and discover their preferences. They can then augment their palette as they gain experience. A good minimum palette for a beginner is shown here:

lemon yellow

burnt sienna

cadmium red light

phthalo green blue shade

ultramarine blue

dioxazine purple

Acrylic colors are available in a broad range of colors and can be mixed together to create many more shades. Mix in a palette or on a plate to get the precise color you want.

84

yellows

lemon yellow cadmium red light 100% 20% / 80%

40% / 60%

th

ne

am

t

h lig

50% / 50%

tr

ul

ed

r ol

i

ar

ph na

ue

bl

60% / 40%

80% / 20%

dioxazine purple

quinacridone red

ol

pe r

vi

m

ne

an

do

en

t

ri

ac

ro

in

se

qu et

permanent alizarin crimson

85

yellows

cobalt blue 100% 20% / 80%

ue bl

si

bu

gr

50% / 50%

n

ee

t rn

40% / 60%

o al th

ph

a

n en

e ad

sh

60% / 40%

80% / 20%

olive green

cerulean blue hue

tu

t en

rq

uo

an rm

ise

pe n ee

ph t

gr

ha

p

lo

sa

phthalo green blue shade more red 8 8 8

86

yellows

cadmium yellow medium cadmium red light 100% 20% / 80%

40% / 60%

th

ne

am

ed

r ol

i

ar

ph na

ue

bl

t

h lig

50% / 50%

tr ul

60% / 40%

80% / 20%

dioxazine purple

quinacridone red

ac

ro

in

se

qu ne

rm an

do

en t

ri t

le

pe

o vi

permanent alizarin crimson 7 7 7 more yellow

87

yellows

cobalt blue 100% 20% / 80%

ue bl gr

50% / 50%

n

ee

nt

r bu

40% / 60%

o al th

ph

na

n sie

e ad

sh

60% / 40%

80% / 20%

olive green

cerulean blue hue

t

tu

en

rq

uo

an rm

ise

pe n ee

ph t

gr

ha

p

lo

sa

phthalo green blue shade more red 8 8 8

88

yellows

azo yellow medium cadmium red light 100% 20% / 80%

40% / 60%

th

ne

am

ed

r ol

i

ar

ph na

ue

bl

t

h lig

50% / 50%

tr ul

60% / 40%

80% / 20%

dioxazine purple

quinacridone red

ac

ro

in

se

qu et

pe

ol

vi

rm

ne

an

do

en

t

ri

permanent alizarin crimson 7 7 7 more yellow

89

yellows

cobalt blue 100% 20% / 80%

ue bl

si

gr

50% / 50%

n e ad

sh

bu

ee

t rn

40% / 60%

o al th

ph

a

n en

60% / 40%

80% / 20%

olive green

cerulean blue hue tu r

t en

qu

oi

an rm

se

pe n ee

ph

gr

th

p

al

o

sa

phthalo green blue shade more red 8 8 8

90

yellows

cadmium orange cadmium red light 100% 20% / 80%

40% / 60%

th

ne

am

ed

r ol

i

ar

ph na

ue

bl

t

h lig

50% / 50%

tr ul

60% / 40%

80% / 20%

dioxazine purple

quinacridone red

ac

ro

in

se

qu et

ol

vi

pe rm

ne

an

do

en

t

ri

permanent alizarin crimson 7 7 7 more yellow

91

yellows

cobalt blue 100% 20% / 80%

ue bl

si

gr

50% / 50%

n e ad

sh

bu

ee

t rn

40% / 60%

o al th

ph

a

n en

60% / 40%

80% / 20%

olive green

cerulean blue hue

n ee

ph

gr

th

p

al

sa

o

t

tu r

en

qu

oi

an rm

se

pe

phthalo green blue shade more red 8 8 8

92

reds

cadmium red light lemon yellow 100% 20% / 80%

m iu w llo

ye

lt

a ob

40% / 60%

dm ca

e

u bl

m

50% / 50%

m iu

ed

c

60% / 40%

80% / 20%

ge

ultramarine blue

azo yellow medium

le

ca

rp

dm

pu

iu

e

m

in

or

az

an

ox

di

quinacridone violet 7 7 7 more yellow

93

reds

phthalo blue green shade 100% 20% / 80%

an le

ru

si

ue bl

t rn

40% / 60%

ce

a

n en

e

hu

50% / 50%

bu

60% / 40%

80% / 20%

ue

sh

ad

e

yellow ocher

phthalo turquoise

ol ph

th

al

o

en

gr

ee

e gr

n

e

bl

iv

permanent sap green more purple 8 8 8

94

reds

naphthol red light lemon yellow 100% 20% / 80%

m iu w llo

ye

lt

a ob

40% / 60%

dm ca

e

u bl

m

50% / 50%

m iu

ed

c

60% / 40%

80% / 20%

ultramarine blue

azo yellow medium

ca

le

rp

dm

pu

iu

e

m

in

or

az

an

ox

ge

di

quinacridone violet 7 7 7 more yellow

95

reds

phthalo blue green shade 100% 20% / 80%

an le

ru

si

50% / 50%

e

hu

bu

ue bl

t rn

40% / 60%

ce

a

n en

60% / 40%

80% / 20%

ue

sh

ad

e

yellow ocher

phthalo turquoise

ph

th

al

o

gr

n ee gr

ee n

e iv

bl

ol

permanent sap green more purple 8 8 8

96

reds

quinacridone red lemon yellow 100% 20% / 80%

m iu w llo

ye

lt

a ob

40% / 60%

dm ca

e

u bl

m

50% / 50%

m iu

ed

c

60% / 40%

80% / 20%

ultramarine blue

azo yellow medium

le

ca d

rp

pu

m iu

e

m

in

or

an

az ox

ge

di

quinacridone violet 7 7 7 more yellow

97

reds

phthalo blue green shade 100% 20% / 80%

an le

ru ue bl

nt

r bu

40% / 60%

ce

na

n sie

e

hu

50% / 50%

60% / 40%

80% / 20%

ue

sh

ad

e

yellow ocher

phthalo turquoise

ol ph

th

al

o

en

gr

ee

e gr

n

e

bl

iv

permanent sap green more purple 8 8 8

98

reds

permanent rose lemon yellow 100% 20% / 80%

m iu w llo

ye

lt

a ob

40% / 60%

dm ca

e

u bl

m

50% / 50%

m iu

ed

c

60% / 40%

80% / 20%

ge

ultramarine blue

azo yellow medium

ca

dm

le rp pu

iu

e

m

in

or

az

an

ox

di

quinacridone violet 7 7 7 more yellow

99

reds

phthalo blue green shade 100% 20% / 80%

an le

ru ue bl

nt

r bu

40% / 60%

ce

na

n sie

e

hu

50% / 50%

60% / 40%

80% / 20%

ue

sh a

de

yellow ocher

phthalo turquoise

ph

th

al

o

gr

n ee

ee

gr

n

e

iv

bl

ol

permanent sap green more purple 8 8 8

100

reds

permanent alizarin crimson lemon yellow 100% 20% / 80%

m iu w llo

ye

lt

a ob

40% / 60%

dm ca

e

u bl

m

50% / 50%

m iu

ed

c

60% / 40%

80% / 20%

ultramarine blue

azo yellow medium

e

ca

l rp

dm

pu

iu

e

m

in

or

az

an

ox

ge

di

quinacridone violet 7 7 7 more yellow

101

reds

phthalo blue green shade 100% 20% / 80%

an le

ru

si

ue bl

t rn

40% / 60%

ce

a

n en

e

hu

50% / 50%

bu

60% / 40%

80% / 20%

ue

sh

ad

e

yellow ocher

phthalo turquoise

ph

th

al

o

n

gr

ee

ee

gr

n

e

iv

bl

ol

permanent sap green more purple 8 8 8

102

purples

quinacridone violet lemon yellow 100% 20% / 80%

40% / 60%

m iu ye

nt

dm ca

se

ro

rm

w llo

e

an

m

50% / 50%

m iu

ed

pe

60% / 40%

80% / 20%

quinacridone red

azo yellow medium

ht

ca

lig

dm

iu

d re

m

ol

or

th

an

ph

ge

na

cadmium red light 7 7 7 more red

purples

103

permanent alizarin crimson 100% 20% / 80%

e

b

ue bl

50% / 50%

id

r ac

e in ar

