This is original, it is the only color wheel like this, copy it if you are an artist or someone working with color.
Use this Real Color Wheel to match pigments that are correct colorwheel oppositions.
For mixing dark shadow colors with out using black pigment. A color wheel designed for a natural artist painting on location.
Original Real Color Wheel
This crystal color wheel joins together the colors of Light, Crystals and Pigments.
Q. Why is a color wheel handy?
Q. When you're on location painting or photographing how do you use it?
A. In sunlight painting you see your object, you see the brightest color on it and use the opposite color to shadow it. I think I took the "hit and miss out of it" by having the correct oppositions. It takes a lot of memorizing to know every color's opposite.
Compare between an RGB/YMC colourwheel and my RCW Real Color Wheel.
See elements matching crystals, light, and pigments.
The RCW and RGB use the same 36 rim colours but each color wheel gets dark differently.
The RCW matches crystals, the RGB subtracts light, only the tint colors are the same.
Orange darkens to reds brown just like yellow and red darken to reds brown.
Orange gets redder as it gets darker.
Opaque red objects become lighter adding opaque orange pigment.
Orange objects darken by adding cad red or burnt sienna or burnt umber at any ratio.
Cadmium red light changes to cadmium red medium with the addition of transparent magenta (PR:122)
The raw umber hue is the darkest pigment for color this color I call RCW#36 yellow-green.
#36 and #1 yellow are side by side at 10 degrees each.
Likewise and opposite..
Cyan & cobalt & ult. blue darken to the same dark blue, similar to the way yellow & orange & red go to the same brown in the opposite set of 7 colors.
With cyan you have a color matching choice to go from cyan to cobalt to ultramarine before adding any of the complement burnt umber.
Magenta and green just add their opposite colors to get darker.
Here are correct tint colors - Incorrect shadow colors
RCW tint color wheel is the same as the RGB tint color
wheel, only.
The RGB/CMY colorwheel is Not for pigments,
it does not darken as pigment crystals do.
Notice in this table chart how this original crystal matching colorwheel darkens yellow to warm brown while cyan darkens to cool ult blue.
The primary color Yellow in pigments can shade to either a green Cool Dark, like in the
RGB/YMC light system. Or to a red warm dark, like my color wheel has it for
pigments. The color pigment Yellow must be on the warm side for the artist
to mix it with any other warm color. By adding a cool yellow/green pigment
to a warm yellow color you would lessen the intensity of the yellow and make
it muddy.
Yellow to Black in the RGB is very similar to Green's dark in both the
RGB and CMYK colorwheels. The Real Colour Wheel, RCW, is different. Yellow goes to Red's warm dark
brown not green's cool dark. As in the Titanium crystal Rutile. Link
There are two groups of thinking among the color theorists.
1) One does not have to be an artist to have an excellent understanding of color, it's a science.
A) Transparent to opaque and handling qualities aren't as important as the final dried chip color
to the non-artist where as with the artist they are paramount.
To the current scientist the computers RGB and CMYK colorwheel is the basis of all knowledge about
color, it runs the presses but needs some tweaking for the artist using pigments to use it.
A) One does have to be an artist to understand how to change colors in the painting to match
the image being painted. An artist is concerned with pigment handling properties.
An artist needs accurate analogous and complementary colors plotted on a good logical color wheel.
2) A non-artist once said, "Your point about getting darker towards green is not accurate. Dark
yellows and cyan's may look green but they do not change hue - they're still yellow or cyan after all."
A) I think this is perceptual problem, the thinking of a non-artist color theorist. The artist in me
can see green as there is an appearance of green as yellow darkens to black in the gamma chart of
yellow and also as cyan darkens to black. If it quacks like a duck..
The RCW Real Color Wheel is the physical crystal color wheel with the properties of each color crystal getting
darker. This matches the elements color in it's natural progression to dark. Like crystal oxides
containing iron they go from yellow to brown.
Since this is so, it makes the RGB/YMC/LAB colorwheel inaccurate for plotting pigments for the
artist to use as a color wheel in the field. Ult blue must be opposite yellow and plot opposite
yellow, like on my wheel which can be just as accurate for positioning pigments in relationship to
each other as simple RGB positioning, only better.
