Cross-calibrate the position of the sun by finding the elevation off the horizon line in degrees and it's position left to right off the center-line with a clock face radiating grid. i.e. 40 degrees, 11:00.

The sun's light is parallel, our perception of it can change. Standing behind a row of trees the shadows will seem to expand outward. Standing in front of the trees and looking back will seem to make the shadows converge.

In the morning the main color oppositions are Cadmium Yellow light, Burnt Umber and Ultramarine Blue, afternoon colors tend more to Magenta and Thalo Green, evening colors are Thalo Blue and Cadmium Red. All of these oppositions mix to a neutral gray and darker shades.

Diffraction enhances a painting rule of Tenebrism, "It's darkest next to the light and lightest next to the dark".
 
 

On water, the area behind is lighter than the wave because of the reflection of the sky.

1. Sun's reflections, which happen on incident angles.

2. Sky and Cloud Reflections.

3. Transparent or Opaque water color.

4. Transparent Bottom color.

5. Shadows from the water, on the water.

Water grids start from the horizon's center-line of your picture and radiate toward the foreground. These lines can bend to show the direction, elevation and movement of the flow, crossing these grid lines with wave lines that stop the action.

A water diamond is a sparkle that is peaked at the top and rounded on the bottom. They form with their ends on the concentric rings around you. You are seeing directly into the water, at a 90 degree angle of incidence. If the sun were directly overhead these diamonds would sparkle with the sun's reflection instead of being dark. Paint them with a flat brush.

Stop the action of waves at these five distinct points and time the rhythm to position the succeeding wave patterns, they have to be logical.

1, Flat.

2, Face.

3, Fall.

4, Explosion, higher than the face was.

5, After Tumbles.

6, Beach Wash incoming is lead by foam.

7, Beach wash receding leaves dark sand and shiny rocks.
 

Position your painting support directly below the scene, so the top of the painting is touching the bottom of the scene. The sides of the canvas support mark the sides of the image you are painting. Draw in a chalk center line and the horizon line first.

Mark the support sides with reference points from the image.

Measure with only one eye, your right eye, and keep your head at the same relative position to the painting throughout.

Don't paint a picture of more than 90 degrees without two center lines because you will have to move your head from side to side to see the whole scene. Most paintings should be in the 60 degree area, you have that much undistorted overlapping vision. Compose the picture from what you see, if it's not perfect, move.
 
 

The horizon viewed at sea level with both eyes will appear almost flat because your focus with both eyes is on one point, shared by the view of both eyes and you have compensated it flat. You can't do that at higher elevations.

At sea level the horizon line is 2 1/2 miles away, at 10,000 foot it's 200 miles away.

Both eyes can see a total of 180 degrees, your eyes are angled in your head, not both facing forward. Each eye is angled off the frontal plane by 30 degrees, the overlapping view is 90 degrees, the least amount of distortion is in the center 60 degrees. Each eye can see 135 degrees, each eye can see 45 degrees that the other eye can't. The overlap of both eyes is 90 degrees, 90+45+45=180, your total view including your peripheral view is 180 degrees.

The horizon line is curved, the higher your elevation the more the curve is noticeable. Astronauts see a sphere.
 
 

A MARKING POINT in the picture is an easily recognized still object or a crossing of objects, or a tangent meeting point of objects, they are easy to find at a glance. Find a marking point on the center line close to the horizon line as your center marker. This center mark can be on any distance away from you, on any concentric ring around you.

Find left and right side scene marker points also close to the horizon line. The top marking point will complete the format of the final painting because the bottom is marked by the top of your picture.

Distant objects are relative to nearby objects from your viewpoint through "linear triangulation". Start by making at least two triangles using obvious marker points joining and starting from one common marker point. Two more triangle marking points anywhere in the picture will connect to one of the existing points forming another lineal triangle, if you're using different lineal distanced marker points. If you used objects on a similar "concentric ring", you would have "plane triangulation", they work equally well. These triangles will insure the accuracy of the objects position.
 
 

Draw with a piece of inexpensive school chalk, because it contains no wax or oil. Soft finer pastels are even better. On colored grounds use white chalk and on white grounds use a pale gray.

Draw simple outlines on obvious concentric rings with chalk, the biggest patterns first, start on the reference points. Inside these big patterns show the texture with short directional lines. Simplify this texture with sparse, 1 to 10 representative lines of size, shape or direction.

Before painting in the final outlines with a liner brush, dust off the loose and caked on chalk with a feather or soft brush. Paint the outlines in Ultramarine Blue or Yellow, whichever color is appropriate. When the medium is oil, thin the color with turpentine so it will dry fast. If you're painting in acrylic, thin the pigment with a little water and medium mixed together to give the film strength.

The outline you draw belongs to the objects behind it, in the background, unless you're going with a darker foreground for contrast. Never let the outline show as a line, it's unnatural, use the contrast of the shape's color or intensity against it's background.

Wash off the chalk before blocking in the local colors. Cover the first 100% with as little overlap as possible. Keep the wash graduations smooth so you can use any part in the final picture.
 
 

The vanishing points of a square are 90 degrees apart on your horizon line. It's impossible to show two 90 degree vanishing points in a 60 degree picture. A 60 degree equilateral triangle held with a point under one eye will accurately mark a 60 degree picture on your horizon line. A book or sheet of paper will be 90 degrees, lay your painting support on the ground, place a corner between your feet and follow the sides leading to the horizon line, that's 90 degrees. Notice, the odds are good that you can't see both horizon line vanishing points in a 90 degree picture, and most undistorted pictures are 60 degrees. Compose the picture from what you see, if it's not perfect, move.

Lineal Perspective is relating the size of the object to the distance it is away from you. The curve of the earth cuts off your ground level line of sight vision at 2.5 miles, a raft would disappear over the horizon at that distance if you were 60 inches tall. At 10,000 foot, you can see 200 miles.

First draw the center line.

The horizon line is always at your eye level.

A square building viewed from the top has four sides and four 90 degree angles in view. From the flat front side, none of these 90 degree angles are visible. The top edge can look like a straight line, except there are no straight lines in nature, it's actually curving down to touch the horizon line out of the picture 180 degrees to the sides. The perpendicular sides of this building are in the 3^rd and 4^th point perspective, they curve up and down to the aerial and terrestrial vanishing points. The front perpendicular sides of the building reach up to the azimuth directly above, a vanishing point up and out of the picture.

If we can see two sides of the building, the top 90 degree angle uses up 90 of the 180 degrees. The building sides are heading to two vanishing points 90 degrees apart on the horizon line, not 180 degrees.
 