e on

40% / 60%

am

t

n ur

tr ul

ng

a or

in

qu

60% / 40%

ce

ru

r he

le

oc

an

w

bl

ue

llo ye

hu

e

cobalt blue

burnt sienna

80% / 20%

phthalo green blue shade more blue 8 8 8

104

purples

dioxazine purple lemon yellow 100% 20% / 80%

40% / 60%

m iu ye

nt

dm ca

se

ro

rm

w llo

e

an

m

50% / 50%

m iu

ed

pe

60% / 40%

80% / 20%

quinacridone red

azo yellow medium

ht

ca

lig

dm

iu

d re

m

ol

or

th

an

ph

ge

na

cadmium red light 7 7 7 more red

purples

105

permanent alizarin crimson 100% 20% / 80%

am

si

bu

e in ar

50% / 50%

ue bl

t rn

tr ul

40% / 60%

a

n en

60% / 40%

de sh a en

n

gr e

ee

bl

ue

ue

gr

bl

o

sh

o

al

ad

al

th

ph th

ph

cobalt blue

yellow ocher

80% / 20%

e

cerulean blue hue more blue 8 8 8

106

blues

ultramarine blue lemon yellow 100% 20% / 80%

40% / 60%

m iu ye

nt

dm ca

se

ro

rm

w llo

e

an

m

50% / 50%

m iu

ed

pe

60% / 40%

80% / 20%

quinacridone red

azo yellow medium

ht

ca

lig

dm

d

iu

re

m

ol

or

th

an

ph

ge

na

cadmium red light 7 7 7 more purple

107

blues

permanent alizarin crimson 100% 20% / 80%

ne do ri ac in

nt

r bu

40% / 60%

qu

na

n sie

et ol vi

50% / 50%

60% / 40%

80% / 20%

ue

sh

ad

e

yellow ocher

dioxazine purple

ol ph

th

al

o

en

gr

e gr

ee n

e

bl

iv

permanent sap green more green 8 8 8

108

blues

cobalt blue lemon yellow 100% 20% / 80%

40% / 60%

m iu ye

nt

dm ca

se

ro

rm

w llo

e

an

m

50% / 50%

m iu

ed

pe

60% / 40%

80% / 20%

quinacridone red

azo yellow medium

ht

ca

lig

dm

d

iu

re

m

ol

or

th

an

ph

ge

na

cadmium red light 7 7 7 more purple

109

blues

permanent alizarin crimson 100% 20% / 80%

ne do ri ac in

nt

r bu

40% / 60%

qu

na

n sie

et ol vi

50% / 50%

60% / 40%

80% / 20%

ue

sh

ad

e

yellow ocher

dioxazine purple

ol ph

th

al

o

en

gr

e gr

ee n

bl

e iv

permanent sap green more green 8 8 8

110

blues

phthalo blue green shade lemon yellow 100% 20% / 80%

40% / 60%

rm

w llo

ye

e

an

m iu

nt

dm ca

se

ro

m

50% / 50%

m iu

ed

pe

60% / 40%

80% / 20%

quinacridone red

azo yellow medium

ht

lig

ca dm

d

re

iu m

ol

or

th

an

ph

ge

na

cadmium red light 7 7 7 more purple

111

blues

permanent alizarin crimson 100% 20% / 80%

ne do ri ac in

si

50% / 50%

bu

et ol vi

t rn

40% / 60%

qu

a

n en

60% / 40%

80% / 20%

ue

sh

ad

e

yellow ocher

dioxazine purple

ol ph

th

al

o

en

gr

ee

e gr

n

e

bl

iv

permanent sap green more green 8 8 8

112

blues

cerulean blue hue lemon yellow 100% 20% / 80%

40% / 60%

m iu ye

nt

dm ca

se

ro

rm

w llo

e

an

m

50% / 50%

m iu

ed

pe

60% / 40%

80% / 20%

quinacridone red

azo yellow medium

ht

ca

lig

dm

iu

d re

m

ol

or

th

an

ph

ge

na

cadmium red light 7 7 7 more purple

113

blues

permanent alizarin crimson 100% 20% / 80%

ne do ri ac in

si

50% / 50%

bu

et ol vi

t rn

40% / 60%

qu

a

n en

60% / 40%

80% / 20%

ue

sh

ad

e

yellow ocher

dioxazine purple

ph

th

al

o

gr

n ee

gr

ee n

bl

e iv

ol

permanent sap green more green 8 8 8

114

blues

phthalo turquoise lemon yellow 100% 20% / 80%

40% / 60%

m iu ye

nt

dm ca

se

ro

rm

w llo

e

an

m

50% / 50%

m iu

ed

pe

60% / 40%

80% / 20%

quinacridone red

azo yellow medium

ht

ca

lig

dm

ed

iu

lr

m

or

o th

an

ph

ge

na

cadmium red light 7 7 7 more purple

115

blues

permanent alizarin crimson 100% 20% / 80%

ne do ri ac in

si

bu

50% / 50%

et ol vi

t rn

40% / 60%

qu

a

n en

60% / 40%

80% / 20%

ue

sh

ad

e

yellow ocher

dioxazine purple

ph

th

al

o

n

gr

ee

gr

ee n

e

bl

iv

ol

permanent sap green more green 8 8 8

116

greens

phthalo green blue shade lemon yellow 100% 20% / 80%

40% / 60%

m iu ye

nt

dm ca

se

ro

rm

w llo

e

an

m

50% / 50%

m iu

ed

pe

60% / 40%

80% / 20%

quinacridone red

azo yellow medium

ht

ca

lig

dm

iu

d re

m

ol

or

th

an

ph

ge

na

cadmium red light 7 7 7 more blue

greens

117

permanent alizarin crimson 100% 20% / 80%

si

et ol vi

50% / 50%

bu

ne do ri ac in

t rn

40% / 60%

qu

a

n en

60% / 40%

80% / 20%

yellow ocher

dioxazine purple

se

ul

oi

tr

qu

am

ar

r tu

in

o

e

al

bl

th

ue

ph

cobalt blue more brown 8 8 8

118

greens

permanent sap green lemon yellow 100% 20% / 80%

40% / 60%

m iu ye

nt

dm ca

se

ro

rm

w llo

e

an

m

50% / 50%

m iu

ed

pe

60% / 40%

80% / 20%

quinacridone red

azo yellow medium

ht

ca

lig

dm

d

iu

re

m

ol

or

th

an

ph

ge

na

cadmium red light 7 7 7 more blue

greens

119

permanent alizarin crimson 100% 20% / 80%

et ol vi

50% / 50%

ne do ri ac in

nt

r bu

40% / 60%

qu

na

n sie

60% / 40%

80% / 20%

yellow ocher

dioxazine purple

ul

ise

tr

uo

am

rq

ar

tu

in

o

e

al

bl

th

ue

ph

cobalt blue more brown 8 8 8

120

greens

olive green lemon yellow 100% 20% / 80%

40% / 60%

rm

w llo

ye

e

an

m iu

nt

dm ca

se

ro

m

50% / 50%

m iu

ed

pe

60% / 40%

80% / 20%

quinacridone red

azo yellow medium

ph

ge

na

or

d

iu m

re

lig

ca dm

ol

an

th

ht

cadmium red light 7 7 7 more blue

greens

121

quinacridone violet 100% 20% / 80%

si

pu

50% / 50%

le

bu

rp

t rn

40% / 60%

e in az ox di

a

n en

60% / 40%

80% / 20%

yellow ocher

ultramarine blue bl

lo

ue

a th

ph ise

uo

co

rq

ba

lt

tu

phthalo blue green shade more brown 8 8 8

122

neutrals

yellow ocher lemon yellow 100% 20% / 80%

40% / 60%

m iu ye

nt

dm ca

se

ro

rm

w llo

e

an

m

50% / 50%

m iu

ed

pe

60% / 40%

80% / 20%

quinacridone red

azo yellow medium or

o th

an

ph

ge

na ht

ca

lig

dm

iu

ed

m

lr

cadmium red light 7 7 7 more green

neutrals

123

permanent alizarin crimson 100% 20% / 80%

50% / 50%

m er

et ol vi

e an

40% / 60%

ne do ri ac in

nt

p sa

qu

en

e gr

p

60% / 40%

dioxazine purple

phthalo green blue shade

80% / 20%

ul

se

tr

oi

qu

am

ar

r tu

in

o

e

al

bl

th

ue

ph

cobalt blue more brown 8 8 8

124

neutrals

burnt sienna lemon yellow 100% 20% / 80%

40% / 60%

