Red is a warm color used to create shades of pink, orange, and violet. Red pigments are derived from iron oxides and cadmium.
What Color Does Red And Blue Make When Mixed?
In both RYB (Red, Yellow, Blue) and RGB (Red, Green, Blue) color models, Red color and Blue color are considered primary colors. The mixture of these sets of colors or the combination of any two colors from the color models produces another color. Here, two primary colors Red and Blue are mixed to produce the Violet color which is the secondary color. Sometimes, the mixture of these two primary colors produces Purple color.
If you mix 50 percent of Red paint and 50% of Blue paint exactly then it will give Violet or sometimes it will give Purple color depending upon the nature of the other two colors. This is because there are different shades of Red color and different shades of Blue color. If you exactly pick the default Red color i.e., #FF0000 as in Hex Code or RGB(255,0,0), and the default Blue color i.e., #0000FF as in Hex Code or RGB(0,0,255) then it will provide the expected Violet color without having the shades of other colors.
Overview of Violet Color :
The Hex Code for default Violet is #8F00FF and the RGB() combination for default Pink is RGB(143,0,255). There are different shades of Violet color. There are different shades of Violet color. Some of them are Purple, Lavender, Indigo, Dark-Violet, Russian-Violet, Plum, Iris, Grape, Blue-Violet, French violet, Jam, Mulberry, etc.
In 1370, the color Violet was derived from the Old French word 'Violet' and Middle English. The color Violet is closely related to and associated with the color Purple. Both Violet and Purple come under the same set of families. The color Violet is associated with various terms or meanings such as beauty, power, mystery, grace, royalty, luxury, magic, peace, pride, wisdom, dignity, creativeness, etc. The color Violet is associated with nature in many forms such as the outer appearance of animals/birds such as Indian Purple Frog, Violet-Backed Starling, Purple Grenadier, Purple Starfish, Violet-Crowned Woodnymph, etc., Vegetables such as Brinjal, Purple Broccoli, Purple Cabbage, Purple Carrots, Purple Cauliflower, Purple Corn, etc., Fruits such as Purple Grapes, Acai, Figs, Plums, Elderberries, etc., Flowers such as African Violets, Catmint, Clematis, Balloon Flower, Verbena, Bellflower, Lavender, Dwarf Iris, etc., The color can also be seen from the Rainbow and the color Indigo is also one of the rainbow colors which is also the part of Violet family i.e., different shade of Violet.
Lighten the Violet Color :
There are certain ways to lighten the Violet color to light-violet color. This can be done in the following ways.
- Violet is a mixture of two colors Red and Blue. Here the color Blue is having a lighter shade when compared to Red color which is having a darker shade than Blue color. If you feel that the Violet is darker than you expected and you want to make it to a lighter shade of Violet then you will mix a certain amount of Blue color in the Violet color to have the desired amount of expected light-violet color. You can also add the minimum amount of Blue color or maximum amount of Blue color depending upon your requirement.
- Another way is to add White color. A mixture of a certain amount of White color with the Violet color turns it into light-violet color. Here, you don’t need to add Blue color because the mixture of White color with the Violet color is enough to have the expected light-violet color.
Colour mixing with additive and subtractive primaries
Colour mixing with additive and subtractive primaries. Download these animations from The eye and colour vision .
The animation above left shows subtractive mixing. The background is white, meaning that the red, green and blue pixels all emit maximum light, and our animation subtracts from this white background. In the top circle, the red and green pixels are kept at maximum, while the blue pixels vary from zero to maximum and back again, so that the colour at the top varies from yellow (=red+green) to white (=red+green+blue) and back again.
In the circle at right, the green and blue pixels are kept at maximum while the red pixels vary, so the colour at right goes from cyan (=green+blue) to white and back again. Where the yellow and cyan overlap, we see the subtractive mixture of yellow and cyan. In other words, we see white from which yellow has subtracted blue and cyan has subtracted red. This leaves green, i.e. the subtractive mix of yellow and cyan = white–blue–red = green.
