Lavender is frequently used in fashion, interior design, and events to evoke a sense of grace and style.
Steps to create a purple color mix
Two more mixing steps/scales I got around to doing. Bottom part is tinted with Titanium White. First is orange-red + Phthalo Blue. No surprises…except I expected the purples to be a tiny bit more chomatic…they are very blackish and ‘smoky’. Although the addition of an orange in this red convenience mix is surely the big reason. The second step shows a nice burgundy. Around halfway there is a slightly blueish black like Paynes Grey. A bit more blue gives an Indigo color. Second scale is yellow + Dioxazine Purple. A ‘wow!’ for me…I’m stunned by the rich, earthy yellows you get on the left…quite different from Yellow Ochre or Raw Sienna…much like Nickel Azo Yellow! ..a color I thought was unmixable (step 3). With more violet, you get brownish maroons. The colors in this scale are strange, hard-to-describe, but beautiful in real life (the scan is decent but not great…a bit washed out). I’m sure with a transparent yellow as opposed to my opaque one, the resulting colors would be even more deep. Now…how/where to use these colors? :clear:
January 31, 2015 at 1:37 am #1219051
Default
Doh! An obvious answer to my last question (last sentence) that for some reason I overlooked: one of the best (the best?) ways to shade yellows in a natural way.
January 31, 2015 at 9:49 am #1219072
Anonymous
very good patrick, I am starting to do some charts like this with my acrylics.
I noticed that the third mix in the red to phthalo string, is nearly the same color as the 6th mix in the yellow to purple string, they are both almost dead ringers for my mars violet or caput mortuum in oils, but each one mixed from very different colors.
January 31, 2015 at 10:43 am #1219071
Default
Two more mixing steps/scales I got around to doing. Bottom part is tinted with Titanium White. First is [B]orange-red + Phthalo Blue[/B]. No surprises…except I expected the purples to be a tiny bit more chomatic…they are very blackish and ‘smoky’. Although the addition of an orange in this red convenience mix is surely the big reason. The second step shows a nice burgundy. Around halfway there is a slightly blueish black like Paynes Grey. A bit more blue gives an Indigo color. Second scale is [B]yellow + Dioxazine Purple[/B]. A ‘wow!’ for me…I’m stunned by the rich, earthy yellows you get on the left…quite different from Yellow Ochre or Raw Sienna…much like Nickel Azo Yellow! ..a color I thought was unmixable (step 3). With more violet, you get brownish maroons. The colors in this scale are strange, hard-to-describe, but beautiful in real life (the scan is decent but not great…a bit washed out). I’m sure with a transparent yellow as opposed to my opaque one, the resulting colors would be even more deep. Now…how/where to use these colors? :clear:
Hi, Patrick! These mixes are interesting. This Transparent Vermillion (PR 112 + PO 13) and Phthalo Blue (PB 15) mixes very similarly on the cool part (up to the 4th mix, right to left) to Phthalo Green Blue Shade (PG 7) + Dioxazine Violet (PV 23)! The mixes with Dioxazine Violet (PV 23) + Cad. Yellow Medium Hue (PY 74 + PY 65 + PW6) are also interesting. The second one, left to right, really looks like a lower chroma version of Nickel Azo Yellow (PY 15). Dioxazine Violet is an atypical violet to me. It looks violet in masstone, but it mixes with greens and blues in ways that I wouldn’t expect from a warmer violet (e.g, Quinacridone Violet, PV 19-beta). I think I will post some mixes of Ultramarine Violet (PV 15) and Hansa Yellow Medium (PY 74) here, too.
February 1, 2015 at 1:41 am #1219052
Default
Mr. Sid…astute observation! Yup…I noticed that too. You can imagine that this is approximately where the red-blue and yellow-violet mixing lines would intersect on a color wheel/mixing wheel. Although these mixes are almost surely deeper (darker) in masstone than mars violet or caput mortuum…which some people :clear: would find to be advantageous. P.S. I hope you do mixing scales like this and share the results…I’m still learning about color each time I make a new one. This time I used acrylic gel medium (rather than just water dilution) to get the thin undertone. Mythrill…indeed the blackish-blues are very similar among those two strings you mention. They’re useful for ‘cool’ shadow colors, stormy skies, or as black. About the midway point between the light red + Phthalo Blue is a black which in masstone could be considered a true black (darker than shows in the scan). Yeah…PV23 is neat that is is bluish enough that it can mix surprising blues, and is also reddish enough to mix maroons and even dull reds and oranges when mixed with orangy yellows or oranges. I think it was you (or someone else here) who showed PV23 + PY110 mix making surprising oranges and reds. PV23 reflects both the reds and blue part of the spectrum, so it mixes somewhat like a magenta. I’d love to see your PV15 + PY74 mix if you get around to it. I would expect the mixes to be lighter and ‘softer’ (a bit greyer) than when using PV23.