Aerial perspective on Concentric Rings Ring 1 is about 10 yards out, you should  first notice a value difference 10 yds. out, find some objects to mark this distance.  Lots of objects in a row are nice.  Within this first ring are the  darkest dark shadows,  not to be repeated  in any other ring. Magenta and Green  make the darkest neutral shadows in the foreground. Ring 2, 15 to 25 yards out. Ring 3 is 25 to fifty yards out. Ring 4 is 100 to 500 yards out, here starts the split analogous  Green and Purple mixed together, for the bluer distant shadows  of objects and cloud cover. Ring 5, is 5 miles away.  The mountain shadows are completely made of Diox. Purple and Thalo Green and White.  The highlights in this fifth ring are made by mixing a tint of Purple and Green with the local hue from a closer ring. Ring 6,  Is five to ten miles away. Purple and Green change to a tinted Ultramarine Blue.  Ring 7, is from 10 to 20 miles away.  Ring 8, is 50 miles away, a tint of ring 7.  Ring 9, is 50 to 100 miles away, a tint of ring 8.  Ring 10, is more than 100 miles away and very close to the sky color. The Aerial Palette for 10 Concentric Rings.   THIS CHART SHOWS 10 COLOR PROGRESSIONS OF LOCAL AND SHADOW COLORS FROM THE FOREGROUND TO THE BACKGROUND AND SKY <All Ring 1 foreground noonday shadow colors change from a  Magenta-Green to Purple-Green shadow in the middle ground. Change colors to a tint of Ult.Blue for the background. Nine A/M morning shadows are a neutral dark mix of  Bt.Umber and Ult.Blue.   Click her for a color-in picture to download in a new window, Click here for the full color wheel in a new window. 4 Point Lineal Perspective The horizon line is 25 miles out at sea if you are 6-foot tall standing at sea level,  it's 200 miles out if you're on a 10,000 foot high mountain. The pictures blue line is the horizon line around you in three 60 degree chunks. The center section is the only undistorted section of the three.  It can be seen with both eyes at the same time. This section should be the maximum and normal width of your landscape support.  The dimensions of this support would vary depending on how far away the support is away from you. Each eye is aimed 30 degrees off center, each eye sees 120 degrees. The full visible horizon in front of you, including all of your peripheral vision of both eyes is 180 degrees.   For top accuracy use only one eye and keep your head in the same place and only use that center 60 degrees of overlapped vision.    Here is the straight horizon line used in conjunction with the surrounding concentric ring horizon line.  See how hard it is to relate the 90 degree angle of a box turned at this adjacent angle on the straight horizon, the straight horizon line would have to be a very long gentle curve.  It's simple on a concentric circle horizon line and the Horizon Bar Tool.   Every square object has a right and left vanishing point 90 degrees apart on a straight horizon line if it's adjacent plane is more than 30 degrees parallel to you. Under 30 degrees requires the concentric circle horizon line because you have to turn your head to see both vanishing points.. The box is where your feet are, the horizon line is where your eye level is.

First draw the center line. A circle's center line always goes to the Center Vanishing Point, C.V.P.

The horizon line is always at your eye level.

Your view of this subject circle has tangents that mark the horizontal center line on the circle's perspective plane. The tangent points on the subject circle from the center line Vanishing Point is the horizontal center of the circle.

Doing that makes for four 90 degree sections, divide each section in half to find the 90 degrees centered on your horizon line.

These are your centered Right and Left Vanishing Points 90 degrees apart. The remaining 90 degrees, 45 on each side should be positioned on the curved Horizon Line. They are lower than the Center Vanishing Point.

If two sides with one 90 degree angle is in view, the building's top visible sides are angled toward vanishing points ninety actual degrees apart on your horizon. No matter how tall the building is, or how far away it is, the sides are angled to these points. These points can be shared by other buildings if they're aligned to the first buildings side. As the buildings recede, the top angles will seem to increase and flatten out, but the angles on and touching the horizon line are decreasing. The total of the three angles will still equal 180 degrees. The three angles are the two vanishing points on the horizon line to the top of the building. The farther away the building is the closer it's top angle is to flat, but they still lead to the vanishing points 90 degrees apart on the horizon line and the combined angle total is still 180 degrees.

Have you ever heard there are no straight lines in nature? It's true, If you are standing in the center of a set of railroad tracts, the lines at your sides are parallel, they curve and join at some point out there in front of you, toward the horizon. The same with a telephone pole, it has straight lines at eye level and curves to a point up there, heading to the astral vanishing point. There is another vanishing point down below, the terrestrial vanishing point. The center of the curve is at your eye level.
 
 

The "astral" and "terrestrial" vanishing points are above and below the building, 180 degrees apart. Since we're working with two sides and no angles, they stay 180 degrees apart. Can you imagine how tall a building would be to meet up with the astral vanishing point? See what I mean about no straight lines in nature, The building starts off at eye level as two parallel lines, than they curve gradually upward toward the astral vanishing point directly above you.

The terrestrial vanishing point could be used like this. Your looking obliquely down at a table top with a lighter on it. With your angle of vision it's 45 degrees below the horizon line or, 45 degrees below your eye level. The sides of the lighter are heading down to the terrestrial vanishing point, they are not going plum-line or straight down, they have angles to meet at the terrestrial vanishing point.

To find the optical center of any side of a building, in any rotation, join the four corners of a side with an "X". Straight up from the center of the "X" is the top of the gable.

The ground your standing on, if it's level, connects visually to the distant horizon line. Let's say you and your friend are both six feet tall. A hundred yards away, on level ground, his eyes and your eyes would still be on the same height, level to the horizon line. The line connecting your feet is the variable, it's angled up to the horizon line making him seem smaller.

To use this principle on an object, let's say a canoe is setting sideways in front of you. You want to draw it one hundred yards out there. You need to get the right length to distance ratio to make it appear the same size. This is easy, connect the two end points of the canoe to a vanishing point on the horizon line in the direction you want the canoe to be in, either on or off the center line of your picture. The canoe is correct anywhere between these two lines. The same principle applies to the mast if it were a sailboat.
 
 

A piece of equipment I made is used to plot two vanishing points of any building 90 degrees apart. It can be ten foot long or longer for larger paintings. A bar attaches to the back of the painting, level with and behind the picture's horizon line. It has two straight edge bars on pivots that clip onto the main bar and lock down on the perceived vanishing points of the top of the building. Sometimes times both vanishing points are off the page in a 60 degree wide picture. This tool will adjust for the earth's curvature.

Match up the buildings most extreme top angles with the straight edge arms and hinge clip them onto the horizon bar, matching and lining up the angles of the straight edge bar to the buildings image. I look at the building and point to the extended vanishing points on the horizon line to the left and right in my pictures view and clip the arms on at those points. That position works now for any building in my picture with those compass aligned angles, as in a row of buildings down a street. Swinging the bar down will give you the correct angles of the windows, doors, bricks, etc. 
 
 

Your reflections are only there for you to see, they angle straight toward you, not straight up and down in relation to the sides of your picture.
New window link to Reflections.
 
 

Light interpretation as it relates to object edges. With the sun overhead and both the foreground and background in sunlight, the object behind is darker than the closer objects top edge.

Look at the sky as the background, notice any object is darkest next to the light while the sky is lightest next to the dark object.

It's coolest next to the warm, as when a sun lit edge meets the shadow.

The "Culminating Point" is a reflective term, the closest part of an object is the brightest if there is no direct incident light to interfere.

The sky's contrasts combine both the earthbound object's contrast rules and the water contrast rules, it can either be lighter or darker behind the closer cloud.
 
 

Have you ever noticed that barometric pressure keeps the cloud bottoms flat? If you made ten lines, a radiating grid from your center line's vanishing point on the horizon to the top corners and across your picture, and spaced the horizontal lines one hundred feet apart starting at the zenith to the horizon line, the variable would be the space between the horizontal lines. This grid would be the barometric bottom of the clouds.

