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Instructions for making purple using acrylic paint
I’m probably not the best person to answer this, being a rank beginner, but my second painting was of lemons which I did mostly to address the problem of shading yellows without changing them to green or a nasty grey. Basically, it’s the method where you buy darker yellow paints of a slightly different hue and use those, blending the edges: i.e. cad yellow pale to cad yellow to cad yellow deep. (Obviously you can mix intermediates) Or you can mix the yellow with darker yellow earths such as yellow ochre, raw sienna, or burnt umber. A book which demonstrates this technique is “Color Mixing the van Wyk Way” by Helen van Wyk, which may be worth getting from your library. It’s not a comprehensive book on colour mixing, but it is worth reading. Can’t help with browns though, sorry – I fiddle with browns till I end up with an unattractive mud.
March 24, 2009 at 9:16 pm #1114599
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Try using a violet to shade your yellows, dioxazine violet or ultramarine violet works well. Add blue to your browns to make them darker, either ultramarine or cobalt would be good.
“Extraordinary claims require extraordinary evidence.”
— Carl Sagan Brian Firth
March 25, 2009 at 4:56 am #1114611
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Brian, Do some tests. Purple and blue will pull the hue very far from dark yellow. Instead take Cadmium Yellow Medium and Cad Lemon. These should be the local of the lemon, in some proportion. Mixtures of Cad Yellow Medium plus burnt umber (Old Holland is nice) will be good with the addition of small amounts of burnt sienna or alizarin crimson if the mixtures are too greenish. Note the lighting. Incandescent lights will change the hue. Yellow Ochre might work but this depends on the brand and value. In general, Mars yellow, synthetic iron oxide, is more intense, but perhaps the wrong hue. Both Mars Yellow and Yellow Ochre range in value from 4 to 6. It helps when painting yellow to mix value steps. Modeling is difficult when done broadly, moving say from burnt umber to cadmium yellow directly. Better to step to it gradually and compensate for any hue shift in advance.
March 25, 2009 at 7:37 am #1114600
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I’ve done the tests. Violet is the complement of yellow and works very well. There is more than one way to skin a cat.
“Extraordinary claims require extraordinary evidence.”
— Carl Sagan Brian Firth
March 25, 2009 at 8:55 am #1114605
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Thank you, everyone, so much for your input, it’s very very much appreciated
take care
[FONT="] [FONT=Trebuchet MS]
Er gwaetha pawb a phopeth ry’n ni yma o hyd! [/SIZE]
March 25, 2009 at 11:09 am #1114585
If anyone could please point me in the direction of threads that explain how to darken browns and yellows (acrylic paint), I would be very grateful; because of my disability I find it difficult to use the ‘search’ feature on WC. Many many thanks in advance & happy painting….
Hi, ‘brown’ covers a lot of ground but if you have black I think you’ll be quite pleased with how it darkens many darker brown paints, be they single-pigment browns or ones you’ve mixed yourself. Blues are the mixing complement of many browns; darkening, and dulling significantly. If you need to move a brown toward neutral these can be a very good choice. Which blue and which brown work best is something to discover mostly by experimentation with your own palette as this varies with exact examples. Some combos to try that generally yield good results:
French Ultramarine + Burnt Umber
French Ultramarine + Raw Umber
Cobalt Blue + Burnt Sienna*
Phthalo Blue + Venetian Red or Red Oxide* *These red earths will tend to work with a number of different blues) As far as yellow goes, mixed violets are the best mixing complement as you can tweak the mixture as needed. Because the violets will tend to be so much darker than the yellow you’re starting with you may find that you need to adjust value upwards for the halftones, by mixing in a small amount of white. With both browns and yellows mixing in neutral greys is also worth trying, if you have any, for mixing duller versions. This will tend to work very well for browns. In the case of yellows you’ll usually get a shift in hue toward green, which can be compensated for by a small addition of orange or red. Einion
D o y o u k n o w i f y o u r c o l o u r i s o f f i n h u e , v a l u e , c h r o m a . . . o r a l l t h r e e ?