m iu ye

nt

dm ca

se

ro

rm

w llo

e

an

m

50% / 50%

m iu

ed

pe

60% / 40%

80% / 20%

quinacridone red

azo yellow medium or

o th

an

ph

ge

na ht

ca

lig

dm

iu

ed

m

lr

cadmium red light 7 7 7 more green

neutrals

125

permanent alizarin crimson 100% 20% / 80%

et ol vi

50% / 50%

ne do ri ac in

g

e

iv ol

qu

40% / 60%

n

e re

60% / 40%

ue bl

n

e

ee

in

gr

bl

ue

ar

o

am

al

sh

tr

th

ad

ul

ph

dioxazine purple

permanent sap green

80% / 20%

e

phthalo turquoise more brown 8 8 8

126

neutrals

red iron oxide lemon yellow 100% 20% / 80%

40% / 60%

m iu ye

nt

dm ca

se

ro

rm

w llo

e

an

m

50% / 50%

m iu

ed

pe

60% / 40%

80% / 20%

quinacridone red

azo yellow medium or

o th

an

ph

ge

na ht

ca

lig

dm

iu

ed

m

lr

cadmium red light 7 7 7 more green

neutrals

127

permanent alizarin crimson 100% 20% / 80%

50% / 50%

m er

et ol vi

e an

40% / 60%

ne do ri ac in

nt

p sa

qu

en

e gr

p

60% / 40%

dioxazine purple

phthalo green blue shade

80% / 20%

ul

ise

tr

uo

am

rq

ar

tu

in

lo

e

bl

a th

ue

ph

cobalt blue more brown 8 8 8

128

neutrals

quinacridone burnt orange lemon yellow 100% 20% / 80%

40% / 60%

m iu ye

nt

dm ca

se

ro

rm

w llo

e

an

m

50% / 50%

m iu

ed

pe

60% / 40%

80% / 20%

quinacridone red

azo yellow medium

ht

ca

lig

dm

iu

d re

m

ol

or

th

an

ph

ge

na

cadmium red light 7 7 7 more green

neutrals

129

permanent alizarin crimson 100% 20% / 80%

50% / 50%

m er

et ol vi

e an

40% / 60%

ne do ri ac in

nt

p sa

qu

en

e gr

p

60% / 40%

dioxazine purple

phthalo green blue shade

80% / 20%

ul

se

tr

oi

qu

am ar

r tu

in

lo

e

bl

a th

ue

ph

cobalt blue more brown 8 8 8

130

neutrals

raw umber lemon yellow 100% 20% / 80%

40% / 60%

rm

w llo

ye

e

an

m iu

nt

dm ca

se

ro

m

50% / 50%

m iu

ed

pe

60% / 40%

80% / 20%

quinacridone red

azo yellow medium

ht

lig

ca dm

d

re

iu m

ol

or

th

an

ph

ge

na

cadmium red light 7 7 7 more green

neutrals

131

permanent alizarin crimson 100% 20% / 80%

50% / 50%

m er

et ol vi

e an

40% / 60%

ne do ri ac in

nt

p sa

qu

en

e gr

p

60% / 40%

dioxazine purple

phthalo green blue shade

80% / 20%

ul

se

tr

oi

qu

am ar

r tu

in

lo

e

bl

a th

ue

ph

cobalt blue more gray 8 8 8

132

neutrals

Payne’s gray lemon yellow 100% 20% / 80%

40% / 60%

rm

w llo

ye

e

an

m iu

nt

dm ca

se

ro

m

50% / 50%

m iu

ed

pe

60% / 40%

80% / 20%

quinacridone red

azo yellow medium or

o th

an

ph

ge

na lig

ca dm

ed

iu m

lr ht

cadmium red light 7 7 7 more brown

neutrals

133

permanent alizarin crimson 100% 20% / 80%

et ol vi

50% / 50%

ne do ri ac in

w

lo

l ye

40% / 60%

qu

er

h oc

60% / 40%

dioxazine purple

phthalo green blue shade

80% / 20%

ul

ise

uo

rq

tr am ar

tu

in

lo

e

bl

a th

ue

ph

cobalt blue

oil color mixes The following pages feature 25 main oil colors that are the most popular with amateur and professional artists. The mixes demonstrate that artists need very few colors to create an enormous range of bright, vibrant colors in oil paint. Use these mixes as guides to help you achieve the exact shade you want, whatever your subject.

136

supports and brushes

A traditional paint box containing 12 or 24 tubes of color, together with palette, brushes, and thinning oils, ensures everything is at hand when you are ready to paint.

To mix oil colors, you need a flat, smooth surface that will not absorb the oil. The traditional palette in wood or plastic, including a thumb hole, is necessary for portrait and outdoor work, but in the studio many artists use a piece of glass, plastic, or glazed ceramic appropriate to the size of their paintings. The ultimate in economy is to use a glossy magazine and tear off each page when it is full. Squeeze out each color onto your palette as a long line of paint rather than as a large round blob. You will then be able to take color from the end of the line without staining the rest of the paint: Any paint left will be clean for further use. Place each color along the far edge of your palette so that you can see all the colors clearly. The order of the colors on the palette is a matter of personal choice, but do not change it too often, as this will slow down the work. One idea is to start with cool colors, the blues and violets, on the left, moving through the yellows to the ochers and earth colors with reds on the right. Place white and black on the extreme right. supports for oil painting

Wood panels, canvas, card-backed canvas, hardboard, MDF (mediumdensity fiber­board), card, and paper (properly primed to prevent the paint from sinking) are all suitable grounds for oil painting. The difficulty and expense of joining wood to make large panels and their tendency to crack led to the use of canvas and other textiles that were lighter in weight and allowed much larger pictures to be made and hung. Pictures in the 19th-century French salons were sometimes 33 feet (10 m) long. The woven texture of canvas allows every variation from smooth grain to extremely coarse to be used, and it gives the opportunity to elaborate yet more ways of painting with oils in the future.

supports and brushes

137

brushes

Hog-hair brushes are the most popular brushes for oil painting; they are the most effective when handling paint from tubes diluted, if at all, with a little turpentine. Paint dissolved with other liquids or resins requires softer fibers or hairs to enable you to obtain softer blending. Of these, sable is still the best, but by a narrower margin than in the past. The various synthetic fibers offer good quality at a fraction of the cost of sable. When you begin to use the opaque method of painting by adding white to alter the tone of the colors, use a palette knife to do the mixing so that your clean brush is ready to pick up just the amount of paint needed. Many painters who favor a broader approach use palette knives and other painting tools either to add dramatic touches or to paint the whole picture.