On earth grids, concentric lines around you are the horizontal grid lines. On sea grids, use only the center vanishing point lines and any wave's horizontal lines.

Earth and Sea Grids will keep objects attached to the ground plane or sea waves in perspective.
 
 

34-2, CONCENTRIC RINGS AROUND YOURSELF.

34-3, GRIDS

34-4, AERIAL PERSPECTIVE
 
 

All concentric ring lines stay an even distance around you, you are the bull's eye of a target. Any distance line that is obvious in your scene will form on a concentric ring. Color values, distance, can be recognized from ring to ring. There's a difference between colors in the ring 10 yards in front of you and the ring 50 yards in front of you, try it, soon you will see the difference in every ten yards. Don't use one distance's palette colors in another's ring.

Colors within the first 10 yards are at they're highest chroma, the lights are brightest and the shadows are the deepest. Here are my basic ring distances away from me, 10 yards, 50 yards, 100 yards, 500 yards, 1/4 mile, 1/2 mile, 1 mile, 10 miles, 50 miles, 100 miles. Each ring's colors would not be repeated inside other rings. The foreground rings use the opposition of green and magenta for a medium neutral dark [CCYY+MMMM], the background uses green and purple [CCYY+CMMM], adding the extra cyan gives a more ultramarine blue to the mix.

The color and brightness of objects are effected by the addition of air and moisture in the air, air is a filter of Yellow and adds Reflected White Light, plus Cyan and Magenta.

What this means in paint is a slight difference in color opposition's, instead of the main opposition being Magenta and Green, it's Green and Purple, the split opposition or split analogous opposition. This filters out the Yellow. The mix of Green and Purple make the cool Blue of the distance.

When Yellow is used in the distance, it's mixed with white. Yellow light and blue light would make white light. Because we have no transparent Yellows or Ultramarine Blues, these pigment colors mix to Green instead of a neutral dark.

Shadows in the foreground are made by adding the opposite color to the local color, in the background the cooler split complementary color is added to the local color instead of the medium opposite color. Split complementary colors are two colors next to each other called "analogous". That is two colors opposite one color, across the wheel. Here's an example, Green is opposite Magenta, the split complementary colors of Green are on each side of Magenta, Scarlet and Purple. Add a split complementary color, Purple pigment to Green pigment for the cool distant color.

PAGE LIST, CHAPTER #35
THE "ARTISTS REAL COLOR WHEEL" in pigment.
COLOR WHEELS
THREE, SIX AND TWELVE COLOR WHEELS
TWENTY-FOUR COLOR WHEEL, SIXTY COLOR WHEEL
TRANSPARENT-OPAQUE COLORS,
COLOR IN ELEMENTS, CRYSTAL
PIGMENTS, OIL.
PIGMENTS, 18 IMPORTANT COLORS.
PIGMENTS, THE BUYING ORDER.
PIGMENTS, FULL OIL COLOR WHEEL.

35-17,19 OIL MEDIUMS.

35-20, ACRYLICS.

35-21,23 WATER COLOR PIGMENTS.
 

Start

??RIDDLE?? What six, divided in two, is one? A. The basic six color wheel making the primary 3 color wheel in light or pigment.

There are two different basic three color systems in one six color wheel, one for pigments, one for light. They each use the same colors differently.

In each case, the three primary colors divide to the other systems secondary three colors. One six color wheel includes both systems, six basic colors make the two systems and one color wheel.

An opaque pigment is a dense solid, like a rock. A transparent pigment you can see through, like glass, water, dye or stain. A "Tyndall" beam of light will pass through a transparent solution unseen.

A translucent is a colloidal solid, particles of solid so small they are continually suspended but not dissolved. Milk is a colloidal liquid, solid fat dispersed in clear water, add more water and it becomes more translucent. It can always be more translucent but never transparent, the beam of light will always show.

Wax, oil and mastic are transparent turpentine vehicles to hold pigments, oil will yellow.

Barite is a translucent Mineral White extender.

Aluminum hydroxide is a mix of potash and alum precipitated together in solutions, it sponificates clear in oil.

Clay is hydrated aluminum silicate, and ranges from translucent to opaque. It is decomposed feldspar.

Pigments that contain clay are Ultramarine Blue, Ochers and Burnt Ochers, Umbers, Raw and Burnt Sienna, Green Umbers, Venetian Red, not Naples Yellow.

Opaque Chalk, calcium carbonate, converts to Plaster of Paris when heated. It's best in pastels.

Barite is heavy spar, mineral white, barium sulphate, it's translucent in oil and used to extend the Cadmium Red substratum dye pigment. Barite is a translucent Mineral White in oil paint.

Gypsum is a hydrated calcium sulphate called light spar, it ranges from transparent to a calcined White that sponificates clear in oils and is used in cements when calcined. It contains some sulfur that will effect some pigments. Gypsum is best in W/C's and pastels.

Ultramarine Blue is colloidal sulfur in a substratum form deposited on a base. A translucent pigment on a translucent base of Barium Sulfate or Aluminum Hydroxide.

Cadmium Yellow is a substratum color precipitated on a filler or base such as clay or barium. Cadmium Lemon is an opaque pigment precipitated on Titanium White as a base, it's an opaque color.

The reason Cadmium Yellow and Ultramarine Blue mix into a green opaque color is they are both opaque substratum colors instead of transparent colors. Food coloring is transparent. If you mix yellow and Ultramarine Blue, [a mix of Magenta and Cyan], together as dyes, they would make a neutral dark. An element like Iron decomposes from Yellow to Brown to Black.

Green Ocher, Yellow Ocher, Sienna, Red Ocher and Brown ocher are the colloidal iron particles precipitated on clay, they can never be transparent, only degrees of translucent and opaque.

If three primary transparent pigment colors were combined, they would form a neutral dark. You could use either a warm Quinacronone Magenta or a Cool Cobalt Violet [duel-toned from Violet to Magenta], either Magenta would work. Added to a Cyan Ferric-ferrocyanide or a Cyan Phthalocyanine, they would make Ultramarine Blue. The third primary to mix in would be Cobalt Yellow or Indian Yellow, they would make a neutral dark. Cobalt Yellow is translucent so it's far from perfect and we have not had Indian Yellow since 1890.

Staining coats an opaque solid with a transparent dye, both colors are seen in combination on the solid opaque, The more dispersed the solid the more translucent the liquid. Bleeding colors happen when the dye separates from the solid or the colloidal color moves within the drying medium.

Yellow will mix either analogously around the rim of the color wheel, making Yellow-Green or Green with Cyan, or Orange and Red with Magenta. Or it can move to the center of the color wheel and be a warm tan or brown as it does in the crystals.
 
 

Crystals will show that Brown, Yellow and Red are different hues of the same coloring element. They will also prove elements stay within there color boundaries. The painting properties of a pigment depend on the elements making that pigment. The copper element could never be yellow, each element has it's own limited range. Copper is an example, with it's limited range only going straight across the color wheel. The Cuprite crystal [Cu2O], is a transparent Red-YYMM, #3 on the Standard Color Index. The ore of copper [Cu] is an opaque Red-Brown, off of the full chroma rim, a centering brown color. It's opposite color on the other side of center is Cyan, Copper's dissolved color.