In the left circle, the red and blue pixels are kept at maximum, while the green pixels vary, so that the colour at left varies from magenta (red+blue) to white and back again. Where the yellow and magenta overlap, we see the subtractive mixture of yellow and magenta. In other words, we see white from which the yellow filter has subtracted blue and the magenta filter has subtracted green. This leaves red, i.e. the subtractive mix of yellow and magenta = white–blue–green = red.
Where the magenta and cyan overlap, we see the subtractive mixture of magenta and cyan. In other words, we see white from which the magenta filter has subtracted green and the cyan filter has subtracted red. This leaves green, i.e. the subtractive mix of magenta and cyan = white–green–red = blue.
Finally, where yellow, magenta and cyan overlap in the centre, we see the subtractive mixture of yellow, magenta and cyan. In other words, we see white from which the yellow filter has subtracted blue, the magenta filter has subtracted green and the cyan filter has subtracted red. This leaves nothing: the subtractive mix of yellow, magenta and cyan = white–blue–green–red = black.
Additive colour mixing on RGB monitors
The illustration at left shows several different colours. The numbers are six-digit hexadecimal representations of RGB colours. ( Decimal goes from 0 to 9, hexadecimal extends this 9, a, b, c, d, e, f, to give 2 4 values per digit. The colour saturated red is usually written ff0000, but could also be written in decimal: 256;000;000. ) The first two digits are the brightness of a red pixel, the next two that of the green, then that of blue. Consequently, 000000 is black, ff0000 is red, ffff00 is red+green, ffffff is white and so forth.
At right is a close-up photograph of the red-yellow-white-magenta intersection in the diagram at left, which was displayed on a computer monitor and photographed.
The right hand part of the picture is a close-up of a computer screen, which magnifies the red, yellow, white, magenta intersection. Looking at the right picture, at top left we see that only red components of each pixel are lit. At top right, both red and green are lit and, from a distance, these appear yellow (as in the picture at left). At bottom right, red, green and blue are all lit and the combination (centre of left picture) is a convincing white. If you have the room to move ten metres or so back from your screen, you’ll see that the sections of the picture on the right really do become red, yellow, white and magenta (though the white is less bright than the surrounding white).
If you’d like to examine this more closely, here are original close-up photographs (courtesy Noel Hanna) for the same illustration shown on a computer monitor and a smart-phone. If you download these files, you can zoom out or in (or walk backwards and forwards) to see the effect.
Why does three colour mixing work?
The photoreceptors in your retina that respond to colour come in just three varieties, which we call ‘red’, ‘green’ and ‘blue’ according to the colour which produces maximal response. On the diagram at top right, the proportional response of the ‘red’, ‘green’ and ‘blue’ photoreceptors is shown as a function of wavelength. A three-colour representation of a spectrum is shown below the graph.
Suppose that light from the yellow region of the spectrum, with a wavelength of say 580 nm, arrives at the retina. It lies between that of red (say 620 nm) and green (550 nm), so this light stimulates both red and green photoreceptors. This evokes a sensation that we are taught to call yellow. However, yellow that you see on the monitor is not light with wavelength near 580 nm. Instead, the monitor makes yellow colour using red light and green light from the same pixel. These two different wavelengths from the monitor are focussed onto a small area on your fovea, where it also stimulates red and green photoreceptors. So we perceive the effect as similar to light with wavelength 580 nm, even though no light of this wavelength is present.
How does ‘red+green’ yellow compare with spectral yellow? We can’t show you the difference, because you are (probably) looking at a RGB screen and it can only show you light with three wavelengths. No matter what we do, we can’t get it to produce 580 nm!
Nevertheless, most of us will admit that it is a passable yellow (for human eyes, at least).
Many species of insects and birds have four-colour vision, often with sensitivity to near ultraviolet light. Some flowers have petals that are patterned in the UV but which appear homogeneous to us.
Applications in Art and Design
In the traditional RYB color model, purple is a complementary color to yellow. Artists combine complementary colors to create contrast and balance. For example, a painting with yellow flowers against a purple background can be visually striking.
