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
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The Rowman & Littlefield Publishing Group, Inc.
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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
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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
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
WATERCOLOR PALETTE
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
PRIMARY
green
yellow
SECONDARY
orange
SECONDARY
purple
PRIMARY
PRIMARY
blue
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