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Color Mixing… JUST PAINTPublished by Golden Artist Colors, Inc. / Issue 26 From Mark Golden Twenty-six issues of this technical newsletter and I am delighted to share we are still continuing the dialogue on color! After the success of Sarah Sands’ article on the ‘Subtleties of Color’ (JP 21), we recognized the value of continuing to provide more color resources for artists. The Tint & Glaze Poster was the first significant new tool for artists to come from this research. Following up on this work to create a printed color chart trying to represent real paint colors, Chris Farrell, our Creative Director and person in charge of putting together this chart, is our principle advocate that printing, no matter how carefully it’s done, cannot be a substitute Color for paint. In this issue, Chris shares the significant differences in ranges possible with commercial printing processes and Mixing… real paint. Our Director of the GOLDEN Certified You can’t get it unless you do it! Working Artist Program and author, Patti Brady, shares her painterly insights into a By Patti Brady promote them. However, each of new Modern Theory Color Mixing Set for I had been given what to me seemed these concepts, whether historical, artists, which takes just the opposite tact like the daunting task of writing contemporary or genre specific, create from Chris, in working with a limited set an article on color mixing and to a starting point that is extremely of colors to produce an enormous range of introduce the new Modern Theory helpful for the artist beginning to mixing colors. Color Mixing Set. I was more than assemble their own aesthetic approach Continuing the color theme, Amy slightly astonished that I was the to painting. The concept around the McKinnon, from our Technical Support designated writer! We have an amazing new Modern Theory Color Mixing team, uncovers the 18 new colors being number of wonderful painters working Set is to provide just one of those added to the Williamsburg Handmade Oils vantage points. This singular position line. It’s exciting to be able to share that the for Golden Artist Colors, many legacy of Carl’s paints are being expanded to in highly technical capacities, and is to create within a reasonably small even more options for artists working with several who taught color at prestigious selection of colors, the potential the materials. Universities. Coupled with that, these to mix the widest range of unique Ulysses Jackson, from our Technical artists work with pigments using colors. A more classical approach Support and Research & Development scales (for precision mixing ratios), would attempt to create a palette with groups describes the new experimental acrylic spectrophotometers (for measuring historically significant colors. While products which have always been an exciting color), special lighting, light boxes, this will produce a color gamut quite jumping off point for artists to test and play. and some truly amazing computer comfortable to many artists, the range Finally, we get to meet yet another programs! My approach to color as an of hues and chroma (color intensity) is colleague from our Technical Support team, artist has always been to just play and significantly reduced. The modern mix Lori Wilson. Lori is a home grown talent of pigments in this new set will create who has taken her skills to artists around the you’ll discover. No theory substitutes world. There are few people who meet Lori for actually using the paint, but I’ve very high chroma, bright mixtures that who don’t find themselves wishing they could taught long enough to know that a historical palette cannot achieve. spend more time with her. knowledge, even at a basic level, will The Modern Theory Color Mixing As we greet yet another new year, we reverse a lot of wasted effort and a Set includes just seven colors plus welcome you to our “Just Paint 26”. Thank good deal of wasted paint! Titanium White. Not only does this you for your support and we look forward to There are probably as many theories allow the artist to produce the widest your comments. of the correct color mixing palette color range with the fewest number for artists as there are artists that of colors, it also provides mixtures of Issue 26 page 1 ©2012 Golden Artist Colors, Inc. remarkably clean, intense color blends mixed metal colors, such as cobalts, this set an opportunity to play with that retain their brilliance even in the cadmiums, zinc and a wide range some new pigments; you might be thinnest wash or glaze. For this set of manufactured oxide pigments. surprised to find a few colors that you we chose only organic colors (plus These pigments are typically more didn’t even realize were missing from Titanium White), providing a warm opaque and when mixed together, your palette. and