The new opaque Irgazine yellow is a perfect
warm darker yellow, 36RGB#1.6. While the new Bismuth yellow is the bright full chroma RGB#1.0 The
Irgazine yellow has a very slight duel-tonality and will mix with it's complement ultramarine blue
to a dark.
Look at RCW#36.0, Yellow-green and compare it to the primary path to dark for yellow on the RGB,
they look the same. There is no warm yellow path to dark in the RGB, only a cool path. On the RCW
matrix I put them side by side and use the warm path of yellow as the pure primary yellow and the
cool path as Yellow-green's path. Duel-toned Irgazine Green is a transparent yellow-green, it mixes
neutral with dioxzine purple.
Here are some color examples of crystals that the artist would be interested in since crystals
are pigment and chemicals are made with the same elements.
Calcite crystal, [CaCo3], makes the perfect Cyan color with Copper in the Iceland Spar Crystal,
it polarizes to the color Ultramarine Blue. Yellow is made with Iron, and Magenta is the
Sphaerocobaltite Pink Calcite Crystal made with allochromatic Cobalt. The Calcite Crystal is also a
natural polarizing filter.
Quartz, [Si02], Iron Rose Quartz and Manganese Amethyst both touch on the Magenta color.
Copper makes Green to Cyan Chalcedonie and the opposite color Red Carnelian. Allochromatic
Nickel makes a cool Yellow Chrysoprase Crystal, added Iron makes a warm yellow to orange Citrine
Quartz Crystal.
Iron will make all three primary colors in the crystal Corundum, [A1203], plus making the
secondary colors Red, Ult. Blue and Green. The Red and Green have added Chromium.
Here are some permanent chemical pigments used in oil, water, fresco and
acrylic paints today. Note that Indian Yellow and Gamboge are hue/color names, genuine is not
available or used.
PERMANENT TRANSPARENT YELLOWS
PY153 or PY150 dioxine nickel complex = Indian Yellow Golden Brown,
Gamboge, Indian Red Gold, Sap Green PY108 Anthrapyrmidine = Indian yellow
Orange/side PG10F Nickel Chelated Azo = Indian Yellow Green side, a good transparent yellow for a Rich
Green Gold. PY129 irgazine green, duel-toned yellow-green PO69 isoindolinone = Yellow, Orange,
semi-transparent PR 260 isoindoline = Indian Yellow Golden, Vermilion to Red Scarlet dual-toned,
semi-transparent PY129 methin copper complex = Golden Green, Indian Yellow Green with
PY153 PR101 synthetic iron oxide = Translucent Yellow to Brown PY3 stable di-arylide = Yellow Lemon opaque on barium sulfate, Gamboge hue, Indian Yellow
hue, semi-transparent
YELLOW PIGMENT COMPOUNDS THAT WORK AS TRANSPARENT TRIADS FOR
FULL COLOR NEUTRAL DARK OPPOSITION PAINTING USING A COLOR WHEEL
Transparent oil colors are precipitated on alumina, the oxide
of aluminum present in clay. Another base for these colors could be cyclohexanone,
wax, alum, acrylic polymer emulsion or alkyd.
PY153 or PY150 dioxine nickel complex =
Indian Yellow Brown. PY153 dioxine nickel complex + PR260 isoindoline = Indian Yellow
Golden. Isoindolinone / Isoindoline is not transparent. PY153 dioxine nickel complex +
PY42 synthetic iron oxide = Indian
Yellow Brown. PY108 Anthrapyrmidine = Indian yellow Orange/sidePY153 dioxine nickel complex + PY3 stable di-arylide = Gamboge. PY83 stable di-arylide + PR101 synthetic iron oxide = Italian Brown Pink Lake.