Choose several hoghair brushes in different sizes and shapes for your oil painting. This allows you to create works of art, whatever your style. Palette knives are useful additions.

138

the oil color palette

These are the most popular oil colors with professional and amateur artists, available in art stores and via the Internet. Colors that are included in many preselected paint boxes are also chosen from this range.

lemon yellow

cadmium yellow pale

Naples yellow deep

cadmium yellow deep

orange

arylide yellow

cadmium zinc sulphide

chromium titanium oxide

cadmium zinc sulphide, cadmium sulphoselenide

pyrrol

cadmium scarlet

cadmium red deep

permanent rose

permanent alizarin crimson

quinacridone magenta

cadmium sulphoselenide

perylene red

quinacridone

anthraquinone

quinacridone

violet (dioxazine)

cobalt blue

cerulean blue (red shade)

French ultramarine

indanthrene blue

carbazole dioxazine

cobalt aluminate

copper phthalocyanine

complex sodium alumino-silicate containing sulphur

indanthrone

phthalo turquoise

cobalt turquoise

cadmium green pale

emerald green

cobalt chromite

hydrated chromium oxide; cadmium zinc sulphide

brominated copper phthalocyanine; zinc oxide

manganese blue hue chlorinated copper phthalocyanine; copper phthalocyanine

chlorinated copper phthalocyanine; copper phthalocyanine

viridian

Prussian green

burnt sienna

light red

raw umber

hydrated chromium oxide

chlorinated copper phthalocyanine

synthetic iron oxide

synthetic iron oxide

natural iron oxide

the oil color palette

139

suggested palette

It is a good idea for beginners to start with a very restricted palette of six colors and use the charts relating to these six colors to develop their color skills and discover their preferences. They can then augment their palette as they gain experience. A good minimum palette for a beginner is shown here:

cadmium yellow pale

burnt sienna

cadmium scarlet

viridian

French ultramarine

violet (dioxazine)

One of the most popular supports for works in oil paints is canvas. Canvases are available pre-stretched in various sizes and different textures from smooth to extremely coarse grained.

140

yellows

lemon yellow cadmium scarlet 100%

d

re

bl ue

m iu

(r ed

40% / 60%

dm ca

sh ad e)

20% / 80%

ce ru le an

ep

de

50% / 50%

60% / 40%

80% / 20%

im so

n

cobalt blue

permanent rose

ol

cr

vi pe rm

e)

an

in

en

z xa

ta

io

liz

(d

ar

in

et

quinacridone magenta

yellows

141

French ultramarine 100%

20% / 80%

t an

d in e

en

hr

i

id

50% / 50%

ue bl

r vi

40% / 60%

an

60% / 40%

80% / 20%

emerald green

manganese blue hue

en

th al

o

e gr

tu r

m

qu

iu

oi

dm

se

ca le

ph

pa

cobalt turquoise more red 8 8 8

142

yellows

cadmium yellow pale cadmium scarlet 100%

20% / 80%

40% / 60%

dm ca m iu d

re

50% / 50%

ep

de

n ea l ru ce

ue bl

ed (r

) de a sh

60% / 40%

80% / 20%

cr

(d

in

et

ar

ol

im so

n

cobalt blue

permanent rose

vi

io

zi

al

iz

xa

en

t

ne

pe rm

an

)

quinacridone magenta 7 7 7 more yellow

yellows

143

French ultramarine 100%

20% / 80%

t an

d in e

en

hr

i

id

50% / 50%

ue bl

r vi

40% / 60%

an

60% / 40%

80% / 20%

emerald green

manganese blue hue

le

ph

pa

th

en

al

o

e gr

tu r

m

qu

iu

oi

dm

se

ca

cobalt turquoise more red 8 8 8

144

yellows

Naples yellow deep cadmium scarlet 100%

20% / 80%

40% / 60%

dm ca m iu d

re

50% / 50%

ep

de

an le u r ce

ue bl

ed (r

) de a sh

60% / 40%

80% / 20%

cr

(d

in

et

ar

ol

im so

n

cobalt blue

permanent rose

vi

io

zi

al

iz

xa

en t

ne

pe rm

an

)

quinacridone magenta 7 7 7 more yellow

yellows

145

French ultramarine 100%

20% / 80%

t an

d in e

en

hr

i

id

50% / 50%

ue bl

r vi

40% / 60%

an

60% / 40%

80% / 20%

emerald green

manganese blue hue

le

pa

ph t

ha

en

lo

e gr

tu

m

rq

iu

uo

dm

ise

ca

cobalt turquoise more red 8 8 8

146

yellows

cadmium yellow deep cadmium scarlet 100%

20% / 80%

40% / 60%

dm ca m iu d

re

50% / 50%

ep

de

n ea l ru ce

ue bl

ed (r

) de a sh

60% / 40%

80% / 20%

cr

et

(d

in

ol

im so

n

cobalt blue

permanent rose

vi

zi

al

iz

xa

ar

io

en

t

ne

pe rm

an

)

quinacridone magenta 7 7 7 more yellow

yellows

147

French ultramarine 100%

20% / 80%

t an

d in

40% / 60%

hr

n ia

e

en

d

ri

vi

ue bl

50% / 50%

60% / 40%

80% / 20%

emerald green

manganese blue hue

le

ph

pa

th

en

al

o

e gr

tu r

m

qu

oi

iu dm

se

ca

cobalt turquoise more red 8 8 8

148

yellows

orange cadmium scarlet 100%

20% / 80%

40% / 60%

dm ca m iu d

re

50% / 50%

ep

de

n ea l ru ce

ue bl

ed (r

) de a sh

60% / 40%

80% / 20%

cobalt blue

permanent rose

n

vi

ol

so

et

im

(d

n

io

xa

zi

nt

ne

e an

)

rm

pe

quinacridone magenta 7 7 7 more yellow

al

iz

i ar

cr

yellows

149

French ultramarine 100%

20% / 80%

t an

d in e

en

hr

i

id

50% / 50%

ue bl

r vi

40% / 60%

an

60% / 40%

80% / 20%

emerald green

manganese blue hue

le

ph

pa

th

al

o

n ee gr

tu r

m

qu

iu

oi

dm

se

ca

cobalt turquoise more red 8 8 8

150

reds

cadmium scarlet lemon yellow 100%

20% / 80%

m iu

c

w llo

ye

lt

a ob

dm ca

40% / 60%

e

u bl

50% / 50%

le pa

60% / 40%

80% / 20%

violet (dioxazine)