February 1, 2015 at 1:26 pm #1219083
Default
These are great Patrick, thanks for posting swatches.
I dont use pv23 and thalo very infrequently. So I find this very informitive. That #4 in the red to blue looks pretty darn neutral. I read that 112 napthol is one of the best mixers in both directions.(for bright reds)
Out preforming cad red and pyrrole. Which I find interesting.
Astm rates LF1 but others give it a 2 due to some issue with ultraviolet light.
I m not sure where that would be a big problem…fluorescents maybe?
I dunno. What brand and type are you using? I think I remember you like WMO. It is note worthy that the purple to yellow ‘ran through’ the greyed browns as you would expect.
What always comes as a surprise to me is how the blue to red didnt run through purple/voilet. In fact FUB and pr101 or burnt sienna make a great black but it tints out green! At 210 degrees apart LOL!
But your mix,(112/orange is very close over pr101) didnt reflect much green to me. And thalo is closer to green. Your chart is really well done with the tints of the colours broke down.
Cheers,
Brad
February 1, 2015 at 5:43 pm #1219063
Default
There is a book being offered, I believe, the title of which is something like,
“Blue and Red Don’t Always Make Purple”. Some day I would like to write a book with the title, “Blue and Red NEVER Make Purple”. True, scientific Blue, and true, scientific Red are, in fact, secondary[/I] colors. Secondary colors mix to create a very near-neutral, as can be expected. Secondary colors are already mixtures of a pair of primary colors. So…..when you mix one secondary color [that already has, as its mixture, two primaries] with another secondary [that already has, as its mixture, two primaries], you have, by pure logic, a mixture of all three primary colors. Three primary colors mix to create neutral. Surprising as it may seem, the same is true of mixing any two of the other secondaries. For example, mixing Blue and Green don’t really create the “Blue-Green” color for which you may be hoping. The result is usually a very near-neutral. Mixing Red and Green don’t create something between the two–that mix creates a near-neutral, as well. Red is a mixture of Magenta and Yellow, and Green is the mixture of Yellow and Cyan. Magenta absorbs the Green component of the RGB [white light] spectrum, Yellow absorbs the Blue light, and Cyan absorbs the Red light of the RGB spectrum, leaving no color being reflected. Of course this is only true if you are selecting true, scientific secondaries as your ingredients. Picking Ultramarine Blue, which actually exhibits more Cyan characteristics, and picking Quinacridone Red, which actually exhibits more Magenta characteristics is bound to create “Purple”, as they can be expected to do. But……real, true, scientific, Red and Blue are secondaries, and they mix to create a very near-neutral.
wfmartin. My Blog “Creative Realism”.
https://williamfmartin.blogspot.com
February 1, 2015 at 8:15 pm #1219073
Anonymous
mixing Blue and Green don’t really create the “Blue-Green” color for which you may be hoping. The result is usually a very near-neutral.
:confused: I have never gotten a neutral when mixing blue and green, I mix very vibrant, chromatic blue/green colors with phthalo blue and phtalo green. For that matter, I have never used a tubed purple, I make purples with a red and a blue, in oils, watercolors, or acrylics. Right now I am using a limited palette in acrylics, burnt sienna, napthol red, cad yellow medium, and cobalt blue (viridian if needed) and I make purples with the napthol red and the cobalt blue. This is pretty much the “Stobart palette” that the famous english marine artist used.
Patrick, those are the charts I will be making.
If I need a more intense purple then I would use ultramarine blue and or with a crimson, but I seldom ever need that.
cobalt blue and napthol red mix
I would add yellow to neutralize it.
When the red is a very orange leaning and the blue is very green leaning, the mix will be a very muted purple, like your first mixing pair where you did not get a neutral, and there is a range where you get muted mauves.
February 2, 2015 at 12:54 am #1219084
Default
… Secondary colors are [I]already[/I] mixtures of a pair of primary colors. So…..when you mix one secondary color [that already has, as its mixture, two primaries] with another secondary [that already has, as its mixture, two primaries], you have, by pure logic, a mixture of all three primary colors. Three primary colors mix to create neutral. …For example, mixing Blue and Green don’t really create the “Blue-Green” color for which you may be hoping. The result is usually a very near-neutral…
Bill, with this logic, mixing two secondaries. You would have one part primary’A’, two parts primary’B’, and one part primary’C’.