TODAY'S PERMANENT TRANSPARENT CHEMICAL PIGMENTS
PY153 or PY150, dioxine nickel complex = Indian Yellow Brown. PY108 Anthrapyrmidine = Indian yellow Orange/side PG10F dioxine nickel complex = Indian Yellow Green side, still a good transparent yellow PY153 dioxine nickel complex + PR260 isoindoline = Indian Yellow Golden. PY153 dioxine nickel complex + PY3 stable di-arylide = Gamboge PY129 Irgazine green, duel-toned yellow-green goldPR 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 PB60 anthraquinone and Indanthrone = Blue Deep to Turquoise PB15.3 copper phthalocyanine and PB33 manganese Barium Manganate= Cyan (Thalo Blue and Manganese Blue transparent) PB7 Chlorinated copper phthalocyanine = Turquoise to Green PY83 stable di-arylide + PG7 chlorinated copper phthalocyanine = Sap Green Y/S PY83 stable di-arylide HR + PG7 chlorinated copper phthalocyanine + PO43 perinone orange =
Sap Green O/S PY129 methin copper complex = Green Gold PY129 azomethine = Genuine Green Gold 2002, Liquitex has some nice new transparent colors, Acra Gold = yellow to brown, darker
than Indian Yellow Brown Side. A Burnt Orange that's brown to orange and Van Dyke Brown, a brown to
red color. Daniel Smith has a new semi-transparent Indian Yellow Golden they call Permanent Yellow
Deep, isoindoline 2006, Golden Artist Colors added Indian Yellow Golden Hue,
Arylide Yellow PY7, Nickel Complex Azo PY150 and Quinacridone PR206, Transparent. A very nice Indian
yellow. Also, a green/brown Indian yellow hue called Nickel Azo Yellow.
TODAY'S TRANSLUCENT TO OPAQUE PALETTE PIGMENTS, needed for their opaqueness and brilliance.
PY35 cadmium Zinc sulfide = Cadmium Yellow Lemon PY37 cadmium sulfide = Cadmium Yellow Light, Medium PO20 cadmium sulfo-selenide = Cadmium Orange PR108 cadmium seleno sulfide = Cadmium Red Light, Medium PR88 Thioindagoid Red, a perfect red.PR101 synthetic red iron oxide = Red Oxide PY42 synthetic yellow iron oxide = Yellow Oxide PBr7 natural iron oxide, raw and calcined = Sienna and Umber PB29 silica, aluminium, sulphur complex = Ultramarine Blue PB28 oxides of cobalt and aluminium = Cobalt Blue PG17 anhydrous chromium senquioxide = Chromium oxide Green PY129 irgazine
green = duel-toned green to yellow-green
TODAY'S PERMANENT TRANSPARENT CHEMICAL PIGMENTS
PY153 or PY150, dioxine nickel complex = Indian Yellow Brown. PY108 Anthrapyrmidine = Indian yellow Orange/side PG10F dioxine nickel complex = Indian Yellow Green side, still a good transparent yellow PY153 dioxine nickel complex + PR260 isoindoline = Indian Yellow Golden. PY153 dioxine nickel complex + PY3 stable di-arylide = Gamboge PY129 Irgazine green, duel-toned yellow-green goldPR 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 PB60 anthraquinone and Indanthrone = Blue Deep to Turquoise PB15.3 copper phthalocyanine = Cyan (Thalo Blue) and in 2008 - O.H. Manganese Blue transparent PB33 = Cyan. PB7 Chlorinated copper phthalocyanine = Turquoise to Green PY83 stable di-arylide + PG7 chlorinated copper phthalocyanine = Sap Green Y/S PY83 stable di-arylide HR + PG7 chlorinated copper phthalocyanine + PO43 perinone orange =
Sap Green O/S PY129 methin copper complex = Green Gold PY129 azomethine = Genuine Green Gold 2002, Liquitex has some nice new transparent colors, Acra Gold = yellow to brown, darker
than Indian Yellow Brown Side. A Burnt Orange that's brown to orange and Van Dyke Brown, a brown to
red color. Daniel Smith has a new semi-transparent Indian Yellow Golden they call Permanent Yellow
Deep, isoindoline 2006, Golden Artist Colors added Indian Yellow Golden Hue,
Arylide Yellow PY7, Nickel Complex Azo PY150 and Quinacridone PR206, Transparent. A very nice Indian
yellow. Also, a green/brown Indian yellow hue called Nickel Azo Yellow.