Naples yellow deep

a

ca

t en

dm

ag

iu

m

m

ne

ye l

do

lo

ri

w

ac

in

de

ep

qu

orange 7 7 7 more yellow

151

reds

cerulean blue (red shade) 100%

20% / 80%

h nc am

tr ul

d

al

50% / 50%

em

e in ar

er

40% / 60%

e Fr

en

e gr

60% / 40%

m an

se

oi

ga

qu

ne

se

r tu

bl

lt

ue

ba

co

hu

e

indanthrene blue

cadmium green pale

80% / 20%

phthalo turquoise more purple 8 8 8

152

reds

cadmium red deep lemon yellow 100%

20% / 80%

m iu

c

w llo

ye

lt

a ob

dm ca

40% / 60%

e

u bl

50% / 50%

le pa

60% / 40%

80% / 20%

violet (dioxazine)

Naples yellow deep

a

ca

t en

dm

ag

iu

m

m

ne

ye l

do

lo

ri

w

ac

de

in

ep

qu

orange 7 7 7 more yellow

153

reds

cerulean blue (red shade) 100%

20% / 80%

h nc am

tr ul

d

al

50% / 50%

em

e in ar

er

40% / 60%

e Fr

n

ee

gr

60% / 40%

m

an

ise

ga

uo

ne

rq

se

tu

bl

lt

ue

ba

co

hu

e

indanthrene blue

cadmium green pale

80% / 20%

phthalo turquoise more purple 8 8 8

154

reds

permanent rose lemon yellow 100%

20% / 80%

m iu w llo

ye

t

al

50% / 50%

le pa

b co

dm ca

40% / 60%

e

u bl

60% / 40%

80% / 20%

violet (dioxazine)

Naples yellow deep

a

ca

t en

dm

ag

iu

m

m

ne

ye

do

llo

ri

w

ac

de

in

ep

qu

orange 7 7 7 more yellow

155

reds

cerulean blue (red shade) 100%

20% / 80%

h nc am

tr ul

d

al

50% / 50%

em

e in ar

er

40% / 60%

e Fr

en

e gr

60% / 40%

co

hu

e

indanthrene blue

cadmium green pale

80% / 20%

m

an

se

oi

ga

qu

ne se

r tu

bl

lt

ue

ba

phthalo turquoise more purple 8 8 8

156

reds

permanent alizarin crimson lemon yellow 100%

20% / 80%

dm ca m iu w llo

ye

t

al

50% / 50%

le pa

b co

40% / 60%

ue

bl

60% / 40%

80% / 20%

violet (dioxazine)

Naples yellow deep

do

ye llo

ri

w

ac

in

de ep

qu a

ca

t en

ag

dm iu

m

m

ne

orange 7 7 7 more yellow

157

reds

cerulean blue (red shade) 100%

20% / 80%

h nc am

tr ul

d

al

50% / 50%

em

e in ar

er

40% / 60%

e Fr

en

e gr

60% / 40%

bl

lt

ba

ue

co

hu

e

indanthrene blue

cadmium green pale

80% / 20%

rq

ne se

tu m

se

an

ga

i uo

phthalo turquoise more purple 8 8 8

158

purples

quinacridone magenta lemon yellow 100%

20% / 80%

40% / 60%

m iu

nt

dm ca

se

ro

rm

w llo

ye

e

an

50% / 50%

le pa

pe

60% / 40%

80% / 20%

de

ep

cadmium red deep

Naples yellow deep

ca

et

dm

rl

iu

a sc

m

m

ye l

iu

lo

w

dm

ca

orange 7 7 7 more red

159

purples

permanent alizarin crimson 100%

20% / 80%

40% / 60%

r

ba

tu

ue bl

lt

lt ba co

ise

o qu

50% / 50%

co

60% / 40%

80% / 20%

phthalo turquoise

cerulean blue (red shade)

Fr

e hu

en

ue

ch

bl

ul

tr

se ne

am

ga

ar

an

in

e

m

indanthrene blue more blue 8 8 8

160

purples

violet (dioxazine) lemon yellow 100%

20% / 80%

40% / 60%

m iu

nt

dm ca

se

ro

rm

w llo

ye

e

an

50% / 50%

le pa

pe

60% / 40%

80% / 20%

ep

cadmium red deep

Naples yellow deep

m

ye l

lo

w

iu dm

de

ca ca

dm

t le

iu

m

ar sc

orange 7 7 7 more red

161

purples

permanent alizarin crimson 100%

20% / 80%

40% / 60%

r

ba

tu

ue bl

lt

lt ba co

ise

o qu

50% / 50%

co

60% / 40%

80% / 20%

phthalo turquoise

cerulean blue (red shade) ar

in

ga

ul tr

bl

ue

ch

se

am

ne

hu

Fr en

an

e

m

e

indanthrene blue more blue 8 8 8

162

blues

cobalt blue lemon yellow 100%

20% / 80%

40% / 60%

m iu

nt

dm ca

se

ro

rm

w llo

ye

e

an

50% / 50%

le pa

pe

60% / 40%

80% / 20%

ep

cadmium red deep

Naples yellow deep

ye

m

llo

w

iu dm

de

ca ca

t

dm

le

iu

ar

m

sc

orange 7 7 7 more purple

163

blues

permanent alizarin crimson 100%

20% / 80%

m

nt

r bu

40% / 60%

ne do ri ac in

qu

na

n sie

nt

e ag

50% / 50%

a

60% / 40%

80% / 20%

ise

viridian

violet (dioxazine)

ph th

n ee

al

gr

o

d

tu

al

rq

uo

er em

cadmium green pale more green 8 8 8

164

blues

cerulean blue

(red shade) lemon yellow 100%

20% / 80%

40% / 60%

m iu

nt

dm ca

se

ro

rm

w llo

ye

e

an

le pa

50% / 50%

pe

60% / 40%

80% / 20%

ep

cadmium red deep

Naples yellow deep

m

ye l

iu

lo

w

dm

de

ca ca

et

dm

rl

iu

m

a sc

orange 7 7 7 more purple

165

blues

permanent alizarin crimson 100%

20% / 80%

n

m

ia

50% / 50%

nt

Pr

e ag

s us

40% / 60%

ne do ri ac in

qu

n

ee

gr

a

60% / 40%

80% / 20%

ise

viridian

violet (dioxazine)

ph

th

n ee

al

gr

o

d

tu

al

rq

er

uo

em

cadmium green pale more green 8 8 8

166

blues

French ultramarine lemon yellow 100%

20% / 80%

40% / 60%

m iu

nt

dm ca

se

ro

w llo

rm

ye

e

an

le pa

50% / 50%

pe

60% / 40%

80% / 20%

ep

cadmium red deep

Naples yellow deep

m

ye l

lo

w

iu dm

de

ca ca

dm

iu

t le ar

m

sc

orange 7 7 7 more purple

167

blues

permanent alizarin crimson 100%

20% / 80%

n

m

ia

50% / 50%

nt

Pr

e ag

s us

40% / 60%

ne do ri ac in

qu

en

e gr

a

60% / 40%

80% / 20%

ise

viridian

violet (dioxazine)

ph

th

n ee

al

gr

o

d

tu

al

rq

uo

er em

cadmium green pale more green 8 8 8

168

blues

indanthrene blue lemon yellow 100%

20% / 80%

40% / 60%

m iu

nt

dm ca

se

ro

rm

w llo

ye

e

an

50% / 50%

le pa

pe

60% / 40%

80% / 20%

ep

cadmium red deep

Naples yellow deep

m

ye l

lo

w

iu dm

de

ca ca

t

dm

le

iu

ar

m

sc

orange 7 7 7 more purple

169

blues

permanent alizarin crimson 100%

20% / 80%

n

m

ia

s us

40% / 60%

ne do ri ac in

qu

en

e gr

nt

e ag

50% / 50%

Pr

a

60% / 40%

80% / 20%

ise

viridian

violet (dioxazine)