Which would result in a greyed primary’B’. But not a neutral as I understand it. And any of my blues mixed with any of my greens come out blue-green. I am not trying to be arguementive: I just cant relate what you are stating to what I see in results. Cheers, Brad
February 2, 2015 at 1:43 am #1219079
Default
There is a book being offered, I believe, the title of which is something like,
“Blue and Red Don’t Always Make Purple”. Some day I would like to write a book with the title, “Blue and Red NEVER Make Purple”.
Agree. If you have Red, which can mix Violet – it is NOT RED. Most people actually use Magenta paints to mix violet. The difference between true Red and Rose Magenta is, that rose pigments have high percentage of blue light reflection, while true red do not reflect blue light. A lot of people are thinking that Alizarin Crimson, Red-looking Naphtols, Quinacridone Red PR209, Perylene Red and many other “Red” pigments are reds. No These pigments are Rose-Magenta colours. Red is just popular name which don’t reflects real color of these pigments. They all have high reflection in a blue part of spectrum.
Try real Red. With no blue in it’s spectrum. The almost ideal, scientific red is Cadmium Red Light PR108. It has almost rectangular light reflection curve. Try do not adulterated with organic reds, real Cadmium Red to mix violet with Cobalt Blue. You will get pleasant Brown color. I remember, Einiun said that he like Cadmium Red/Cobalt blue mixed brown very much!
Another phenomenon of this pure PR108 colour is, that Cadmium Red actually, have two complementary colors. Phthalo Green and Phthalo Blue, for example, are both complementary colors to a Cadmium Red Light. Another example. I am thinking, I use RYB palette with folowing paints: 1 Phthalo Blue PB15
2 Quinacridone Red PR209
3 Hansa Yellow PY3 According to the pigment indexes, I have true RYB palette. Everybody will agree with me. But this my palette stay very far from real RYB. It is CMY palette. True RYB palette is: 1 Cobalt Blue PB28 (Ultramarine has high reflection in Red part of spectrum)
2 Cadmium Red light PR108
3 Cadmium Yellow Med PY37
The only vivid color you can mix using this palette is bright orange.
February 2, 2015 at 11:40 am #1219064
Default
And any of my blues mixed with any of my greens come out blue-green.
The key work here is “Blues”. There is only one, true, scientific Blue, and most of the paints labeled, “Blue”, are, in fact closer to being Cyan, depending upon their scientific location on a color wheel. Even Ultramarine Blue is closer to being Cyan on a color wheel that it is to being actual Blue. And, of course, Cyan and Green will mix to create what most artists would call a “Blue-Green”. That’s the reason that when you select any ol’ paint labeled, “Blue”, and mix it with any ol’ paint labeled, “Green”, you are quite likely to achieve a “Blue-Green”. Unless you have selected a scientific Blue, and a scientific Green, you will probably get some sort of Green with the mixture, as you should be expected to. Many artists just select a tube labeled, “Blue”, and expect it to behave like Blue, while, in fact, it may have many more characteristics of Cyan. I often mention that you can call a horse a chicken, but don’t expect it to lay eggs.:lol: (The analogy: You can label a paint, “Blue”, but unless it plots on a color wheel as “Blue”, don’t expect it to behave like true, Blue.)
wfmartin. My Blog “Creative Realism”.
https://williamfmartin.blogspot.com
February 2, 2015 at 11:56 am #1219085
Default
… 1 Cobalt Blue PB28 (Ultramarine has high reflection in Red part of spectrum)
2 Cadmium Red light PR108
3 Cadmium Yellow Med PY37
The only vivid color you can mix using this palette is bright orange.
ok I am following now. I didnt know that about cads. But it explains why I dont care for them much as they are poor mixers. I use them to be sure, but only when I need that opaqueness. Really only the cad yellow gets used in practice, and not much at that.
Why only bright orange though…I need to test this! I still cant relate not mixing blue and green not getting blue-green, but it must have to do with these specific spectum colour you refer to. What, in the oil paint world, would be a true green? And a true violet? On to another question, why is it pr112 is a great mixer in both directions?
As napthols have a blue reflection, you would think mixing oranges would not be its strong suit. Very interesting reading.
Brad
February 2, 2015 at 12:10 pm #1219080
Default
On to another question, why is it pr112 is a great mixer in both directions?
As napthols have a blue reflection, you would think mixing oranges would not be its strong suit.