TODAY'S TRANSLUCENT TO OPAQUE PALETTE PIGMENTS, needed for their opaqueness and brilliance.
PY35 cadmium Zinc sulfide = Cadmium Yellow Lemon PY37 cadmium sulfide = Cadmium Yellow Light, Medium PO20 cadmium sulfo-selenide = Cadmium Orange PR108 cadmium seleno sulfide = Cadmium Red Light, Medium PR88 Thioindagoid Red, a perfect red.PR101 synthetic red iron oxide = Red Oxide PY42 synthetic yellow iron oxide = Yellow Oxide PBr7 natural iron oxide, raw and calcined = Sienna and Umber PB29 silica, aluminium, sulphur complex = Ultramarine Blue PB28 oxides of cobalt and aluminium = Cobalt Blue PG17 anhydrous chromium senquioxide = Chromium oxide Green PY129 irgazine green = duel-toned green to yellow-green
CHOSEN PIGMENTS FOR MY 36 REAL COLOR WHEEL
RCW#1.00.1 to RCW#1.00.9 (=) RCW#1 is the first color, RCW#1.01 is a tint of the first color, RCW#1.1 to RCW#1.9 is the warm to cool scale of the first color.
The RCW Pigment Color Number for Cadmium Yellow Lemon Opaque is:
RCW36#1.0.1, that is the coolest full chroma yellow in the yellow arc.
RCW36#1.0.9, is the warmest yellow in the yellow arc, a tint of Indian yellow transparent.
RCW36#1.0, is the Pure Yellow arc with10 graduated values getting darker below it, there are 36 color arcs in all. RCW#13.6 is a 50% top-tone color for transparent pigments like Magenta.
RCW36#1.0 Yellow happens to have five different pigment color values located in it. 01 is a tint, 0 is the full mass-tone color, rings 3, 6 and 10 all have pigments in them.
Brown is the darkest intensity of yellow-greens, yellows and reds. Mix this low intensity brown with it's opposite color Ultramarine blue to Cyan for a neutral dark.
RCW36#1.01 to RCW36#36.01 are the outer rings, lighter pigment or tinted hues of this color section.
RCW36#1.0 to RCW36#36.0 are 100% full chroma mass-tone opaque pigments (or) 50% top-tone colors of transparent pigments.
#1.01 Tint of 1st color
#1.0 Full chroma opaque or tint, the 1st color is yellow.
#1.0.1 First (warmest) of 9, #1.0.9, left to right divisions from warm to cool
#1.1 First dark of 10 divisions to dark of this first color
#1.2
#1.3
#1.4
#1.5 Mass-Color of some transparent pigments.
#1.6 Mass-Color of some transparent pigments.
#1.7
#1.8
#1.9
#1.10 10% intensity of this color.
RCW#1.01.1 Light Chrome Yellow Light, Lead Chromate, PY-34
RCW#1.0.1 Light, Yellow Light Hansa, Arylamide, PY3, Translucent
RCW#1.01.2, Nickel Titanate Yellow PY53
RCW#1.01.3, Hansa Yellow, Monoazo Yellow, PY-74, Translucent
RCW#1.0.1, Cadmium Zinc Sulfide, PY35, Opaque
RCW#1.0.2, Cadmium Lemon, PY35, Opaque
RCW#1.0.3, Bismuth Yellow PY184
RCW#1.0.5, Aureolin, Potassium Cobaltinitrite, PY40, Translucent
RCW#1.2, New Gamboge, Indian Yellow, Anthrapyrimidine PY108, Translucent.
RCW#1.4, Wm Gold ocher - Azo Yellow, Monoazo Yellow, PY-151, Translucent
RCW#1.6, Indian Yellow-Brown Lake Extra, Dioxine Nickel Complex, Synthetic Iron Oxide, PY153 or PY150, PY42, transparent.
RCW#1.6.1, Indian Yellow Gr/s, Nickel Chelated Azo PG10F, transparent.
