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Mixing Colors-Art or Science?


 

Color Mixing-Art or Science?

 

 

 


Is color mixing an art or a science?

 

And I don't know what that means. What science? Are colors systematized, arranged according to some set of criteria? If not, what is the science?  Do you disturb your equilibrium with attention to the chemical properties of different pigments and paints, or do you go with sight and experimentation alone? Elsewhere you mention using only two pigments to do entire multi-color paintings. How on earth did you discover that? And what is the art part? Do you mean the result of years of playing around and experimenting? Do you mean that ineffable thing that distinguishes a painter from a dabbler?

 

  Sidney Oliver


Both.

 

In Watercolor, I pay attention to the chemical properties insofar that they are staining and transparent. I mentioned the Wilcox book in an earlier post on Tips for Watercolor, but it is crucial to use non-staining and transparent watercolors. I think the tubes themselves contain this information. In oils, I don't worry about this as much and just use the best paints I can afford. 

 

You mention that I use only two pigments to do an entire multi-color painting. I use two color mixtures using two pigments each for a total of 4 colors. I've done this quite often using watercolors.  

 

 

In the painting above the same two pigments of Burnt Sienna + French Ultramarine Blue were used in the roof, windows, tree trunk, wagon, and some on the ground and other spots over a light, base wash of Raw Sienna. The shadows on the porch and elsewhere were a mixture of Brown Madder + Manganese Blue. 

 

 

 

Below are the various colors I can mix using just these tubes of pigment. Such basic everyday, inexpensive colors give an array of colors, tones, & shades.

 

 

More water, less water, more Burnt Sienna, more French Ultramarine

 

Experimenting with all of this is important. Perhaps I have said this earlier, but one thing I notice in many who try their hand at watercolor is no feel for how much water to use. Beginners tend to use too much. Some areas do require more water, some much less, and some only need a little dab. At times my brush is barely wet as in the darker color mixtures above.

 

Experiment without trying to produce anything. Take any two colors on your palette and do what is shown above: less water, more water, more of one color, more of another. Do NOT mix more than two colors together in watercolor. Get a feel for this stuff. It ain't gonna work if you don't.

 

This is a short answer for a long question, but please don't hesitate to follow up in the comments section. Perhaps I left out something crucial to your understanding.

 

Enjoy the process!

 

  Ruthie Windsor-Mann

 

This post is part of a series of Q & As between Ruthie Windsor-Mann and Sidney Oliver. 

 

We invite the reader to join in with other questions in the comments section. This needs to be interactive in order to work.

 

All photographs are by Ruthie Windsor-Mann unless otherwise credited.

 

 

Copyright 2019 Ruthie Windsor-Mann All Rights Reserved

 

 

 

Comments

5 Responses to Mixing Colors-Art or Science?

For a short answer, your post is packed with right-on-target information--at least it's exactly what I need. The palettes you've included are lessons in themselves, and the pigments you've chosen to call out will, from now on, be staples in my box of miracles. I do have one more specific question. I use the paper itself for whites, but sometimes that's just wrong. For instance, I've been asked to paint a champagne -colored dog with ivory highlights, but even after poring over Daniel Smith's color "lexicon," I can't see what choices to make. There's titanium white, which seems like a good idea, and buff titanium, but what for ivory, and what else might I consider? I guess the general question I'm asking is, how do I mix very pale tints apart from using more water? (If this is too specific to be useful, please feel free to give it a pass.)

Without knowing the shade of champagne you need, you might want to practice lifting out the color to make white. Even though the paper I used was junk paper, I can pretty much promise that I can get that paper to appear near-white simply by lifting. A world opened up to me when I discovered how to lift, but lifting is possible only if non-staining colors are used. I would NOT purchase white. Use the paper as you always have. White has shadows. In order to make something light, put something dark next to it.

Thanks again. I'll certainly use lifting. Sometimes I think I paint more with the lifter than with the brush. But why not use white even to mix? (It's too late for me. I've bought the white. Sigh.)

White in oils is comparable to water in watercolors. If you want your watercolors to look the way watercolors have traditionally always looked with a transparent glow, do NOT use white. If you use gouache, white is included. I did mess around with gouache when I was heavily into sketching. It's handy in that troubled areas can be eradicated, but it has a chalky appearance. With transparent watercolors, do not mix with white. I'm a purist.

Duly noted. Thank you!


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