ph th

n ee

al

gr

o

d

tu

al

rq

uo

er em

cadmium green pale more green 8 8 8

170

blues

manganese blue hue lemon yellow 100%

20% / 80%

40% / 60%

m iu

nt

dm ca

se

ro

rm

w llo

ye

e

an

50% / 50%

le pa

pe

60% / 40%

80% / 20%

ep

cadmium red deep

Naples yellow deep

ye

m

llo

w

iu dm

de

ca ca

et

dm

rl

iu

m

a sc

orange 7 7 7 more purple

171

blues

permanent alizarin crimson 100%

20% / 80%

n

m

ia

s us

40% / 60%

ne do ri ac in

qu

n

ee

gr

nt

e ag

50% / 50%

Pr

a

60% / 40%

80% / 20%

ise

viridian

violet (dioxazine)

ph

th

n ee

al

gr

o

d

tu

al

rq

uo

er em

cadmium green pale more green 8 8 8

172

blues

phthalo turquoise lemon yellow 100%

20% / 80%

40% / 60%

m iu

nt

dm ca

se

ro

rm

w llo

ye

e

an

50% / 50%

le pa

pe

60% / 40%

80% / 20%

ep

cadmium red deep

Naples yellow deep

m

ye l

lo

w

iu dm

de

ca ca

dm

t le

iu

m

ar sc

orange 7 7 7 more purple

173

blues

permanent alizarin crimson 100%

20% / 80%

m

nt

r bu

40% / 60%

ne do ri ac in

qu

na

n sie

nt

e ag

50% / 50%

a

60% / 40%

80% / 20%

en

pa

le

Prussian green

violet (dioxazine)

ca

dm

iu

n

m

ia

id

gr e

r vi

emerald green more green 8 8 8

174

blues

cobalt turquoise lemon yellow 100%

20% / 80%

40% / 60%

m iu

nt

dm ca

se

ro

rm

w llo

ye

e

an

le pa

50% / 50%

pe

60% / 40%

80% / 20%

de ep

cadmium red deep

Naples yellow deep

m

iu

ye llo

w

dm

ca ca d

t

le

m iu

ar

m

sc

orange 7 7 7 more purple

175

blues

permanent alizarin crimson 100%

20% / 80%

m

nt

r bu

40% / 60%

ne do ri ac in

qu

na

n sie

nt

e ag

50% / 50%

a

60% / 40%

80% / 20%

ee

n

pa

le

Prussian green

violet (dioxazine)

ca d

m iu

n

m

ia

id

gr

r vi

emerald green more green 8 8 8

176

greens

cadmium green pale lemon yellow 100%

20% / 80%

40% / 60%

m iu

nt

dm ca

se

ro

rm

w llo

ye

e

an

le pa

50% / 50%

pe

60% / 40%

80% / 20%

cadmium red deep

Naples yellow deep de ep

ca

dm

ye llo m

ar

le

m iu

sc

t

ca d

m

w

iu

orange 7 7 7 more blue

177

greens

permanent alizarin crimson 100%

20% / 80%

se

e ag

50% / 50%

g

an

m

e an

40% / 60%

ne do ri ac in

ue

bl

qu

e

hu

nt

m

a

60% / 40%

80% / 20%

indanthrene blue

violet (dioxazine)

e

in ar

co

m

ba

lt

a tr

ul

bl

h

ue

c en

Fr

cerulean blue (red shade) more brown 8 8 8

178

greens

emerald green lemon yellow 100%

20% / 80%

40% / 60%

m iu

nt

dm ca

se

ro

rm

w llo

ye

e

an

le pa

50% / 50%

pe

60% / 40%

80% / 20%

ep

cadmium red deep

Naples yellow deep

m

ye l

lo

w

iu dm

de

ca ca

et

dm

rl

iu

m

a sc

orange 7 7 7 more blue

greens

179

permanent alizarin crimson 100%

20% / 80%

se

e ag

50% / 50%

g

an

m

e an

40% / 60%

ne do ri ac in

ue

bl

qu

e

hu

nt

m

a

60% / 40%

80% / 20%

indanthrene blue

violet (dioxazine)

ar m

co b

al

t

a tr

ul

bl

h

ue

c en

Fr e

in

cerulean blue (red shade) more brown 8 8 8

180

greens

viridian lemon yellow 100%

20% / 80%

40% / 60%

m iu

nt

dm ca

se

ro

rm

w llo

ye

e

an

50% / 50%

le pa

pe

60% / 40%

80% / 20%

de ep

cadmium red deep

Naples yellow deep

m

iu

ye llo

w

dm

ca rl

dm iu

m

a sc

ca

et

orange 7 7 7 more blue

181

greens

permanent alizarin crimson 100%

20% / 80%

se

nt

e ag

50% / 50%

g

an

m

e an

40% / 60%

ne do ri ac in

ue

bl

qu

e

hu

a

m

60% / 40%

80% / 20%

indanthrene blue

violet (dioxazine)

e

in ar

co

m

ba

lt

a tr

ul

bl

h

ue

c en

Fr

cerulean blue (red shade) more brown 8 8 8

182

greens

Prussian green lemon yellow 100%

20% / 80%

40% / 60%

m iu

nt

dm ca

se

ro

w llo

rm

ye

e

an

50% / 50%

le pa

pe

60% / 40%

80% / 20%

ep

cadmium red deep

Naples yellow deep

ye

m

llo

w

iu dm

de

ca ca

dm

iu

t le ar

m

sc

orange 7 7 7 more blue

183

greens

permanent alizarin crimson 100%

20% / 80%

ue

bl

nt

e ag

50% / 50%

g

an

m

se

e an

40% / 60%

ne do ri ac in

qu

e

hu

a

m

60% / 40%

80% / 20%

indanthrene blue

violet (dioxazine)

ar m

co b

al

t

a tr

ul

bl

h

ue

c en

Fr e

in

cerulean blue (red shade) more brown 8 8 8

184

browns

burnt sienna lemon yellow 100%

20% / 80%

ri

50% / 50%

ui

q

le pa

c na

w llo

ye

e

n do

40% / 60%

m iu

a

m

dm ca

ta

n ge

60% / 40%

ca

se

ro

dm

t

iu

en

m

an

sc

rm

ar

le

pe

t

Naples yellow deep

permanent alizarin crimson

80% / 20%

cadmium red deep 7 7 7 more green

browns

185

violet (dioxazine) 100%

20% / 80%

an le ru ce ue bl

i

ed (r

id

r vi

40% / 60%

an

e) ad sh

50% / 50%

60% / 40%

80% / 20%

emerald green

French ultramarine

le

pa

in da

nt

n ee

hr

gr

en

m

e

iu

bl

ue

dm

ca

phthalo turquoise more brown 8 8 8

186

browns

light red lemon yellow 100%

20% / 80%

ri

50% / 50%

ui

q

le pa

c na

w llo

ye

e

n do

40% / 60%

m iu

a

m

dm ca

ta

n ge

60% / 40%

ro

dm

iu

t en

m

sc

ar

an rm

le

pe

t

Naples yellow deep

permanent alizarin crimson

80% / 20%

ca

se

cadmium red deep 7 7 7 more green

browns

187

violet (dioxazine) 100%

20% / 80%

an le ru ce ue bl

i

ed (r

id

r vi

40% / 60%

an

e) ad sh

50% / 50%

60% / 40%

80% / 20%

emerald green

French ultramarine

le

in

pa

da

n

nt

ee

hr

gr

en

m

e

bl

iu dm

ue

ca

phthalo turquoise more brown 8 8 8

188

browns

raw umber lemon yellow 100%

20% / 80%

ep

de

50% / 50%

ui

q

w llo

ri

c na

ye

e

n do

40% / 60%

s le ap

a

m

N

ta

n ge

60% / 40%

ca

se

ro

dm

t

iu

en

m

an

sc

ar

le

rm pe

t

orange

permanent alizarin crimson

80% / 20%

cadmium red deep 7 7 7 more green

189

browns

violet (dioxazine) 100%

20% / 80%

ce an le

ru ue bl

i

ed

(r

id

r vi

40% / 60%

an

)