RCW#1.6.5, Indian Yellow-Orange Lake Extra, Dioxine Nickel Complex, Isoindoline, PY153 or PY150, PR260, Transparent
RCW#1.8, Raw Umber Brown, Natural Earth, Hydrated Iron Oxide, PBr7, PY42, Translucent
RCW#1.10, Burnt Umber Brown, Natural Earth, Hydrated Iron Oxide, PBr7, Translucent
RCW#2.01, Naples Yellow, Titanium Dioxide, Rutile-Nickel-Tin-Titanium, Chromium-Antimony-Titanium Yellow PW6, PY53, PBr24, Opaque
RCW#2.0, Chrome Yellow Orange Lead Chromate, PY34, Opaque
RCW#2.4, Yellow Ochre, Natural Hydrated Iron Oxide, PY43
RCW#.10, Burnt Umber Brown, Natural Earth, Hydrated Iron Oxide, PBr7, Translucent
RCW#3.01, Naples Yellow Deep, Lead Antimonate, PY41, Opaque
RCW#3.0, Cadmium Yellow Deep, Opaque
RCW#3.3, Raw Siena, Natural Iron Oxide, PBr7, Opaque
RCW#3.4, Italian Deep yellow Ocher R/s, Opaque
RCW#3.6, Quinacridone Deep Gold PO48, Transparent
RCW#3.7, Brown Oxide PR101, Transparent
RCW#3.10, Burnt Umber Brown, Natural Earth, Hydrated Iron Oxide, PBr7, Translucent
RCW#4.0.4, Benzimidazolone Orange, Benzimidazolone, PO62, Transparent
RCW#4.0.5, Cadmium Orange, Cadmium Sulfo-Selenide, PO20, Opaque
RCW#4.6, Burnt Sienna PBr7, Translucent
RCW#4.10, Burnt Umber Brown, Natural Earth, Hydrated Iron Oxide, PBr7, Translucent
RCW#5.7, Italian burnt Sienna PBr7, Translucent
RCW#5.10, Burnt Umber Brown, Natural Earth, Hydrated Iron Oxide, PBr7, Translucent
RCW#6, Chinese Vermilion, Mercury Sulfide, Translucent
RCW#6 Vermilion Extra, Isoindolindon, PR260, Translucent
RCW#6.10, Burnt Umber Brown, Natural Earth, Hydrated Iron Oxide, PBr7, Translucent
RCW#7.0.5 Thioindagoid Red PR88, Opaque
RCW#7.0.5 Cadmium Red Light Red PR108
RCW#7.6, Light Red Oxide - Venetian Red Warm, Synthetic Iron Oxide, PR101, Opaque
RCW#8.0, Irgazine Red PR254, Opaque
RCW#10.01, Light Portrait Pink, Naphthol Red AS-D, Titanium White, Diarylide Yellow, PR122, PW6, PY83, Opaque
RCW#10.0, Naphthol Crimson, Naphthol AS, PR170, Translucent
RCW#12.01, Light Magenta, Naphthol AS, Quinacridone Violet, Titanium Dioxide, Zinc Oxide, PR188, PR122, PW6, Opaque
RCW#12.0, Permanent Rose, Quinacridone, PV19, Transparent
RCW#13.0, Quinacridone Magenta, PR122, Transparent Magenta
RCW#14.00, Cobalt Violet, PV49, Opaque Cool Magenta
RCW#14.0, Cobalt Violet, Cobalt Phosphate, PV14, Transparent Cool Magenta
RCW#15.0, Manganese Violet PV23 R/s, Top-tone, Transparent
RCW#15.6, Manganese Violet PV23 R/s, Mass-tone, Transparent
RCW#16.0, Dioxazine Purple, Carbazole Dioxazine, PV23, Top-tone, Transparent
RCW#16.6, Dioxazine Purple, Carbazole Dioxazine, PV23, Mass-tone, Transparent
RCW#18.0, Ultramarine Violet, Alumosilicate of Sodium, PV15, Top-tone, Transparent
RCW#18.6, Ultramarine Violet, Alumosilicate of Sodium, PV15, Mass-tone, Transparent
RCW#19.01.1, King's Blue Deep, Tint, Zinc Oxide, Titanium Dioxide Rutile, Synthetic Ultramarine PB29, PW4, PW6, PB29, Opaque
RCW#19.01.5, Light Blue Violet, Ultramarine Blue, Titanium Dioxide, PB29, PW6, Opaque
RCW#19.0.5, French Ultramarine Blue PB29, Translucent
RCW#19.2.5, Ultramarine Blue Light PB29, Translucent
RCW#19.3.5, Ultramarine Blue Deep PB29, Complex Silicate of Sodium and Aluminum with Sulfur, Translucent
RCW#22.0, Cobalt Blue PB28, Oxides of Cobalt and Aluminum, Opaque
RCW#25.0, Pathalocyanine - Phthalo - Thalo - Cyan Blue PB15 transparent, Cerulean Blue Opaque PB-36 = Oxides of Cobalt and Chromium Opaque = Cyan Hue
RCW#25.0, Manganese Blue by O.H. Cyan transparent PB33, new 2008.
