Split Primary Palette - Warm Reds

QUESTION: I've already asked this in the WCW, but got no response. Need help! I just got my Susie Short Essential 7 set from Daniel Smith. I noticed that there is no Pyrrol Scarlet that you refer to in your article, here. Instead, I got Pyrrol Orange, which is what is in the set as ordered, and also mentioned further down in your article on the website.I'm going to be squeezing these into pans. Is the Orange a substitute for the Scarlet?I just want to make sure I have the right colors first in case I have to return one.That asked - if the Pyrrol Orange is right, what would be a good Daniel Smith color to use as a secondary between it and the warm yellow (besides mixing) as I might be adding the secondaries as straight colors to my 12-pan box later ( I can't stand the site of empty pans staring back at me). Matt

SUSIE'S REPLY: Hi Matt!
When Daniel Smith put my "Essential 7" Split Primary Palette into a set, I selected the Pyrrol Orange as part of the set. With all the tubes of red to choose from almost all of them are either more of a true red (containing a touch of blue) or bias to purple and did not mix a visually clean clear orange.

Allow me to explain that there is nothing wrong with the Pyrrol Orange in the set, it works as a warm red but it does have more yellow in it making it slightly more orange than it needs to be. Since then I've discovered that the Pyrrol Scarlet and Quinacridone Coral both work for as good substitutes for a warm red in my Split Primary Palette.

I'm in the process of testing some additional colors for a full spectrum 12 (tube) color palette. The testing is to find as close to exact complement tube color as I can for each of the 12 paints. I'm trying to restrict my choices to paint made with single pigments if I can. It's a delicate mixing dance, but it's fun and I'm close to finding the right colors.

Thanks for your question! Good luck with your colorful adventure!
SUSIE

PS. I highly recommend Nita Leland's latest book CONFIDENT COLOR for anyone wanting to learn more about working with a variety of color palettes. You'll find a link to see this book on Amazon in the sidebar. It's worth every penny!

Split Primary Palette

QUESTION: Susie, I was looking for watercolor palette suggestions and found your website. You mention a split primary palette. Would you please explain what a split primary palette is, what colors I need and how to use it? Much thanks for all your help! Judy S. Texas

SUSIE'S REPLY: Hi Judy! Here's what I refer to as a Split Primary Palette

Use a warm and a cool of each primary hue (a warm red and a cool red; a warm yellow and a cool yellow; a warm blue and a cool blue) to mix bright, high-intensity primary called a Mixed Primary Hue. The secret is in using the right split primary colors and not crossing over the lines into another section!

Here's how the Split Primary Palette works:

Let's start with a color wheel arranged like a clock (illustration above) and divided into three equal sections. At the top of the wheel (12 o'clock) a cool yellow, like Hansa Yellow Medium -- a lemony, slight bias to blue-green is on the right of the line; a warm yellow, like New Gamboge -- a golden, slight bias to red-orange is on the left of the line. Going clockwise around the circle (at 4 o'clock) there is a cool blue, like Phthalo Blue (GS) -- an icy, slight bias to blue-green is above the line; a warm blue, like French Ultramarine -- a purplish blue, slight bias to violet is below the line. Continuing clock wise, (at 8 o'clock) a cool red, Quinacridone Rose -- a rosy, slight bias to red-violet is below the line; a warm red, Pyrrol Scarlet -- a tomatoey red, slight bias to red-orange is above the line.

To mix the oranges, mix the red and yellow within the lines to the left of the circle. First mix orange, and then add more yellow for yellow-or ange and more red for red-orange.
To mix the greens, mix the blue and yellow within the lines to the right of the circle. First mix green (2 o'clock), and then add more yellow for yellow-green (1 o'clock) and more blue for blue-green (3 o'clock).
To mix the purples or violets, mix the pink or rose with the blue within the lines at the bottom of the circle. First mix purple (6 o'clock), and then add more blue for blue-violet (5 o'clock) and red for red-violet (7 o'clock).

Now here's the rule that makes this theory work: When mixing two colors on the wheel to achieve high-intensity color, don't cross over the line/stay in each section. Crossing over the lines and mixing the colors on either side of the line causes the mixtures to become less intense and slightly grayer. Cross two lines and even more graying occurs. This graying is called neutralizing. It is the result of a slight touch of that third color being added to the mix.


