Having a few days away painting the other week gave me a chance to "fine tune" my colourwheel, as I discovered a few pigments were slightly displaced. It is also clear that the chroma contours in the orange, red and magentas sections need altering for the mid range so they are more circular and less biased to the centre. As it will be a while before I repaint this, I post these corrections, along with a few test cards I did as an "aide memoire".
The perylene pigments all need to be moved closer to the centre of the colourwheel. Perylene Maroon by one-and-a-half contour lines, P.Violet by one line, and P.Green by half a line.
WInsor Blue (green shade) and Winsor Green (blue shade) both need moving away from the centre by one line (ie by 10% chroma). Winsor Blue(gs) also needs to be moved by about 5 degrees towards green.
Although Thioindigo Violet is not in my main palete (since the pigment is no longer available), I retain it in my secondary palete for mixing interesting greys with Perylene Green, and using it for tanned flesh mixture. It should be moved half a chroma contour line towards the centre.
Winsor Orange (red shade) should be moved one-and-a-half lines towards the centre, level with Winsor Red. I will probably discard Winsor Red Deep from my palete as its chroma when dry is overstated on the colourwheel and the hue and value can be replicated by mixing adjacent pigments. Gold Ochre retains a specialist role in landscape/seascape painting in dilute form as Raw Sienna is not used, being a convenience pigment mixture in the Winsor & Newton range.
My test cards explore various types of green and flesh hues, as well as using Quinacridone Magenta with Winsor Blue (green shade) as a very good sky combination which is a much more even wash than using French Ultramarine and gives the green-blue tones in the mid sky much better.
I remind you that my colourwheel is painted on Arches 140lb unbleached paper (cold pressed) which has a slightly creamy hue. Some adjustments are needed if you use a bleached or whitened paper.
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Revised Chart: Watercolour Mixing and New W and N
At last, a working version of my Watercolour Mixing Clock, using many of the pigments introduced into the Winsor & Newton (W&N) range during the past few years, is now posted in my WinsorBlue deviantart gallery. It shows how to mix most natural colours from only two of 16 single pigment colour tubes without sacrificing exciting vibrant colour. I will remove the old posts and any obsolete charts with this update, and will post images of my revised colour test cards and some technique ideas (using these paints) later in case that saves valuable painting time for others. All pigments react differently and I have always been grateful for the s...
New Colourwheel
For the past couple of years I have been experimenting with the range of watercolour pigments available to artists. I had become increasing frustrated with the inability to mix vibrant accurate colours. Fed up of muddy greens, I decided to do some research. I ditched my allegance to my 30year choice of palette and started trying out some new colours - beginning with Pthalo Blue (Winsor Blue in the W&N range - hence the DA name).It would appear that most of the colour wheels produced as helps to WATERCOLOUR artists are wrong, and little help at mixing colours. Many simply fail to take into account that watercolour is a transparent medium . ...
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