RCW#25.6, Thalo Blue - Phthalo Blue - Cyan PB15.3 Pathalocyanine, Mass-tone
RCW#27.01, Phthalo Turquoise PB15.3 + PG36, Pathalocyanine, Top-tone
RCW#27.6, PhthaloTurquoise PB15.3 + PG36, Pathalocyanine, Mass-tone
RCW#28.3, Bright Aqua Green, Phthalocyanine Green, Phthalocyanine Blue, Titanium Dioxide, PG7, PB15, PW6, Opaque
RCW#29.3, Opaque Green Light, Phthalocyanine Green, Monoazo Yellow, Cobalt-Titanium-Nickel-Zinc-Aluminum-Oxide,
RCW#31.0.1, Phthalo Green, Y/S, Brominated Chlorinated Phthalocyanine, PG36, Translucent
RCW#31.0.5, Tint, Emerald Green, Brominated Copper Phthalocyanine, Titanium Dioxide, PG36, PW6, Opaque
RCW#31.0.9, Phthalo Green Y/g, Phthalocyanine Green Y/s, PG7, Transparent
RCW#33.3, Permanent Green Light, PG-7, PY-3, Phthalo Green + Monoazo Yellow, Opaque
RCW#33.6, Hooker's Green Permanent PG36 + PY3 + PO49, Transparent
RCW#34.6, Chrome Oxide Green, PG-17, Chrome Oxide, Opaque
RCW#35.0, Yellow Green Organic, Opaque
RCW#35.0.6, Sap Green PY73, PG7, PR101, Arylamide Yellow GX, Phthalocyanine Green, Red Oxide, Opaque
RCW#36, Priderit Yellow PY157, Yellow-green, Opaque
RCW#36, Thalo Yellow Green PG7 + PY3 + PW4, Chlorinated Copper Phthalocyanine, Arylide Yellow 10G, Zinc Oxide, Opaque
RCW#36.3, Green Gold, Nickel Chelated Azo, PG10, Translucent
RCW#36.6, Indian Yellow-Green Extra, Dioxine Nickel Complex, Methin Copper Complex, PY153, PY129, Transparent
RCW#36.6, Green Gold, PY129, Azomethine Copper Complex, Transparent
RCW#36.6, Irgazine green PY129, Translucent
RCW#36.10, Green Umber, Translucent
Oil Pigment palette. There is a space for each of these colors on my 27 RCW COLOR OIL PALETTE although I may not
fill them all every time I paint.
White is in the middle of the palette. The top of the palette
on the left is Dioxazine Purple, Ultramarine Blue, Cobalt Blue, Thalo Blue or O.H. transparent Manganese blue.,
Turquoise, Opaque Green and Thalo Green on the right.
The left side goes from Dioxazine Purple to Burnt Umber, Bt.
Sienna, Red Oxide, Yellow Ocher, Naples Yellow (or lead-tin Yellow) to Quinacridone
Magenta at the bottom.
The bottom row of colors is Quinacridone Magenta, Rembrandt Rose,
Cad Red, Cadmium Orange, Indian Yellow Golden, Cadmium Yellow Medium, Gamboge,
Cadmium Yellow Light, Cadmium Yellow Pale, Lead Yellow Lemon is in the bottom
left corner of the palette.