Hint: To mix earth colors, you simply cross over the lines or add a warm neutral to your mixtures. That's where Quinacridone Burnt Orange -- the seventh color of our essential 7 basics-enters the scene... it's a versatile warm neutral.

You have several good choices for professional artist grade watercolors to choose from.
My palette is currently filled with Daniel Smith Extra Fine Watercolors.

Materials List for Susie's Split Primary Palette
DANIEL SMITH Extra Fine Watercolors
Seven 15ml Tubes - Essential Set offered by Daniel Smith at 40% off regular tube price)
Set contains:
Hansa Yellow Medium
New Gamboge
Phthalo Blue (GS)
French Ultramarine
Quinacridone Rose
Pyrrol Orange
Quinacridone Burnt Orange

Thanks for your questions Judy! Have fun painting and mixing up pretty colors!
SUSIE

For more information about Color check out Nita Leland's book EXPLORING COLOR

and her latest release CONFIDENT COLOR

Color Mixing - Simplified

QUESTION: About color mixing....I'm not looking for the chemical make up of paints but more for the "how to" of mixing paints. Which can be mixed without creating mud. Which colors compliment others visually. How to create a great black or green etc. That type of thing. Thanks.
SUSIE'S REPLY: These are multi-million dollar questions! I'll try to break this down and make it as simple as I can. A quick review of basic color theory reminds us there are three (3) primary colors: RED - YELLOW - BLUE.

We can not make these hues by mixing. We can create variations of each hue by adding one or both of the other colors but we can not mix up a true red, yellow or blue.
Secondary colors or hues (green, orange, and purple) are created by mixing two primaries. Red+yellow=orange; red+blue=purple; blue+yellow=green

Any time the other primary is added chances are the color will be muddy.Example: blue+yellow=green + a tiny bit of red= olive green; not a clean clear true green.
When we use a paint that has the third primary color already premixed into the tube the result is a neutralized or grayed or muddy looking color.

So, in answer to your question about what paint colors can be mixed together without making mud we do need to consider what's already in the tube of paint. Anytime you have a combination of all three primaries you will have a duller more neutralized color. The more equal the amounts of the three colors the muddier or grayer the color will be.

Think about it this way: if a color looks greenish, you know it has blue and yellow in it. If you mix that color with any color that has some red in it the possibility for mixing mud is greater. The more equal the ratio of red + yellow + blue the more neutral the resulting color will be.

Many times we create duller looking colors by over mixing them in our palettes before we apply them to our watercolor paper. If we allow these same colors to "mingle" on our paper and mix together naturally they usually do so in a visually pleasing way.

As for premixed tube color formulas: There are probably as many "formulas" for mixing visually pleasing neutrals as their are watercolorists. For a dark gray or black one very popular combination is Ultramarine Blue and Burnt Sienna. Another formula for black is Alizarin Crimson and Hookers Green.
Here are some tips:

• Testing the colors on your own palette to see what color combinations you can make will be helpful. Make a color chart. Avoid mixing more than three colors, better yet try not to mix more than two premixed tube colors.
• Read the labels on your paint tubes. If they contain two or more pigments know that they are good candidates for mud makers when mixed with additional colors using multi-pigments.
• Another thing to consider is that each brand of paint has different ingredients even though it may have the same color name. So one brand of cobalt blue may mix up differently than another brand of cobalt blue.

My personal recommendation for all new painters ( or anyone who is confused about mixing colors) is to use a limited palette of basic compatible core colors. The brand of paint isn't as important as the choice of your basic colors. Stick to using this limited palette for a period of time to allow you to get acquainted with color mixing and learn all you can about what these core colors will and will not do for you. If you are a prolific painter six months may be enough time for you to work with a limited palette. If you don't have time or don't paint very often you may need as much as a year of working with a limited palette to get the hang of color mixing.

For more information look for my article published by Daniel Smith Some Thoughts on Color and using a Split Primary Palette.


Hang in there! The more you practice the better you will get!

SUSIE


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