Turquoise is a transparent phosphate crystal of copper,

CuAl₆[P0₄]4[OH]_8.4-5H20, #9,[CCCC], Cyan, on the Standard Color Index.

Red-Scarlet,[3Y4M], plus it's complement, Cyan-Turquoise or Cyan Yellow/side, [4C4Y+3C3M], looks like this, as an opposition formula. [3Y4M]+[4C4Y+3C3M] = [7Y7M7C] or [7YMC] or [White], they all equal Neutral White light. Of course the same formula will make the neutral dark on the pigment color wheel. The transparent Mercury sulfide crystal, [HgS], is the Standard Color for Scarlet, #4, [YMMM]. Cinnabar also forms as an opaque mass, and makes the perfect opaque Red #3, Vermilion, it also makes colors ranging toward the center, through the color brown. Mercury won't cross over the center, as most elements won't.

The transparent Yellow-Green crystal, Sphalerite, [Zn,Fe]S, is #11. Sphalerite is the ore of zinc. It has an analogous color range from Green to Red, when it becomes allochromatic with the addition of the foreign element iron to the compound. Some elements like carbon, iron, fluorine, and zirconium can produce the entire color circle.

Transparent yellow moves to brown in the elements Iron, [Fe], and Titanium,[Ti], as in the allochromatic Citron crystal, Quartz,[SiO₂], and the idiochromatic Sphene, [CaTiSiO₅], which has Titanium already in the compound.

Transparent yellow can also turn red with the element iron, as in the Sphalerite crystal, and Titanium dioxide turns red or brown in the Anatase crystal,[TiO₂].
 
 

Here is a 2", 200dpi, JPG Real Color Wheel to carry in your wallet, print it out.

Pigments are transparent, translucent or opaque, some need added bulk and are precipitated on transparent, translucent or opaque bases.

BARYTA WHITE- Opaque. This is a heavy spar with very little coloring power, usually it's a pigment additive. Barite is crystal of barium sulfate, called heavy spar. Barite is a non-metallic mineral crystal mined in England, filling the cavities in limestone. As barium it's an extender in lead based and cadmium paints.

HYDRATE OF ALUMINA, alumina, the oxide of aluminum present in clay, transparent to translucent

ACRYLIC POLYMER EMULSION, Transparent

WAX, Transparent

Here are some permanent chemical pigments used in oil and acrylic paints today.

TRANSPARENT YELLOWS

PY3 stable di-arylide = Yellow Lemon on barium sulfate, Gamboge, Indian Yellow
PY83 stable di-arylide = Yellow Deep, Madder Lake, Alizarin Crimson, Italian Brown Pink Lake.
PY83 stable di-arylide HR = Indian yellow
PY153 dioxine nickel complex = Indian Yellow Golden & Brown, Gamboge, Indian Redgold, Sap Green, Indian Yellow Green
PO69 isiondolin = Yellow, Orange
PR260 isoindolin = Indian Yellow Golden, Vermilion to Red Scarlet dual-toned
PY129 methin copper complex = Golden Green, Indian Yellow Green with PY153
PR101 synthetic iron oxide = Translucent to Opaque Yellow to Brown
 
 

YELLOW PIGMENT COMPOUNDS THAT WORK WITH TRANSPARENT TRIADS FOR FULL COLOR NEUTRAL DARK OPPOSITION PAINTING

Transparent colors are precipitated on alumina, the oxide of aluminum present in clay. Another base for these colors could be wax, cyclohexanone or an acrylic polymer emulsion.

PY153 dioxine nickel complex + PR 260 isoindolin = Indian Yellow Golden.
PY153 dioxine nickel complex + PY42 synthetic iron oxide = Indian Yellow Brown.
PY153 dioxine nickel complex + PY3 stable di-arylide = Gamboge. PY83 stable di-arylide + PR101 synthetic iron oxide = Italian Brown Pink Lake.

I would love to try PY153 dioxine nickel complex + PY83 stable di-arylide.
But the first acrylic color should be PY153 dioxine nickel complex + PY3 stable di-arylide on alumina, = Gamboge Synthetic.

TODAY'S PERMANENT TRANSPARENT PIGMENTS

PY153 dioxine nickel complex + PR 260 isoindolin = Indian Yellow Golden.
PY153 dioxine nickel complex + PY3 stable di-arylide = Gamboge
PR 170:F5rk naphthol carbamide = Scarlet Pink
PV19 quinacridone = Rose
PR122 quinacridone = Magenta
PV23:1r carbazole dioxazine = Purple
PV23 dioxine nickel complex = Permanent Violet Blueish transparent secondary blue, tints to Ult. Blue.
PB60 anthraquinone = Blue Deep to Turquoise
PB15 copper phthalocyanine = Cyan (Thalo Blue) to Green Y/S
PB7 Chlorinated copper phthalocyanine = Turquoise to Green
PY83 stable di-arylide + PG7 chlorinated copper phthalocyanine > = Sap Green Y/S
PY83 stable di-arylide HR + PO7 chlorinated copper phthalocyanine + PO43 perinone orange = Sap Green O/S
PY129 methin copper complex = Green Gold
PY ? azomethine = Genuine Green Gold
 
 

TODAY'S PERMANENT TRANSLUCENT TO OPAQUE CHEMICAL PALETTE PIGMENTS,
needed for their opaqueness and brilliance.

PY35 cadmium Zink sulfide = Cadmium Yellow Lemon
PT37 cadmium sulfide = Cadmium Yellow Light, Medium
PO20 cadmium sulfo-selenide = Cadmium Orange
PR108 cadmium seleno sulfide = Cadmium Red Light, Medium
PR101 synthetic red iron oxide = Red Oxide
PY42 synthetic yellow iron oxide = Yellow Oxide
PBr7 natural iron oxide, raw and calcined = Siena and Umber
PB29 silica, aluminium, sulphur complex = Ultramarine Blue
PB28 oxides of cobalt and aluminum = Cobalt Blue
PG17 anhydrous chromium senquioxide = Chromium oxide Green

My Oil Pigment palette, the acrylic palette has no transparent yellows.
IN THIS MY OIL PALETTE ORDER, COMPLEMENTARY COLORS ARE NEAR OPPOSITE EACH OTHER

White is in the middle of the palette. The left top of the palette is Liquitex Dioxazine Purple, Mussini Ult. Blue Deep or Light, Rembrandt Cobalt Blue Deep, Grumbacher Thalo Blue, Mussini Opaque Green Light and Mussini Thalo Green or Grumbacher Thalo Green Y/S.

The left side goes from the top Liquitex Dioxazine Purple, Mussini Bt. Umber, Mussini Bt. Sienna, Blockx Venetian Red, Mussini Yellow Raw Ocher, Mussini Naples Yellow Light or Deep to Daniel Smith Quinacridone Magenta at the bottom.

The bottom row of colors is Daniel Smith Quinacridone Magenta, Rembrandt Rose, W/N Cadmium Red Light, Rembrandt Chinese Vermilion Extra, Mussini Cadmium Orange, Old Holland Indian Yellow-Brown Lake Extra, Old Holland Indian Yellow-Orange Lake extra, Old Holland Gamboge Lake Extra, Old Holland Cadmium Yellow Medium, Grumbacher Cadmium-Barium Yellow Pale, Bellini Lead Yellow Lemon is in the bottom right corner of the palette.