cool selection of pigments for each yield a lower chroma mixture. hue space other than green. The Modern (organic) pigments Mixing Within the Colors for the (Quinacridrones, Phthalos and Modern Set I Hansa Yellow Light Hansas) are more transparent, have There is no better way to understand The cool yellow higher chroma and most importantly, the vast potential of possibilities than I Hansa Yellow Medium when mixed together create incredibly by simply playing around. I do not The warm yellow clean mixtures. This is probably personally have the temperament for I Naphthol Red Light the greatest difference between this the scientific way of looking at color The bright, warm red Modern Theory Color Mixing Set mixing. Over the years of attempting I Quinacridone Magenta and a classical set. Although a range to find “fun” and “compelling” ways to The cool red for pinks and violets of Cadmiums in the yellows, oranges teach color mixing, I have developed a I Anthraquinone Blue and reds will get you incredibly intense very loose color wheel exercise. The warm blue and brilliant opaque colors, they tend Before jumping into using the I Phthalo Blue (Green Shade) to mix towards much more muted Modern Color Mixing Guide The cool blue tones and continued mixing with these (included in the set), I wanted to begin I Phthalo Green (Blue Shade) colors tends to go towards mud very with some basic color comparisons. 1 The cool green quickly. A classical set, while muted in To do this, I work only with mixtures I Titanium White its range and reach, allows an artist to from two colors before I begin the The tinter mix a wheel of colors typically found more complex mixtures. I fall back on in nature. my simple color mixing test, creating The choice of all Modern organic a color wheel using three primaries Why Only Organic Pigments in the pigments allows us to create a wide that fall somewhere in the red, yellow Modern Theory Color Mixing Set? range of colors that fill a much broader and blue range. This continuing study Let’s go back a minute to a quick area of color space. This set provides allows me to approach the mixing of review of the organic and inorganic one of the most complete resources to color simply to explore. I don’t hold to properties of pigments. We typically begin to understand the uniqueness of exact mixtures, as long as they fit into use nicknames: Modern (organic pigments and their mixtures. the color wheel progression. I found pigments) and Mineral (inorganic Although there are many ways this to be an easy way to contrast the pigments). The broad generalization is to slice and dice how to go about differences between the cool and warm that Mineral pigments (inorganic) are describing this set, I will be looking at yellows, blues and reds. typically mined from the earth such the selection from my vantage point, as the umbers, siennas and ochres. outside the lab! I, like all of you, am Three Primary Color Mixing These pigments were augmented at the very particular and exclusive about why In my workshops I teach many beginning of the industrial age with I like certain pigments. We tend to artists, from novices to experienced the advent of industrially produced keep to our typical choices. So consider painters who have never taken a color theory class and are simply afraid of the rigor and discipline that is associated with it. Rather than focusing on theories, my approach is simply all about mixing and discovery. To accomplish this, I very loosely use the MINERAL MODERN idea of the three primaries. I needed Cadmium Yellow Light Hansa Yellow Medium this rather simple approach because I Cadmium Red Light Quinacridone Magenta wanted to know more about two or Ultramarine Blue Phthalo Blue (GS) three of the basic pigments that the kit contains since I don’t typically use Hansa Yellow Light, Phthalo Blue (Green Shade) or Anthraquinone Blue on my own palette. By utilizing the color wheel form for this exercise I began to compare duo mixtures from colors included in the Modern Theory Color Mixing Set. 1 Some of these very clear pigment distinctions have changed over the years with modern chemistry. For an in-depth study please see Sarah Sands’ article, “The Subtleties of Color” in Just Paint #21. http://www.goldenpaints.com/justpaint/jp21.pdf Issue 26 page 2 ©2012 Golden Artist Colors, Inc. has almost a blackish tint, beautiful for glazes, shadows and stormy skies. It creates a certain earthiness when compared to the same mixtures with Phthalo Blue (Green Shade). The Anthraquinone fills the same color YELLOWS YELLOWS space as the much more well known Hansa Yellow Light Hansa Yellow Medium Ultramarine Blue, yet is deeper in Quinacridone Magenta Quinacridone Magenta Phthalo Blue (GS) Phthalo Blue (GS) value and more transparent with higher chroma.
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