The right side is from Thalo Green on the top, than , Permanent
Green Light, Green Gold, Yellow Green Opaque with Lead Yellow Light at the
bottom.
I keep all 37 of these oil pigments below on hand with me, they
all have their special color and pigment properties.
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 permanent, 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 or Mussini 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,
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. I think a spectroscope of dried pigment color would
show all colors to be unpure.
I think a spectroscope of dried pigment color would show all colors to be unpure, this can't
always be shown on the web. The percentage CMYK was from mathamatical printed chart and matched to
the tube color by eye..
I matched the dried chip color to the computer by eye. It's close enough to paint with a computer
tablet and compare the relationships of similar colors in pigments.
I matched the pigment tube color dry by eye to RGB color and read it with a Digital Color Meter.
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=250
G=255 B=098, 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 01b. Mussini
Zinc Yellow, the coolest Yellow. An extra color. #"F1F10A", R=241 G=241
B=010 01b. Mussini
Cadmium Yellow Pale, a slightly cool Yellow. #"FFFA43", R=255
G250 B=067 01c. Old Holland
Gamboge Lake Extra, a Yellow-Orange dual-tone, #"FF9F00", R=255, G=159 B=000
changing to a Cadmium Yellow
Under-tone. #"FF9F00" R=255, G=159 B=000 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
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 is a little close.
A Yellow/side Burnt Sienna if you will. #"986011", R=152 G=096 B=017.
This is the Under-tone color of Old
Holland Indian Yellow Brown Lake Extra and Liqutex Acra Gold Quinacridone PO:49 + PO:45.
#"FF9F00",
R=255 G=159 B=000.
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
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=029, B=000, CMYK= Y M C 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
2b. Schmincke
Mussini Cadmium Yellow Middle is more Yellow than Grumbacher Cadmium Yellow
Medium. #"FFED09", R=255 G=337 B=009, CMYK= Y 20M
02c. Mussini
Yellow Raw Ocher, opaque tan. #"9B6A26", R=155 G=106 B=038, CMYK= 80Y 20C
40M02d. 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
4a. YYYM, Mussini
Cadmium Orange, opaque. #"FF8200", R=255, G=130, B=000, CMYK= Y 60M4b. 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.
6a. Rembrandt
Chinese Vermilion Extra, translucent bright Red Light. #"FF3200" R=255 G=050
B=000, CMYK= Y 80M07a. YYMM,
Cadmium Red Medium. #"FF0000" R=255, G=000, B=000, CMYK= Y M7b. Blocks
Venetian Red, warm opaque. Cadmium Red going to neutral dark black. #"A60000",
RGB, R=153, G=000, B=000, CMYK= Y 40C M10a, 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
12a. MMMM,
Danial Smith Quinacridone Magenta PR122, 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.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
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.
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.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:
19a. MMCC,
Blocks French Ultramarine Blue, translucent. #"150036", R=021, G=000, B=036,
YMCK= C 80M
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:
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 or Manganese blue and Dioxine
Purple to make all the colors between and including the Ultramarine Blue color. In crystal Cyan
darkens by adding magenta which makes blue.
A middle Top-tone tint of this color:
A very high Top-tone tint of this color is, RGB, Cyan:
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:
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 80C31a. 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,
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
A tinted Top-tone by adding white of this color is: RGB, R=000,G=255,
B=147
34a, Rembrandt
Chromium Green Oxide, warm opaque. #"009B7A", R=000, G=080, B=000, CMYK==
Y 80C 40M34a. Grumbacher
Green Earth, warm translucent. #"3E5600", R=062, G=086, B=000 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.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
36a. CYYY,
Brillant Yellow-Green, transparent in acrylic, opaque in oil. #"DBFF76" R=121,
G=255, B=028, CYMK= 10C Y 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
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
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.
The Aerial Palette for 10 Concentric Rings.