The right side is from Mussini Thalo Green on the top, then Mussini Permanent Green Light, Mussini Genuine Golden Green, Old Holland Yellow Green and Bellini Lead Yellow Lemon at the bottom.
 
 

Notes from the color industry, Alternatives to Cadmium Pigments.

It is apparent that we should not count on cadmium pigments being available forever. Golden Artist Colors has undertaken research in an effort to identify and market suitable alternative pigments. Important characteristics include hue or color position, chroma or color saturation, opacity, indoor light fastness, and tinting strength. Alternatives should also present distinct advantages over cadmium pigments in the areas of potential toxicity, environmental impact and exterior light fastness. This is quite a list of objectives, and presents a difficult task, particularly in the yellow range.

Today, there is no company to my knowledge concentrating on making transparent yellows or reds with dark mass tones. Old Holland oils has the only close Indian Yellow range. Instead, translucent and opaque yellow and red is the direction pigment manufactures are taking.

With the introduction of the Pyrrole family of pigments in 1988, there appear to be good offsets for cadmiums in terms of these identified criteria, for the orange to medium red range. Additional products utilizing this chemistry, currently under development by the industry, will extend this range into the darker reds. The pyrrole family of pigments is currently represented by three colors, Pyrrole Orange, Pyrrole Red Light, and Pyrrole Red. These are strong tinting, high chroma colors with excellent light fastness but without a deep mass tone.

Identifying suitable alternatives for the cadmium yellows has been a somewhat more difficult task. The Bismuth Vanadate family offers many of the attributes being sought, but concerns over the toxicity of the constituent heavy metals (bismuth and vanadium), seem to indicate they may offer little benefit over cadmium pigments. A member of the arylide family of pigments seems to offer the best choice for the artist eschewing cadmium pigment.
This pigment, PY 74, is the colorant in Hansa Yellow Opaque. It is of a hue between Cadmium Yellow Light and Cadmium Yellow Medium. Its relatively high opacity and excellent interior light fastness are characteristics not normally encountered in this class of pigment. Outside, its light fastness is far superior to cadmium yellow and should also exceed the performance of Hansa Yellow Medium (PY 73) and Hansa Yellow Light (PY 3), the other members of this pigment family. There are currently no environmental or toxicity issues associated with PY 74. The tinting strength of Hansa Yellow Opaque is also significantly higher than what might be expected from an arylide and is closer to that characteristic of a cadmium pigment. The arylide yellows are entirely organic in composition, containing no metals. While one pigment doesn't provide a range of choice equal to that available in the current range of cadmium yellows, it is a starting point. Using it as the primary component of a mixing color will extend its attributes to other hue positions.

Although the properties of these new organic pigments are in many ways similar to cadmium colors, they are not identical in every respect. The biggest variation is how the colors mix to create new colors. Organics typically produce cleaner, less muddy mixtures. Other colors, such as the iron oxides, can be added if muddier colors are needed.

Once established, a pigment is rarely deemed entirely superfluous. Cadmium pigments will always have devotees, regardless of any disadvantages, for as long as it is manufactured. An example of this persistence is the continued demand for true Alizarin Crimson, a pigment that fades badly, long after the introduction of the highly stable quinacridone family, from which a nearly identical match may be made. Another example is the continued demand for lead white, despite its toxicity, concerns about environmental impact and suitability of Titanium and Zinc White blends.

These notes come from a chemist, not a practicing artist. ~:^)

We as artists have lost lead yellows, including antimony yellow and the magnesium euxanthate yellow that was called Indian Yellow because we had no champion. That painting art is lost.

Long term availability of cadmium pigments may be determined by regulatory pressure or by reduced demand resulting from the increased use of new pigments.

End of Paint Industry comments.

As you can see, we as artists are going to have to contend with another set of pigment color properties. They don't relate to the color properties we had at the turn of the century. More great news, 2003, Liquitex has a new great medium for acrylics. It's called, Blending and Painting Medium. It extends drying time a little and makes blending edges a lot easier.

BROWN IS A TINT OF YELLOW IN PIGMENT. Yellow is the warmest color and the fastest to turn cool with the pigment Black turning it green, never brown. So by using black pigment, Yellow is disabled except for the muddier green spectrum colors. Don't use the pigment Black in landscapes, period. Any dark neutral is easy to mix with any of seven different sets of opposition colors.

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Here is a full color wheel of pre-made commercial pigments I like. The color wheel is like a clock face, Yellow on top and "Read Red Right", 12:00=Yellow, 4:00=Magenta, and 8:00=Cyan, are the primary pigment colors.

MY PALETTE IN OILS, 1 to 18 with mixing tips.

01. Lemon Yellow, 02. Indian Yellow Orange Lake Extra, 03. Cadmium Orange, 04. Cadmium Red Medium Light, 05. Naples Yellow Light, 06. Yellow Brown Lake Extra, 07. Yellow Ocher, 08. Venetian Red, 09. Burnt Sienna, 17. Burnt Umber, 11. Dioxine Purple, 12. Ultramarine Blue, 13. Cobalt Blue 12. Thalo Blue, 13. Magenta Quinacridone, 14. Cobalt Violet Phosphate, 15. Thalo Green, 18. Gamboge

These 18 colors are a very complete palette, not every one is used every time. Some of these colors can be replaced internally. For instance, Gamboge, Thalo Blue and Quinacridone Magenta will make a neutral Dark, so you can paint a complete painting with only three oil based paints.

Warm Magenta plus Thalo Green make the perfect Neutral Dark for the foreground. It's an afternoon opposition.

Ultramarine Blue plus Burnt Umber makes another perfect neutral, it has a big range of warm and colors on each side of neutral. This is a morning opposition, Yellow is actually a tint of Brown in the RBG system.

The coolest complementary on the palette mixes Thalo Blue with Cadmium Red Medium, a perfect dark to light, neutral gray. This mixture has a very short range of neutral however because of the opaque red. This is an evening opposition.

Purple and Orange will make an opaque Burnt Sienna.

Cadmium Orange, Cadmium Red Medium and Bt. Sienna will make a good opaque Venetian Red.

Cadmium Lemon Yellow and Bt. Sienna will make Yellow Ocher.

Ultramarine Blue and Bt. Sienna will make Bt. Umber.

Cobalt Violet Light Phosphate, [Cool Magenta], and Thalo Blue will make Violet, Purple, Ultramarine Blue, or Azure.

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THIS WOULD BE THE BUYING ORDER IN OIL PAINTS, 1 to 21. YOU COULD STOP AT #3, #5, #7, OR #15, AND PAINT ANYTHING IN FRONT OF YOU.

A full palette with only 3 oil pigments. Gamboge makes the best dark, better than Indian Yellow. The three colors uses to make this color circle were, Old Holland Gamboge Grumbacher Thalo Blue Danial Smith or Old Holland Magenta Here is the same color chart made by my friend Scott Methvin

01. Old Holland, Gamboge Lake Extra, Transparent Yellow.

02. Grumbacher Thalo Blue.

03. Danial Smith Quinacridone Magenta.

04. Blocks French Ultramarine Blue Light, the dark has more Magenta in it so it's a different color.

05. Grumbacher Bt. Sienna

06. Grumbacher Thalo Green.

07. Rembrandt Chinese Vermilion Extra, a translucent Red Medium. Extra means synthetic.

08. Grumbacher Cadmium Barium Yellow Pale.

09. Grumbacher Burnt Umber,

10. Grumbacher Carbozle Dioxazine Purple

11. Mussini Cadmium Orange

12. Bocour Cobalt Violet Phosphate, a duel-color from an almost warm Magenta to a cool pink magenta that matches the lithographic printer's magenta.