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March 25, 2009 at 11:17 am #1114586
Brian, Do some tests. Purple and blue will pull the hue very far from dark yellow.
If you check what Brian actually posted you’ll see he wasn’t suggesting using blues to darken yellows.
Try using a [COLOR=”RoyalBlue]violet to shade your yellows[/COLOR], dioxazine violet or ultramarine violet works well. [COLOR=”RoyalBlue]Add blue to your browns[/COLOR] to make them darker, either ultramarine or cobalt would be good.
It helps when painting yellow to mix value steps. Modeling is difficult when done broadly, moving say from burnt umber to cadmium yellow directly.
Why would one want to have Burnt Umber in a yellow string? It’s brown, dark, duller yellows are not brown; or to put it another way, browns are not yellow in hue. You’ve highlighted about purple pulling the hue away from yellow (which indeed it can – nearly no single-pigment violets work with any yellows to darken/dull without a shift in hue) but then you suggest mixing in Burnt Umber – which should not be anything close to yellow in hue – to mix darker versions of it. As we’ve talked about before I think, Burnt Umbers do vary a great deal (in more than one way) but one is not a good choice as a rule to mix with yellow paints to make darker yellows. There’s nothing wrong with the kind of colours this produces per se, except that they’re not dark yellows, which is what is being asked about. If you could post some swatches showing a Burnt Umber successfully mixing dark yellows with a range of yellow paints I know I’m not the only one that would like to see them. Einion
D o y o u k n o w i f y o u r c o l o u r i s o f f i n h u e , v a l u e , c h r o m a . . . o r a l l t h r e e ?
Colour Theory & Mixing forum WetCanvas Glossary Search Tips Advanced Search Acrylics forum Acrylics – Information Kiosk
March 25, 2009 at 12:17 pm #1114612
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Burnt Umbers are indeed dark yellows. Some are towards orange, yet when mixed with high chroma yellows they move toward yellow green (again, if you would test these things you could see.) The palette, burnt umber Cadmium lemon and Hansa Yellow medium (sometimes Cad Yellow Deep) are perfect matches for the variety of dark yellows seen on lemons. Its really not too controversial. If you mix burnt umber and Hansa Yellow you get mixtures that are too green at times. Stepping over to a Cadmium Yellow medium, one with more orange in it, will mitigate the problem and arrive at a hue match. There, of course, are other ways to achieve dark yellows, but you are still battling chroma and hue shifts. To mitigate this is to make painting easier and more direct. Posted from Brian:
Try using a violet to shade your yellows, dioxazine violet or ultramarine violet works well. Add blue to your browns to make them darker, either ultramarine or cobalt would be good.
One creates dark yellows to shade a yellow object. Adding blue to brown will make it darker but for what purpose? To hit a value 1? It will also severely neutralize them and shift their hue, often in undesired ways. If dioxazine, is it the RS or the BS variety, which can have very different results. This is the wrong advice since simple tests and a guide to color space can refute it, factually. One could then see what hue burnt umber is exactly, where yellow ochre falls and what higher chroma colors it relates to. Moreover, this would correct false notions about complementary mixtures. For example, mixing yellow with purple ( no 5 or average purple) is unwise for at least three reasons. 1. it’s distance from yellow will assure low chroma mixtures. 2. its value difference, if not corrected, will be problematic. Purple is at value 1; Cad Yellow is at 8 to 8.5. When corrected, the purple looses too much chroma in values 5-9. At these values its about chroma 6 to 2. Yellow is at 14. 3. It pulls the mixture towards red instead of keeping it line with yellow. If low to mid chroma yellows are needed, then there is a large range of earth colors which are convenient, cheap and easy to handle. One pigment, sold under the name Green Gold by Winsor Newton, PY129, can augment many earth colors that are too orange. With high chroma colors, there is often only one or two ways to skin a cat, so to speak.
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