e ad

sh

50% / 50%

60% / 40%

80% / 20%

emerald green

French ultramarine

le

in

pa

da n

n ee

th

gr

re

m

ne

bl

iu dm

ue

ca

phthalo turquoise

190

index

acrylics brushes for 80–81 harmonies 18–19 medium 6 mixes 78–133 palette 8, 82–83 tools for 80 azo yellow medium 8, 82, 88–89, 92, 94, 96, 98, 100, 102, 104, 106, 108, 110, 112, 114, 116, 118, 120, 122, 124, 126, 128, 130, 132 blues 54–63, 106–115, 162–175 (see also) cerulean blue cobalt blue French ultramarine indanthrene blue manganese blue hue phthalo blue green Prussian blue ultramarine blue browns 184–188 (see also) burnt sienna burnt umber raw sienna raw umber brushes for acrylics 80–81 for oils 137 for watercolor 25 burnt sienna 8, 16, 20, 26, 27, 28, 30, 32, 34, 36, 38–39, 48, 50, 52, 54, 56, 58, 60, 62, 64, 66, 68, 70, 72, 74, 76, 82, 83, 85, 87, 89, 91, 93, 95, 97, 99, 101, 103, 105, 107, 109, 111, 113, 115, 117, 119,

121, 124–125, 138, 139, 163, 173, 175, 184–185 burnt umber 8, 26, 72–73 cadmium green pale 8, 138, 141, 143, 145, 147, 149, 151, 153, 155, 157, 163, 165, 167, 169, 171, 173, 175, 176–177, 187, 189 cadmium lemon 20 cadmium orange 8, 82, 90–91, 92, 94, 96, 98, 100, 102, 104, 106, 108, 110, 112, 114, 116, 118, 120, 122, 124, 126, 128, 130, 132 cadmium red 8, 26, 27, 28, 30, 32, 34, 36, 40–41, 48, 50, 52, 54, 56, 58, 60, 62, 64, 66, 68, 70, 72, 74, 76 cadmium red deep 8, 26, 28, 30, 32, 34, 36, 42–43, 48, 50, 52, 54, 56, 58, 60, 62, 64, 66, 68, 70, 72, 74, 76, 138, 140, 142, 144, 146, 148, 152–153, 158, 160, 162, 164, 166, 168, 170, 172, 174, 176, 178, 180, 182, 184, 186, 188 cadmium red light 8, 82, 83, 84, 86, 88, 90, 92–93, 102, 104, 106, 108, 110, 112, 114, 116, 118, 120, 122, 124, 128, 130, 132

cadmium scarlet 8, 138, 139, 140, 142, 144, 146, 148, 150–151, 158, 160, 162, 164, 166, 168, 170, 172, 174, 176, 178, 180, 182, 184, 186, 188 cadmium yellow 8, 26, 32–33, 38, 40, 42, 44, 46, 48, 50, 52, 54, 56, 58, 60, 62, 64, 66, 68, 70, 72, 74, 76 cadmium yellow deep 8, 138, 146–147, 150, 152, 154, 156, 158, 160, 162, 164, 166, 168, 170, 172, 174, 176, 178, 180, 182 cadmium yellow light 8, 26, 27, 30–31, 38, 40, 42, 44, 46, 48, 50, 52, 54, 56, 58, 60, 62, 64, 66, 68, 70, 72, 74, 76 cadmium yellow medium 8, 82, 86–87, 92, 94, 96, 98, 100, 102, 104, 106, 108, 110, 112, 114, 116, 118, 120, 122, 124, 126, 128, 130, 132 cadmium yellow pale 8, 138, 139, 142–143, 150, 152, 154, 156, 158, 160, 162, 164, 166, 168, 170, 172, 174, 176, 178, 180, 182, 184, 186 cerulean blue 8, 26, 29, 31, 33, 35, 37, 39, 41, 43, 45, 47, 49, 51, 53, 58–59, 65, 67, 69, 71, 73, 75, 77 cerulean blue hue 8, 82, 85, 87, 89, 91,

93, 95, 97, 99, 101, 103, 105, 112–113 cerulean blue (red shade) 8, 138, 140, 142, 144, 146, 148, 151, 153, 155, 157, 159, 161, 164–165, 177, 179, 181, 183, 185, 187, 189 cobalt blue 8, 12, 16, 26, 29, 31, 33, 35, 37, 39, 41, 43, 45, 47, 49, 51, 53, 56–57, 65, 67, 69, 71, 73, 75, 77, 82, 85, 87, 89, 91, 92, 94, 96, 98, 100, 103, 105, 108–109, 117, 119, 121, 123, 127, 129, 131, 133, 138, 140, 142, 144, 146, 148, 150, 152, 154, 156, 159, 161, 162–163, 177, 179, 181, 183 cobalt turquoise 8, 138, 141, 143, 145, 147, 149, 151, 153, 155, 157, 159, 161, 174–175 color complementary  14–15 primary 12 secondary 12 triadic 14 color mixes acrylics 78–133 oils 134–189 watercolors 22–77 color theory 12–21 color wheel 7, 12–15 complementary color 14–15 dioxazine purple 8, 82, 83, 84, 86, 88, 90, 92, 94, 96, 98, 100,

index

104–105, 107, 109, 111, 113, 115, 117, 119, 121, 123, 125, 127, 129, 131, 133 dioxazine violet 8, 138, 139, 140, 142, 144, 146, 148, 150, 152, 154, 156, 160–161, 163, 165, 167, 169, 171, 173, 175, 177, 179, 181, 183, 185, 187, 189 emerald green 8, 138, 141, 143, 145, 147, 149, 151, 153, 155, 157, 163, 165, 167, 169, 171, 173, 175, 178–179, 185, 187, 189 French ultramarine 8, 26, 27, 29, 31, 33, 35, 37, 39, 41, 43, 45, 47, 54–55, 65, 67, 69, 71, 73, 75, 77, 138, 139, 141, 143, 145, 147, 149, 151, 153, 155, 157, 159, 161, 166–167, 177, 179, 181, 183, 185, 187, 189 gold (see quinacridone gold) gray (see Payne’s gray) greens 64–69, 116–121, 176–183 (see also) cadmium green pale emerald green Hooker’s green olive green permanent sap green phthalo green blue  shade

Prussian green viridian harmonies acrylic 18–19 oil 20–21 watercolor 16–17 Hooker’s green 16 hue 12 indanthrene blue 8, 138, 141, 143, 145, 147, 149, 151, 153, 155, 157, 159, 161, 168–169, 177, 179, 181, 183, 185, 187, 189 lemon yellow 8, 26, 28–29, 38, 40, 42, 44, 46, 48, 50, 52, 54, 56, 58, 60, 62, 64, 66, 68, 70, 72, 74, 76, 82, 83, 84–85, 92, 94, 96, 98, 100, 102, 104, 106, 108, 110, 112, 114, 116, 118, 120, 122, 124, 126, 128, 130, 132, 138, 140–141, 150, 152, 154, 156, 158, 160, 162, 164, 166, 168, 170, 172, 174, 176, 178, 180, 182, 184, 186, 188 light red 8, 138, 186–187 manganese blue hue 8, 138, 141, 143, 145, 147, 149, 151, 153, 155, 157, 159, 161, 170–171, 177, 179, 181, 183 naphthol red light 8, 82, 84, 86, 88, 90,