ARTISTS 36 REAL COLOR WHEEL
All dots are
links to each pigments discripton. Read the linking color name in the browser
status bar below. The center links to
the photo pigment color chip chart page. Pigment artists, don't miss it! Real Color Wheel's are 36, 12, 6 or 3 colors.
The color arcs
are numbered from 1 to 36.
#00. Outer rings, lighter pigment or tint hue of this color.
#0. 100% full chroma for opaque
pigments, 50% top-tone tint for transparent pigments.
00. Tint
0. full chroma hue.
1. 10 shades to dark.
2.
3.
4.
5.
6. Mass-Color of transparent pigments.
7.
8.
9.
10. 10% intensity of this color.
Clickable Artists Real Color Wheel matching pigments
This CLICKABLE chip color map below shows the true opposition pigment colors for mixing
neutral darks on my color wheel.
It will be the new "basic" color wheel because the color oppositions are accurate.
The revolution of the color wheel, replace your old color wheel now. The old
Red-Blue-Yellow and Yellow-Magenta-Cyan plain color wheels are inaccurate, for any artist.
Equal amounts of yellow and magenta make red, that's 100% twice.
Arc#1, 10 Tint Values of Yellow, 10 Darker Values of Yellow to Dark Brown.
Arc#1, Top of circle, Primary, 10 degrees of 360 degrees
RCW01= Yellow Full Chroma, Full Intensity, or
RCW01.00= Yellow Full Chroma, Full Intensity
RCW01.00.01= 100% Full Chroma, Full Intensity, Coolest Yellow Hue
RCW01.00.05= 100% Full Chroma, Full Intensity, Middle Yellow Hue
RCW01.00.09= 100% Full Chroma, Full Intensity, Warmest Yellow Hue
RCW01.05.05= 50% Yellow + 50% Brown, Value #5, Middle Brown Hue
RCW01.10.09= 100% Brown, Value #10, Warm Dark Brown Hue
Add ultramarine blue to reach black, like the Titanium Rutile Crystal
Cooler Yellow to Warmer Yellow, RCW01.00.01 to 09
Cooler Brown to Warmer Brown, RCW01.10.01 to 09
Arc#2, 10 Tint Values of Yellow Medium, 10 Darker Values of Yellow Medium to Dark Brown
Arc#2, Yellow Medium to Dark Brown = Values 01 to 10
RCW02.00= 100% Yellow + 16% Magenta.
RCW02.05= 50% Yellow + 8% Magenta + 100% Brown
RCW02.10= 0% Yellow + 0%Magenta + 100% Brown
Add ultramarine blue to reach black, like the Titanium Rutile Crystal
Cooler Yellow Medium to Warmer Yellow Medium, 01 to 09
Medium Yellow, RCW01.00.05
Pigment Mixing Percentages. Use the same percentages for Magenta to Cyan and Cyan to Yellow.
Painting opaquely, yellow darkens to gold ocher then to deep brown. All three of these opaque
pigments are needed on the artists palette. One transparent yellow will do it if you are also using
transparent magenta and cyan to paint full color paintings.
Yellow and orange arcs become dark by adding brown, the same dark brown that matches the red arc.
Magenta will get dark by adding it's opposite color or the other two triads, which do combine to
make the complement opposition secondary color, green.
Magenta arcs change to cyan by adding cyan in 22% increments. Equal amounts of transparent
magenta and cyan, arc #19, having 100% of each color, make an ultramarine blue transparent hue. 66%
less magenta, three arcs over plus the 100% cyan make a transparent cobalt blue hue.
The cyan arc darkens first to cobalt blue, than ultramarine blue before becoming neutral. From
that ultramarine hue darker, add the same burnt umber that gets the ultramarine blue arc darker. So
#19 through #25 get dark to the same color before becoming dark neutral. Just like #1 through #7 get
dark to the same color.
The 36 "real color wheel" will give you accurate split complements too, to cover the whole triangle evenly. Counting from #1yellow to #19ultblue is (18) 10° spaces. One on each side of the opposite color, nine different times. That changes each set from split colors to analogous colors.
Nine divisions of accurate "split complements" to "analogous trios" per color. With all the browns and dark cyans in the right place.
Expect perfection, it happens all the time in nature.
