Uncovering Overtones For Better
Mixing

But First, Let’s Think Again About Color In Objects and Materials
David Hornung’s Colour: A Workshop for Artists and Designers
• “When different colored lights are combined (as on a theater set), the combination adds luminosity or brightness. Hence, light intermixing is considered an ADDITIVE COLOR process.
• In contrast to mixing colored light, the intermixture of spectral colors in pigment tends to produce colors that are duller and darker than those being combined. (Spectral colors are those that approach the purity of colors cast by a glass prism or seen in a rainbow.) The more unalike the pigments being mixed the darker the result. Darkness means less
LUMINOSITY, thus mixing pigments is a SUBSTRACTIVE COLOR process.”

Trisha’s comment : Remember that material absorbs light; as you add more pigments you are subtracting more of the spectrum, moving away from white light.
In practical terms, this means that painters often have to add small amounts of white to keep mixtures luminous. The more unalike the darker and duller the mixture is apt to be.

OVERTONE
This term is borrowed from music theory, which refers to a series of secondary vibrations that accompany the major vibration on a given pitch. Because the perception of color is also based on frequency of vibration (light in this case, not sound), this musical analogy is appropriate. Like musical tones, each color of the primary triad (blue, yellow, red) transmits characteristic overtones.
For all you musicians…
In music, a note has a fundamental wavelength and pitch that depend on the nature of the vibrating air column or string. A violin string’s pitch depends first on its vibrating length, and then on its thickness and tension. Secondary notes linked to this fundamental pitch are created when the string vibrates as though split into halves, thirds, quarters, and so on. The overtones have higher pitches than the fundamental pitch, and the note we hear is a combined sound, enriched by the overtones. The relative strength of the fundamental and overtone pitches contributes to the unique sound we associate with each instrument.

With the scarlet color Cadmium Red, the overtone is orange. In terms of primary colors, we could say that Cadmium Red Light tends toward yellow.

Crimsons, as opposed to Scarlets, tend toward blue, in terms of primary colors. The overtone is blue violet.

COLOR OVERTONES AND THE PRIMARY TRIAD
• “Red, yellow and blue form the primary triad. When the full continuum of color is represented as a wheel, the relative positions of red, yellow and blue form a perfect equilateral triangle…
•
While an infinite number of such triangles reside within the spectrum, the primary triad is unique because red, yellow and blue are each, in theory: indivisible. They cannot be made by combining other colors. Conversely, all other colors can be made by combining two or more colors of the primary triad. But, as with our initial comments on color reflection, this is an over simplification. Any color mixture also includes, along with the intended colors, their subsidiary color reflections.”
• Colour: A Workshop for Artists and Designers, David Hornung.

In Theory, Red and Blue should equal violet, but paint is material, made from insects, earth minerals and the like. It is impure, real, and contains secondary notes (overtones) that can turn theory on its head.

“It is commonly understood that green can be mixed by combining blue and yellow . But to make a vivid, seemingly pure green would be impossible if the only blue available were ultramarine. An even duller green would result if the mixture were based upon a combination of ultramarine blue and golden yellow .”
Trisha asks, “Can you tell me why?”

Trisha asks, “Can you tell me why?”
Answer: “Both ultramarine blue and golden yellow are biased toward colors that contain red (violet and orange, respectively). Red lies opposite green on the COLOR
WHEEL.”
Trisha says, “You are mixing complements. The orange in the golden yellow is going to run smack dab into the blue, while the violet is going to run smack dab into the yellow. Remember, when you mix complements things get DULL AND MUDDY.”

Rule of thumb: ask, “What is my intent?” (In this case the answer would be green). Then ask,”what is the general primary drift of the colors that I am mixing?” (In this case the drift is toward red in both). If the first answer is a complement to the second, you are apt to get a dull mix.
“To mix a vivid green, choose lemon yellow and sky blue. Both are biased toward green and reflect insignificant amounts of red.”

Within your paint supply, you should have 2 reds, 2 blues, and 2 yellows, as well as white and black (The names of these hues will differ by brand, and even colors with the same names will look different from brand to brand.)

Each of your colors contain overtones of the secondary hues (orange, green, & violet.)
The goal of the exercise which follows is to get to know your colors, identifying overtones of each primary hue and gain a better understanding of how any two primaries can create an innumerable number of secondary hues, from the “ideal,” pure secondary color to a more neutralized version.

• In the reds, scarlet casts orange overtones, while crimson casts violet overtones.
• In the yellows, deep yellow casts orange, while
lemon casts green.
• In the blues, ultramarine blue deep casts
violet, and sky blue casts green.

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• Supplies: You will need: 6 primary colors (2 reds, 2 blues, 2 yellows) + white; painting supplies (brushes, water, palette, etc.); pencil, ruler, compass (or tiny lids);
Bristol paper
• Primary Row 1:
• On the top of a piece of Bristol paper, draw out six circles (about the size of a quarter)—one for each of the six primaries. Squeeze out small amounts of each of the six primary hues on your palette, then apply the primaries, one per circle, in a smooth, opaque manner.
(See diagram below for layout instructions.)

• Each row should consist of four different combinations of primaries. For example: orange should be made four times, as follows:
• 1. Red 1 + Yellow 1 = Orange 1
• 2. Red 1 + Yellow 2 = Orange 2
• 3. Red 2 + Yellow 1 = Orange3
• 4. Red 2 + Yellow 2 = Orange 4

• In mixing these secondary colors, always aim at what you believe to be a true representation of the color you are trying to achieve. This may mean more yellow is required than red to get a true orange. The proportions will vary depending on which paint you are using.
• Mix on your palette, and only when you achieve the truest color from the combination, apply color EVENLY and NEATLY into the appropriate circle.
• Rinse your brush THOROUGHLY between mixtures.
• Label each color combination lightly in pencil.

• Color Overtone Chart (paint)
• Catch up on all assignments and re-do any that you want to re-work. (Don’t forget the “free choice” assignments.)
• For this week’s journal entry, look at a row of your completed secondary colors (greens, oranges or violets) and think about how you might use all the colors in one row. You can suggest subject matter, discuss emotional mood, accent vs. primary hue, but come up with one use for each color in your chosen row. You can also come up with groovy names for your newly found colors.

• Another way to describe the differences in color created by overtones is TEMPERATURE.
• Oranges, Reds and Yellow provoke a warming sensation, while blues, violets and greens provoke a cooling sensation.
• A yellow green is a “hot” green; a blue green is a “cool” green.
• Look at your rows of secondary colors and give them ratings on a scale from hot to cool.