what colors make what colors chart
In This Post on solsarin, We Want To Talk About Color Combinations & In This Article We Will Show The Color Combination Based On The Color Chart.
what colors make what colors chart
A basic paint color mixing chart, is comprised of 12 pure colors. The colors are organized in a way that shows you how they were derived.
Primary paint colors
Red, blue and yellow are called primary colors.
Unlike secondary, tertiary and quaternary colors, primary paint colors cannot be “made” by mixing.
These 3 colors give origin to the rest of the colors you see on the color wheel.
Secondary paint colors
There are also 3 secondary paint colors on a color wheel. They are created when you combine 2 primary colors together in equal amounts.
- red + blue = violet
- blue + yellow = green
- yellow + red = orange
Notice how the secondary colors are positioned on the paint color mixing chart – right between the 3 primary colors.
Intermediate paint colors
The remaining 6 colors you see on a typical color wheel are called intermediate paint colors. They are produced by mixing a primary color with an adjacent secondary color.
- yellow + orange = yellow-orange
- orange + red = red-orange
- red + violet = violet-red
- violet + blue = blue-violet
- blue + green = green-blue
- green + yellow = yellow-green
On a paint color wheel, the intermediate colors are placed between the primary and secondary colors.
COLOR MIXING GUIDE
Throughout history, painters and authors have recommended various palettes of color. While some give insight to the painter”s working style, others offer a simple palette for mixing, but typically limit color possibilities. GOLDEN has created a palette of eight professional acrylic colors to provide you with the potential to mix the widest range of colors.
THE SELECTION OF COLORS FOR MIXING
For this palette, the three mixing primaries are Hansa Yellow Medium, Quinacridone Magenta and Phthalo Blue (Green Shade). Our standard recommendation is Quinacridone Red, but we chose Quinacridone Magenta for mixing a broader range of violets and purples.
Naphthol Red Light helps balance the Quinacridone Magenta. Mixtures with Hansa Yellow Medium reveal a wider selection of intense reds and oranges. Mixtures with Phthalo Blue (Green Shade) allow deep reds and maroons.
Phthalo Green (Blue Shade) assists Phthalo Blue (Green Shade). Mixtures with Hansa Yellow Medium produce a great range of greens, particularly subtle yellow greens. This green also helps create a diverse range of earthtones.
Yellow Ochre, a natural earth color, helps “warm” the color mixtures and subdue the brightest colors.
Titanium White is an opaque white for mixing pastel tones. Zinc White is an extremely transparent white for subtle tinting and glazing.
THE QUALITIES OF COLORS
To describe color we need to understand three qualities: Hue, Chroma and Value.
Hue is another word for color. It describes the actual color of something. Red, Green and Blue are hues. A cucumber and a lime are both hues of green.
It describes how brilliant or subdued the color looks. For example, within the hue of yellow, a lemon has more chroma than a banana.
Value refers to a color’s lightness or darkness as compared to white or black. Yellow is lighter in value, or closer to white, than dark blue. Sometimes it is difficult to determine the value of middle toned colors like orange and green. We easily understand value when we look at the range of Neutral Grays on the Virtual Color Guide. Try squinting while looking at colors to determine their value. Squinting helps the eyes’ black and white receptors make value determinations.
THE QUALITIES OF PAINT COLOR
Pigments are the particles in paint revealing hue. Every pigment is classified into two basic categories based on chemical composition – Organic pigments and Inorganic pigments.
Organic pigments are formed from complex carbon chemistry and are synthetically derived in laboratories.
Most organic pigments offer high chroma, high tinting strength and exceptional transparency. A transparent organic pigment, like a small piece of stained glass, allows light to pass through practically undisturbed. This characteristic allows mixtures with relatively high brilliance and clarity. Our mixing set includes five colors made from organic pigments: Hansa Yellow Medium, Quinacridone Magenta, Phthalo Blue (Green Shade), Phthalo Green (Blue Shade) and Naphthol Red Light.
These materials are oxides, sulfides, or various slats of metallic elements. Examples include iron oxide, cadmium sulfides and titanium dioxides.
Most inorganic pigments offer relatively low chroma, low tinting strength and a moderate to high degree of opacity. (Zinc is the exception.) Using inorganics for blending color yields mixtures with low chroma, but excellent opacity. Our mixing set includes three colors made from inorganic pigments: Titanium White, Zinc White and Yellow Ochre.
OTHER PAINT COLOR TERMS
In order to more fully understand how to mix acrylic color we need to define other important attributes of paint color including: Masstone, Undertone and Tinting Strength.
The masstone, or body color, is paint applied so it totally covers the surface. No other colors from below show through. For example when Phthalo Blue is thickly applied, the masstone appears black.
The undertone of a color is visible when we spread the color very thinly over a white surface. Certain colors, such as the Cadmiums and Cobalts, have similar masstones and undertones. These shifts in hue positions provide some of the incredible richness and magic to working with color.
Undertone is important when using acrylic in a watercolor style, as the brilliance of watercolor comes from the white paper transmitting through the transparent layers of color.
The final term we need to define before we explore the practical use of the colors is tinting strength. This is the ability of a color to change the character of another color. We determine this by adding the same amount of Titanium White to each color and observing the resulting strength of the color mixture. Weaker tinting colors create light pastel mixtures. Stronger tinting colors create darker mixtures.
COLOR WHEEL AND THE ADDITIVE PRIMARIES
The color wheel provides structure to the discussion of color and gives a reference point that allows us to draw useful conclusions about how colors interact. We start with Blue, Red and Green. In the natural world, these colors exist along the electromagnetic spectrum in a straight line, but we gain great insights into color mixing by plotting these primaries on an equilateral triangle. We also plot the subtractive primaries, Cyan, Magenta and Yellow.
Natural white light contains all colors. A surface painted Black absorbs almost all the light energy that hits the surface.
Colors absorb certain wavelengths of energy and reflect other light energies.
Unfortunately, pigments are not perfect primaries. They do not create a perfect Blue, Red or Green. They do not create Magenta, Cyan or Yellow. We only use a color wheel to align colors and we use practical experience to truly understand how they mix with one another.
THE ARTIST’S COLOR WHEEL AND THE MIXING PRIMARIES
Artists are familiar with color wheels showing Red, Yellow and Blue as primaries and Purple, Orange and Green as the secondaries. Secondaries result from the mixture of two primaries, i.e. Red and Yellow make Orange.
This color wheel shifts colors around dramatically. It usually forces color choices such as Cadmium Red, Cadmium Yellow and Ultramarine Blue, all of which use opaque inorganic pigments. These colors, although beautiful in their own right, severely limit color mixing possibilities. The resulting mixtures show lower values and chromas than mixtures with organic pigments.
MIXING COMPLEMENTARY COLORS
We filled the color wheel with our color names so we can use it to develop an understanding of mixing possibilities. Mixing from opposite sides of the color wheel will yield black or gray. For example, we see that Phthalo Green and Naphthol Red Light are almost directly opposite one another. The mixing of these two will yield a simple black. For this reason, the mixing set does not include black.
Adding a color’s complement reduces the chroma of the mixture. For example, mixing a small amount of Phthalo Green into Naphthol Red Light reduces its intensity, however, it also changes the value of the color. To avoid reducing the value of the mixture, use the Neutral Gray of the same value as the color you are trying to mix, or mix a gray from the black produced with your Green and Red mixture with Zinc or Titanium White.