13. Mussini Yellow Raw Ocher.

14. Blockx Venetian Red.

15. Mussini Naples Yellow Light. The Antimony Lead version is not in wide production.

16, Rembrandt Asphaltum Extra. A weak, oily, warm Yellow-Brown transparent glazing color.

17. Mussini Transparent Yellow Oxide, a translucent dark tan to yellow duel-tone color.

18. Mussini Raw umber, a warm translucent Brown to Yellow-Brown that cools with the addition of White.

19. Mussini Green-Gold Transparent duel-tone warming up to a transparent light Yellow-Green from a mass-tone green-oxide color.

20. Grumbacher Green Earth, a translucent pigment that mixes with Rembrandt's Chinese Vermilion Extra translucent. They mix warm or cool in the flesh range, use Naples Yellow Light for the Yellow. This is an "old masters technique"

21. Rembrandt Chromium Green Oxide opaque.
 

CLICK HERE FOR LIGHT TO CRYSTAL CONVERSION INTER-ACTIVE CHART, go to the Color Section in a new window.

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COLOR WHEEL, Artist's Real Color Wheel in Light and Pigment

New window, Real Color Wheel Main Page

New Window comparing color wheels.

 
 

Here is the 36 color RCW palette with an extra
warm yellow to match pigments, plus a tinted mode.

The first Number is their spectrum color wheel order, the colors are listed in my painting palette order which is different. White is in the middle of the palette. Here is the list of pigments in their spectrum order.

I keep all 37 of these pigments on hand with me. 00. Mussini Zinc Yellow,   01. Bellini Lemon Yellow,   02. YYYY, Grumbacher Cadmium Barium Yellow Pale,   02a. YYYY, Mussini Cadmium Yellow Lemon,   04. Old Holland Gamboge Lake Extra,   05. Schmincke Mussini Cadmium Yellow Middle,   06, Old Holland Indian Yellow-Orange Lake Extra,   06a. Old Holland Indian Yellow Brown Lake Extra,   07. YYYM, Mussini Cadmium Orange,   08. Rembrandt Chinese Vermilion Extra,   09. YYMM, Cadmium Red Medium,   10, YMMM, Rembrandt Rose,   11. MMMM, Danial Smith Quinacridone Magenta,   12. MMMM, Bocour, New York, Cobalt Violet Phosphate,   13. MMMC, Liquitex Carbazole Dioxazine Purple,   14. Grumbacher Dioxazine Purple,   15. Ultramarine Violet,   16. MMCC, Blocks French Ultramarine Blue,   17. Mussini Ultramarine Light,   18. Mussini Cobalt Blue Light,   19. CCCC, Grumbacher Thalo Blue,   20. CCCY, Rembrandt Blue Green,   21. CCYY, Mussini Phthalo Green,   22. Mussini Opaque Green Light,   23. Grumbacher Thalo Green Yellow/Side,   24. Mussini Permanent Green Light,   25. Winsor and Newton Sap Green,   26. CYYY, Old Holland Yellow-Green Organic Opaque,   27. Mussini Naples Yellow Light,   27a. Mussini Naples Yellow Deep,   28. Mussini Yellow Raw Ocher,   29. Mussini Translucent Yellow Oxide,   30. Rembrandt's or Mussini's Asphaltum,   31. Mussini Raw Umber,   32. Mussini Burnt Umber,   33. Mussini Burnt Sienna,   34. Blocks Venetian Red,   35, Rembrandt Chromium Green Oxide,   36. Grumbacher Green Earth,   37. Mussini Genuine Golden Green,

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Interactive Real Color Wheel Matching Tube Pigment Colors in RGB and YMC.

Each colors number relates to it's position on the 36 color Real Color Wheel. These 36 RCW colors get dark just as they do in crystals.
Opposite complement pigments mix dark shadow colors just as nature makes shadows on sunlit items.
The top color Yellow is the color numbered (1a.) The number (1b) is a darker version of (1a)
on the way through the dark middle to it's opposite color, (19a) Ultramarine Blue.
Just as the Titanium Crystal, Rutile 

Test your monitor, the top button is the deepest Black.
The lower radio button is White. Go back to White.

Enter a color name or hexidesimal code, FFFFFF = White (all colors full, the numbers 000000 = black (no color). Use numbers in groups of 33 to be web safe. Examples: FF0000 is red, 990000 is a dark red color red and no other colors, 660000 is a darker red, 33000 is very dark red. 00FF00 is green, 0000FF is blue, CCCCCC is neutral gray.

Top-tone is adding White to the color. Under-tone is adding clear. Mass-tone is thick out of the tube.
Click the radio button to change the background to the matching tube color.

01a. Bellini Lemon Yellow, Lead Chromate, a light cool Yellow.  #"FAFF28", RGB, R=255 G=255 B=000, CMYK= 80Y 20M

01a. YYYY, Grumbacher Cadmium Barium Yellow Pale, a middle Yellow.  #"FFFF0E", R=255 G=255 B=014

01a. YYYY, Mussini Cadmium Yellow Lemon, the middle Yellow.  #"FFFF00", R=255 G=255 B=000, CMYK= Y

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01b. Mussini Zinc Yellow, the coolest Yellow. An extra color. #"F1F10A", RGB, R=241 G=241 B=010

01b. Mussini Cadmium Yellow Pale, a slightly cool Yellow.   #"FFFA43", R=255 G255 B=040

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01c. Old Holland Gamboge Lake Extra, a Yellow-Orange dual-tone changing to a Cadmium Yellow Under-tone.  #"FF9F00", R255, G255 B000 

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1c. Old Holland Indian Yellow-Orange Lake Extra, a dual-toned Orange to Yellow transparent color. #"FF5700", R=255, G=087, B=000 The pale undertone is a strong Yellow-Pale while the top mass-tone hue is Orange and Vermilion mixed 1:1. This color can replace the famous "golden transparent", one of the two color aspects of Natural Indian Yellow.

Here is the dual-toned Under-tone color of Old Holland Indian Yellow-Orange Lake Extra. #"FFF000", R=255, G=240, B=000

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1d. Old Holland Indian Yellow-Brown Lake Extra. It makes a good dark triad neutral, but not a strong Yellow, more like a Cadmium Yellow Middle Under-tone. (Old Holland Indian Yellow Brown Lake, has a Warm Tan Ocher top-tone with a Middle Cadmium Yellow undertone. It makes a poor Orange but will turn Ultramarine Blue to a nice Neutral Dark if that is all you had on a three color palette.) We artists REALLY need this color in acrylics and water colors, not just in oils by only one manufacture. NEW, Liqutex Quinacridone Acra Gold in acrylics. A Yellow/side Burnt Sienna if you will. #"986011", R=152 G=096 B=017. Below is the Under-tone color of Old Holland Indian Yellow Brown Lake Extra and Liqutex Acra Gold Quinacridone PO:49 + PO:45.

