Mixing Colors --Hints for Beginning Artists

When we mix paint, the rules we have always heard about color mixing start to get a little complicated. Different types and brands of paint have different properties, and only by getting in there and getting your hands colorful can you begin to mix with confidence. However, a little advice may save you some time while you are learning.  Unless otherwise noted, you can try these ideas with watercolor, acrylic, or oil. They are techniques that have worked for me and for many other artists.

1. You may know that orange is the opposite of blue on the color wheel. Theoretically, you should get black when mixing the two. In the real world, you will probably get a greenish color. One solution is to mix a little red into the orange, making a red-orange. Then, begin to add blue in small amounts, until you reach the dull, muted stage that you are trying to reach. Still too green? Add a touch of the red. If you're actually just trying to mix a black, read on for another idea.

2.  I often make a black by mixing Ultramarine Blue with Burnt Umber. In most brands and media, the Ultramarine Blue seems stronger, and I usually use more Burnt Umber than blue. I have found this to be especially useful in oils. If you're have trouble with it, there is nothing wrong with adding a little tube black to bring the color down to the value you need. I've done it before and I'll do it again. Just think twice before using large amounts of black all by itself. Then, if you still want to do it, don't let me stop you.

4. For a nice purple, mix a rosy red or a magenta with Ultramarine Blue. With Davinci oils, Red Rose Deep and the aforementioned blue make a beautiful purple. With Blick Studio acrylics, I've mixed the blue and Quinacridone Violet with good results.

5.  If you need to mix a pile of dark and a pile of light, begin by mixing a small amount of dark into the light mixture. Please do not just start throwing the light into the dark, because the dark will swallow up the light.

6. Warm colors seem to advance. Cool ones seem to recede.

7. Consider balancing the brights with some darker, duller tones. Many new painters tend to use bright colors exclusively, marking themselves as inexperienced. A work is actually be more compelling and attractive when muted tones enhance the bright colors. Of course, there are exceptions to the rule. Some abstracts use bright colors, but if you look carefully at the most compelling abstracts, you may find that there are indeed some muted colors, dancing with the bright ones.