Blue reflection do not affect orange, reflection can’t darken color, it only lighten it. However, blue reflection in orange color will lighten it and decrease saturation, but Cadmium Yellow, used to mix orange with PR112 restrict any blue. Cadmium Yellow is very pure yellow, it also have rectangular reflection curve with no blue light in it. BTW, Brad, I almost missed your new painting! Well done! :thumbsup:
February 2, 2015 at 12:39 pm #1219086
Default
… I often mention that you can call a horse a chicken, but don’t expect it to lay eggs.:lol: …
Haha, ok I am catching on. I am guilty of enjoying those romantic paint names! So per Alex, cobalt, cad red and yell would be close true RYB, but what would a near ‘true’ CMY in oils? Brad
February 2, 2015 at 12:40 pm #1219087
Default
… BTW, Brad, I almost missed your new painting! Well done! :thumbsup:
Thank you for that Alex! I appreciate it. Brad
Author
Posts
Viewing 15 posts – 1 through 15 (of 40 total)
- You must be logged in to reply to this topic.
How to Make Lavender Color
Easy Recipe How To Make Dark Brown .
Please enable JavaScript
Please enable JavaScript
To make the lavender color, start with a base of blue paint, preferably a soft or pastel shade. Add small amounts of red paint to the blue, blending them together. Mix the warm purple color with a white color to achieve your desired shade of lavender.
Color Theory
Color theory is a set of principles and guidelines that explore the ways in which colors interact, combine, and affect each other.
It’s a fundamental aspect of art, design, and aesthetics providing a framework for understanding and using colors.
At its core, color theory examines the three primary colors (red, blue, and yellow). It also explains their relationships with secondary colors (orange, green, and violet).
There are also tertiary colors that are formed by combining a primary color with a neighboring secondary color.
The color theory also delves into concepts such as saturation, hue, and value.
Hue refers to a specific color, such as red, blue, or yellow, while saturation describes the intensity or purity of a color.
Value is the lightness or darkness of a color, often represented on a grayscale from black to white.
The color theory explores various color harmonies and relationships. These include analogous colors, complementary colors, and triadic colors.
Complementary colors are opposite each other on the color wheel and create a vibrant contrast when used together.
Analogous colors sit next to each other on the color wheel and produce a harmonious and cohesive effect.
Triadic colors are spaced on the color wheel and offer a balanced and dynamic combination.
Understanding the color theory helps us make better decisions in color selection.
All About the Lavender Color
The lavender color was named after the fragrant lavender flower. It is a captivating hue that embodies a delicate balance of calmness, elegance, and serenity.
It lies on the spectrum between violet and purple. It has a pale, light shade with a slight blue undertone. (Here’s how to get violet color by mixing different shades).
Lavender has qualities such as grace, femininity, refinement, and tranquility. It evokes a sense of relaxation and harmony, making it a popular choice in design and fashion.
In interior design, graphic design, or fashion, lavender promotes feelings of peace and mindfulness.
Complementary colors that harmonize well with lavender include mint green, pale yellow, soft pink, and light gray.
Understanding the characteristics and symbolism of lavender will help you harness its serenity and elegance in various creative endeavors.
What 2 colours make purple?
If you mix red and blue, you are sure to get purple. But there are some other colours from which you can get the purple colour. Let me share how to get purple by mixing other colours.
Mix magenta and cyan:
Yes, it is true that by mixing cyan and magenta, you can get purple. Make sure to mix equal portions of both of these colours and get your vibrant purple instantly.
Mix red and purple:
There is another way to get a muted purple. To get this colour, you will have to mix red and purple.
You can always add white to purple for a light shade; black to purple to get a dark purple; or other colours as per your requirement.
People Also Ask:
Success!
Interested in buying a home?
Thank you for submitting your details.
FLAT 25% off on Home Painting
Unbeatable Prices! 5-Star Rated Partner! 2200+ Shades! Top Quality Paint Free Cancellation!
Best Price! 5-Star Rated Partner! Free Cancellation! Top Quality Chemicals Professional Equipments
Household Damage Protection Timely Pickup & delivery Real Time Update 100% Price & Service Guarantee Free Reschedule & Cancellation
10 Years Warranty Premium Material Quality Assurance Transparency in Price & Timeline Best Designer
FLAT 25% off on Home Painting
Unbeatable Prices! 5-Star Rated Partner! 2200+ Shades! Top Quality Paint Free Cancellation!
Best Price! 5-Star Rated Partner! Free Cancellation! Top Quality Chemicals Professional Equipments
Household Damage Protection Timely Pickup & delivery Real Time Update 100% Price & Service Guarantee Free Reschedule & Cancellation
10 Years Warranty Premium Material Quality Assurance Transparency in Price & Timeline Best Designer