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1e. Rembrandt or Mussini Asphaltum, the ancient color Bitumen, a transparent dark brown/yellow side, Rembrandt used this favorite glaze to transcend dark (Doerner). The Smithsonian says he did not use this color?  #"331D00", R=051, G=029, B=000. New in Liqutex, Van Dyke Red Hue, mixes neutral with Ultramarine Blue. Way to go Liqutex!

A transparent Under-tone of Rembrandt or Mussini Asphaltum and the new Benzimidazolone PBr:25 is clickable below

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1e. Mussini Burnt Umber, a calcined translucent warm Red-Brown. Note: Cadmium Yellow also darkens to this color in the "Real Color Wheel" using this Brown to form all warm Yellows.  #"331500", R=051, G=021, B=000, CMYK= Y M C

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02a. Mussini Naples Yellow Light, an opaque Nickel and Titanium replacement for Antimony Yellow. This is the first of eleven pre-made with added white colors, they must be added to a complete painting color palette. This was the traditional (1875) base flesh tone when made with Antimony Lead, later and earlier lead-tin Yellow was used. #"FFEDA8", R=255 G=237 B=168, CMYK= 60Y 20M

03a. Mussini Naples Yellow Deep, (True Naples is either Green-side, Yellow-side or Red-side, higher firing temperatures make warmer, lighter colors.  #"D9A878", R=217 G=169 B=120, CMYK= 60Y 40M

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2b. Schmincke Mussini Cadmium Yellow Middle is more Yellow than Grumbacher Cadmium Yellow Medium. #"FFED09", R=255 G=337 B=009, CMYK= Y 20M

05a. Grumbacher Cadmium Yellow Medium. #"FFE709" R=255 G=231 B=009

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02c. Mussini Yellow Raw Ocher, opaque tan. #"9B6A26", R=155 G=106 B=038, CMYK= 80Y 20C 40M

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02d. Mussini Translucent Yellow Oxide, dual-toned red-tan, add white for a yellow-tan. It has the same mass-tone matching color as Mussini Indian Yellow Brown Lake Extra.  #"986011", R=152 G=096 B=017

A top-tone of Mussini Translucent Yellow Oxide is clickable below

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4a. YYYM, Mussini Cadmium Orange, opaque. #"FF8200", R=255, G=130, B=000, CMYK= Y 60M

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4b. Mussini Burnt Sienna, transparent Red-Brown. Orange changing to dark brown, goes through Burnt Sienna. Above click is the mass-tone from the tube.  #"4D0000", R=077, G=000, B=000, CMYK= Y 60C M

To See an Under-tone (the color with clear medium) of Mussini Burnt Sienna, click below.

Below is a high Top-tone tint of Mussini Burnt Sienna.

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6a. Rembrandt Chinese Vermilion Extra, translucent bright Red Light. #"FF3200" R=255 G=050 B=000, CMYK= Y 80M

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07a. YYMM, Cadmium Red Medium. #"FF0000" R=255, G=000, B=000, CMYK= Y M

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7b. Blocks Venetian Red, warm opaque. Cadmium Red going to neutral dark black. #"A60000", RGB, R=153, G=000, B=000, CMYK= Y 40C M

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10a, YMMM, Rembrandt Rose, transparent Scarlet-Crimson. #"F1004C", R=241, G=000, B=076, CYMK= 90M

An Under-tone of this tube color is here below.

Here below is a light Top-tone of Rembrandt Rose, the perfect Pink, notice it is getting cooler. #"FF4186", RGB, R=255, G=065, B=134

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12a. MMMM, Danial Smith Quinacridone Magenta, a warm dual-tone Magenta with a cooler mass tone similar to Cobalt Violet and a warmer top-tone, it mixes to a perfect neutral dark with Thalo Green. #"BD0053" R=189 G=000 B=083, CMYK= M. All complementary colors make perfect neutral grays and blacks, that can be adjusted warm or cool.

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13a. MMMM, Bocour, New York, Cobalt Violet Phosphate, transparent dual-toned, dark mass-tone to a cool Top-tone pink when mixed with White and a warm Under-tone pink when mixed with medium. This color is perfect for making Ultramarine Blue using Thalo Cyan. #"BD0081" R=163, G=000, B=109, CMYK= 10C 90M

Cool Top-tone below

Cooler Top-tone with more White below,

Warm transparent Under-tone below

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16a. MMMC, Liquitex Carbazole Dioxazine Purple, transparent. With the addition of White, this pigment completely changes into a cooler color Purple, it is dual-toned. #"300030" R=048, G=000, B=048, CMYK= 80C M

A tint Top-tone color of this pigment is this radio button below. 

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16a. Grumbacher Dioxazine Purple, the same mass color as #13, this tube color looks like this. With the addition of White this pigment fills the warm slot. The tinted color of this pigment is this radio button.

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18a. Ultramarine Violet, translucent, from the tube. #"260035", R=038 G=000 B=053, CYMK= 80C M

A Top-tone tint of this color is:

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19a. MMCC, Blocks French Ultramarine Blue, translucent. #"150036", R=021, G=000, B=036, YMCK= C 80M

A Top-tone tint of this color is:

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19b. Mussini Ultramarine Light, translucent. #"150064", R=021, G=000, B=100

A Top-tone tint of this color is:

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22a. Mussini Cobalt Blue Light, opaque. Nobody makes a true Cobalt Blue anymore, the artificial colors are in this Opaque Azure range, there are no Transparent Azures available. #"00255C", R=000, G=037, B=092, CMYK== C 80M

A Top-tone tint of this color is:

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25a. CCCC, Grumbacher Thalo Blue, transparent, a perfect Cyan. This colors Mass-tone is Ultramarine Blue transparent, and the Top-tone tint color is RGB Cyan, just like the sky. The more white that is added, the warmer the color becomes. #"000040", R=000, G=000, B=064, CYMK= C. Paint the sky with Thalo Blue and Dioxine Purple to make all the colors between and including the Ultramarine Blue color. In crystal Cyan darkens by adding magenta's dark.

A middle Top-tone tint of this color:

A very high Top-tone tint of this color is, RGB, Cyan:

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27a. CCCY, Rembrandt Blue Green, a transparent Turquoise color. #"003020", R=000, G=048 B=048, CYMK= 20Y C

A lighter tint of this color is:

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29a. Mussini Opaque Green Light, a mix of Titanium and Phthalo Green, cool opaque, too handy to be in the auxiliary color wheel. #"007559" R=000, G=117, B=089, CYMK= 60Y 80C

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31a. CCYY, Mussini Phthalo Green is Blue/side, transparent. #"003010" R=000. G=048, B=016, CYMK= Y C

A tint of this color is: RGB, 000, 225, 233,

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32a. Grumbacher Thalo Green Yellow/Side, transparent. Has a warmer mass-tone than Top-tone . #"003000" R=000, G=048, B=000 

A Top-tone tint of this color is: RGB, R=000,G=255, B=176

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33a. Mussini Permanent Green Light, warm opaque. #"00590A", R=000, G=089, B=010, CYMK= 80Y 80C

A tinted Top-tone by adding white of this color is: RGB, R=000,G=255, B=147

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34a, Rembrandt Chromium Green Oxide, warm opaque. #"009B7A", R=000, G=080, B=000, CMYK== Y 80C 40M

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34a. Grumbacher Green Earth, warm translucent. #"3E5600", R=062, G=086, B=000 

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35a. CYYY, Old Holland Yellow-Green Organic Opaque has a cooler mass-tone than Under-tone. #"79C700" R=121, G=199, B=000, CYMK= 20C Y, Here below is the warmer Under-tone mixed with a clear medium.