94–95, 102, 104, 106, 108, 110, 112, 114, 116, 118, 120, 122, 124, 126, 128, 130, 132 Naples yellow deep 8, 138, 144–145, 150, 152, 154, 156, 158, 160, 162, 164, 166, 168, 170, 172, 174, 176, 178, 180, 182, 184, 186, 188 neutrals 70–77, 122– 133 oils brushes for 136 harmonies 20–21 medium 6 mixes 134–189 supports 136 palette 8, 138–139 olive green 8, 26, 29, 31, 33, 35, 37, 39, 41, 43, 45, 47, 49, 51, 53, 55, 57, 59, 61, 63, 68–69, 82, 85, 87, 89, 91, 93, 95, 97, 99, 101, 107, 109, 111, 113, 115, 120–121, 125 opera rose 8, 26, 28, 30, 32, 34, 36, 46–47, 55, 57, 59, 61, 63, 65, 67, 69, 71, 73, 75, 77 orange 8, 138, 148– 149, 150, 152, 154, 156, 158, 160, 162, 164, 166, 168, 170, 172, 174, 176, 178, 180, 182, 188 (see also) cadmium orange quinacridone burnt  orange

191

palettes 8 acrylic 82–83 oil 138–139 watercolor 26–27 paper acrylic 80 oils 136 watercolor 24–25 Payne’s gray 8, 16, 26, 76–77, 82, 132–133 permanent alizarin crimson 8, 82, 84, 86, 88, 90, 100–101, 103, 105, 107, 109, 111, 113, 115, 117, 119, 123, 125, 127, 129, 131, 133, 138, 140, 142, 144, 146, 148, 156–157, 159, 161, 163, 165, 167, 169, 171, 173, 175, 177, 179, 181, 183, 184, 186, 188 permanent mauve 8, 26, 28, 30, 32, 34, 36, 38, 40, 42, 44, 46, 50–51, 55, 57, 59, 61, 63, 65, 67, 69, 71, 73, 75, 77 permanent rose 8, 12, 20, 26, 28, 30, 32, 34, 36, 44–45, 49, 51, 53, 55, 57, 59, 61, 63, 65, 67, 69, 71, 73, 75, 77, 82, 84, 86, 88, 90, 98–99, 102, 104, 106, 108, 110, 112, 114, 116, 118, 120, 122, 124, 128, 130, 132, 138, 140, 142, 144, 146, 148, 154–155, 158, 160, 162, 164, 166, 168, 170, 172, 174, 176, 178, 180, 182, 184, 186, 188

192

index

permanent sap green 8, 26, 29, 31, 33, 35, 37, 39, 41, 43, 45, 47, 49, 51, 53, 55, 57, 59, 61, 63, 66–67, 82, 85, 87, 89, 91, 93, 95, 97, 99, 101, 107, 109, 111, 113, 115, 118–119, 123, 125, 127, 129, 131 perylene violet 8, 26, 28, 30, 32, 34, 36, 38, 40, 42, 44, 46, 48–49, 55, 57, 59, 61, 63, 65, 67, 69, 71, 73, 75, 77 phthalo blue green 8, 82, 85, 87, 89, 91, 93, 95, 97, 99, 101, 105, 110–112, 121 phthalo green blue shade 8, 82, 83, 85, 87, 89, 91, 93, 95, 97, 99, 101, 103, 105, 107, 109, 111, 113, 115, 116–117, 123, 125, 127, 129, 131, 133 phthalo turquoise 8, 26, 29, 31, 33, 35, 37, 39, 41, 43, 45, 47, 49, 51, 53, 62–63, 82, 85, 87, 89, 91, 93, 95, 97, 99, 101, 114–115, 117, 119, 121, 123, 125, 127, 129, 131, 133, 138, 141, 143, 145, 147, 149, 151, 153, 155, 157, 159, 161, 163, 165, 167, 169, 171, 172–173, 185, 187, 189 primary colors 12 Prussian blue 8, 26, 29, 31, 33, 35, 37, 39, 41,

43, 45, 47, 49, 51, 53, 60–61 Prussian green 8, 138, 165, 167, 169, 171, 173, 175, 182–183 purples 48–53, 102– 105, 158–161 (see also) dioxazine purple permanent mauve quinacridone burnt orange 8, 82, 103, 128–129 quinacridone gold 8, 26, 34–36, 38, 40, 42, 44, 46, 48, 50, 52, 54, 56, 58, 60, 62, 64, 66, 68, 70, 72, 74, 76 quinacridone magenta 8, 138, 140, 142, 144, 146, 148, 150, 152, 154, 156, 158–159, 163, 165, 167, 169, 171, 173, 175, 177, 179, 181, 183, 184, 186, 188 quinacridone red 8, 82, 84, 86, 88, 90, 96–97, 102, 104, 106, 108, 110, 112, 114, 116, 118, 120, 122, 124, 126, 128, 130, 132 quinacridone violet 8, 82, 84, 86, 88, 90, 92, 94, 96, 98, 100, 102–103, 107, 109, 111, 113, 115, 117, 119, 121, 123, 125, 127, 129, 131, 133 raw sienna 8, 26, 36–37, 38, 40, 42, 44,

46, 48, 50, 52, 54, 56, 58, 60, 62, 64, 66, 68, 70, 72, 74, 76 raw umber 8, 19, 26, 70–71, 82, 130–131, 138, 188–189 red iron oxide 8, 82, 126 reds 38–47, 90–101, 150–157 (see also) cadmium red cadmium scarlet light red naphthol red light permanent alizarin  crimson quinacridone red rose (see) opera rose permanent rose secondary colors 12 sepia 8, 26, 74–75 supports 80, 136 tone 12 tools, for acrylics 80 Turner, J.M.W. 6, 24–25 turquoise (see) cobalt turquoise phthalo turquoise ultramarine blue 8, 19, 82, 83, 84, 86, 88, 90, 92, 94, 96, 98, 100, 103, 105, 106–107, 117, 119, 121, 123, 125, 127, 129, 131, 133

violet 8, 26, 27, 28, 30, 32, 34, 36, 38, 40, 42, 44, 46, 52–53, 55, 57, 59, 61, 63, 65, 67, 69, 71, 73, 75, 77 (see also) dioxazine violet perylene violet quinacridone violet viridian 8, 26, 27, 29, 31, 33, 35, 37, 39, 41, 43, 45, 47, 49, 51, 53, 55, 57, 59, 61, 63, 64–65, 138, 139, 141, 143, 145, 147, 149, 163, 165, 167, 169, 171, 173, 175, 180–181, 185, 187, 189 watercolor brushes for 25 harmonies 16–17 medium 6 mixes 22–77 palette 8, 26–27 papers 24–25 yellow ocher 8, 19, 82, 93, 95, 97, 99, 101, 103, 105, 107, 109, 111, 113, 115, 117, 119, 121, 122–123, 133 yellows 16, 28–37, 84–91, 140–149 (see also) azo yellow medium cadmium lemon cadmium yellow lemon yellow Naples yellow deep yellow ocher