Different shades of purple evoke various moods and emotions. Lighter shades of purple create a calm and soothing atmosphere. They’re suitable for relaxation spaces such as living rooms or yoga studios.
Darker shades can be mysterious and dramatic. They’re essential for creating depth and dimension in artwork or design. Designers also use vibrant purple shades to create imposing garments.
Factors Affecting the Resulting Shade of Purple
- Proportions of red and blue: More red paint will produce a warmer, reddish-purple color. Using more blue paint produces a cooler, blue-purple (violet) color.
- Type of paint or medium used: The paint medium, for instance, acrylic, oil, or watercolor, varies in consistency and pigment color.
- Color temperature of red and blue: Color temperature distinguishes warm red and blue tones from cool ones. While warm colors have a red or yellowish hue, cool colors have a green or bluish hue.
- Pigment quality and concentration: High-quality pigments produce a more vibrant and consistent color than lower-quality pigments. A high pigment load makes the paint more saturated and vivid.
- Lighting conditions: The lighting conditions can also affect the perceived color of the resulting purple. Different types of lighting affect the perceived brightness or intensity of the purple.
- Surface texture and material: Texture affects how a color absorbs and reflects light from the surface. Shiny, glossy materials reflect light, giving off a vibrant purple shade.
- Mixing technique and tools: A mixing tool with a flat surface ensures even pigment distribution. Over-mixing the paint causes air bubbles to form, affecting the texture and appearance of the paint during application.
- Presence of other colors or additives: A dirty mixing tool contaminates the paint with other colors, changing the final product’s color.
- Drying process and time: Consider the drying process and time when selecting and applying paint. If the drying time is prolonged, the color turns dark and more saturated than intended. Conversely, if the paint dries too fast, the color appears lighter and less saturated.
- Transparency or opacity of the paints: Opaque paints are dense and appear matte. Transparent paints allow light through the layers, giving off a vibrant purple shade.
- Paint layering and application method: Gradual mixing and layering is necessary to see how red and blue colors interact.
| Shade | Hex Number | Characteristics |
|---|---|---|
| Lavender | #E39FF6 | Soft, delicate, and cool-toned |
| Lilac | #B65FCF | Light, airy, with a slight pink undertone |
| Wisteria | #C9A0DC | Mid-toned purple with a slightly grayish hue |
| Amethyst | #A45EE5 | Rich, gemstone-inspired purple with cool undertones |
| Royal Purple | #6B3FA0 | Deep, vibrant, and regal with a blue undertone |
| Eggplant | #311432 | Dark, intense, and warm with a brownish undertone |
| Mauve | #7A4988 | Subtle, dusty purple with a hint of gray and pink |
| Orchid | #AF69EF | Bright, playful, and slightly pinkish purple |
| Magenta | #A1045A | Vivid, saturated purple with strong pink undertones |
| Indigo | #4B0082 | Deep, dark purple with blue undertones, bordering on navy |
Mixing Different Shades of Purple Paint
Mixing red and blue paint produces various shades and tints of the color purple.
Paint Medium (Acrylic, Oil, Watercolor, Gouache)
Oil mediums like linseed oil are easy to use when mixing red and blue paint. White gesso acrylic is a suitable medium for mixing a purple paint tint. When using watercolors, mix small proportions since the medium becomes viscous with time.
Tints (White Addition)
Adding white paint to a red and blue mix makes a tint of purple. Tinting the color increases its transparency and lightness. The resulting hue is highly reflective and creates a soft, delicate look.
Shades (Black Addition)
Mix a small amount of black paint to create a dark purple shade. Use black paint with charcoal gray undertones, such as graphite black paint. Mix the black paint with a bit of white color to determine its undertones.
Muted Tones (Complementary Color Addition)
Adding a hint of yellow mutes a vibrant purple color. Bright yellow hues like lemon yellow make a muted tint of purple. But, using too much yellow gives the paint an undesirable brown undertone.
About the author
Stefan Gheorghe is the founder and CEO of Homedit.com. In 2008, he launched the platform out of his passion for interior design and home decoration.
Sign up for our newsletter.