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35b. Winsor and Newton Sap Green, #"233A00, R=035, G=058, B=000, transparent dual-tone, from a mass-tone cooler dark to a warmer tint mixing Yellow-Green and White. Caution; Most brands include black in this pigment and don't give it a permanent rating. Be safe and don't use it or use a synthetic.

A tint with added white of this color is: RGB, R=152, G=197, B=000

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36a. CYYY, Brillant Yellow-Green, transparent in acrylic, opaque in oil. #"DBFF76" R=121, G=255, B=028, CYMK= 10C Y

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36b. Mussini Genuine Golden Green, #"606300", R=096, G=099, B=000, CYMK= Y 40C 40M

A Top-tone tint by adding white to this dual-toned color is: RGB, R=246, G=255, B=000

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36c. Mussini Raw Umber, a translucent cool Brown/green side. (Yellow-Yellow-Yellow-Green darkens to this color in my light to pigment color wheel).  #"332500", R051, G=037, B=000, CMYK= Y 80C 80M

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These colors make painting very easy indeed.
Return to White

Or,

a cool neutral tint. #"CCCCCC" R=180, G=180, B=180, CMYK= 20Y 40C 20M, RCW= Any triad or complementary set of colors, plus white.

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TUBE OIL AND ACRYLIC COLORS     Top-tone is adding White to the color. Under-tone is adding clear. Mass-tone is thick out of the tube. Transparent is clear like colored glass. Translucent is floating colloidal compounds of colored elements. Milk is translucent. Opaque is dense and light blocking. YYYYYY = As Yellow as you can get on 36 color wheel. YYYYYYMMM = Orange. YYYYYYMMMMMM = Yellow and Magenta make Red.       All dots are links to pigment colors. The center links to the photo color chip chart. Colors are numbered from 1 to 36, the outer most dot starts with letter "a" .

RGB CHIP COLOR LINKS 01a.  Bellini Lemon Yellow Lead Chromate, Oil, Opaque 01a.  YYYY, Mussini Cadmium Yellow Lemon, Opaque 01a.  Yellow Light Hansa Arylide, translucent 01b.  Mussini  Zinc Yellow, Oil, Opaque 01b.  YYYY, Grumbacher Cadmium Barium Yellow Pale, Opaque 01b.  Old Holland Gamboge Lake Extra, Transparent, dual-toned 01c.  Old Holland Indian Yellow-Orange Lake Extra, Transparent, dual-toned 01d.  Old Holland Indian Yellow-Brown Lake Extra, Transparent, dual-toned 01e.  Rembrandt or Mussini Asphaltum, Transparent 01e.  Mussini Burnt Umber, Translucent 02a.  Mussini Naples Yellow Light, Opaque 02b.  Schmincke Mussini Cadmium Yellow Middle, Opaque 02c.  Mussini Yellow Raw Ocher, opaque 02d.  Mussini Translucent Yellow Oxide, opaque 03a.  Mussini Naples Yellow Deep, Opaque 04a.  YYYM, Mussini Cadmium Orange, Opaque 04b.  Mussini Burnt Sienna, Translucent 06a.  Rembrandt Chinese Vermilion Extra, Translucent 07a.  YYMM, Cadmium Red Medium and Light, Opaque 07b.  Blocks Venetian Red, Warm, Opaque 10a.  YMMM, Rembrandt Rose, Translucent Scarlet-Crimson, Oil 12a.  MMMM, Danial Smith Quinacridone Warm Magenta, PR:122, Transparent 13a.  MMMM, Bocour, New York, Cobalt Violet Phosphate, Cool Magenta, Transparent dual-toned 15a.  Manganese Violet transparent Oil, Liquitex Prism Violet Opaque, Acrylic 16a.  MMMC, Liquitex Carbazole Dioxazine Warm Purple, Transparent 16a.  Grumbacher Dioxazine Cool Purple, Transparent 18a.  Ultramarine Violet, Transparent 19a.  MMCC, Blocks French Ultramarine Blue, translucent 19b.  Mussini Ultramarine Blue Light, Translucent 19c.  Mussini Ultramarine Blue, Translucent 22a.  Mussini Cobalt Blue Light, Opaque 25a.  CCCC, Grumbacher Thalo Blue, Cyan, Phthalo, Phthalocyanine, PB:15, Transparent 27a.  CCCY, Rembrandt Blue Green, Turquoise, Transparent 29a.  Mussini Opaque Green Light 31a.  CCYY, Mussini Phthalo Green, Transparent 31a.  Grumbacher Thalo Green Yellow/Side, Transparent 33a.  Mussini Permanent Green Light, Opaque 34a.  Rembrandt Chromium Green Oxide, Opaque 34a.  Grumbacher Green Earth,  Translucent 35a.  CYYY, Old Holland Yellow-Green Organic Opaque 35a.  CYYY, Vivid Lime Green, Translucent, Acrylic 35b.  Winsor and Newton Sap Green syn.,  Transparent 36a.  Brilliant Yellow Green, transparent in acrylics, Opaque in Oils 36b.  Mussini Genuine Golden Green Translucent 36c.  Raw Umber, Translucent

01a.  Bellini Lemon Yellow Lead Chromate, Opaque 01a.  YYYY, Mussini Cadmium Yellow Lemon, Opaque.   Yellow Hansa Arylide. 01b.  Mussini  Zinc Yellow, Opaque 01b.  YYYY, Grumbacher Cad. Barium Yellow Pale, Opaque 01b..  Old Holland Gamboge Lake Extra, Transparent, dual-toned, 3_9_05 01c.  Old Holland Indian Yellow-Orange Lake Extra, Transparent, dual-toned 01d.  Old Holland Indian Yellow-Brown Lake Extra, Transparent, dual-toned 01e.  Rembrandt or Mussini Asphaltum, Transparent 01e.  Mussini Burnt Umber, Translucent 02a.  Mussini Naples Yellow Light, Opaque 02b.  Schmincke Mussini Cadmium Yellow Middle, Opaque 02c.  Mussini Yellow Raw Ocher, Opaque 02c.  Mussini Translucent Yellow Oxide, Translucent 03a.  Mussini Naples Yellow Deep, Opaque 04a.  YYYM, Mussini Cadmium Orange, Opaque 04b.  Mussini Burnt Sienna, Translucent 06a.  Rembrandt Chinese Vermilion Extra, Translucent 07a.  YYMM, Cadmium Red Medium or Light, Opaque 07b.  Blocks Venetian Red, Opaque 10a.  YMMM, Rembrandt Rose, Translucent Scarlet-Crimson 12a.  MMMM, Danial Smith Quinacridone Magenta, Warm, Transparent 13a.  MMMM, Bocour, New York, Cobalt Violet Phosphate, Cool, Transparent, dual-toned 16a.  MMMC, Liquitex Carbazole Dioxazine Purple, Warm, Transparent 16a.  Grumbacher Dioxazine Purple, Cool, Transparent