It’s very important to mix them so that they don’t lean toward one or the other primary. Take your time when you’re mixing the secondaries. Additionally, when you take the time to pre-mix your colors, you can spend your time en plein air painting, not mixing. You’ll acquire confidence and speed from knowing which colors will make which tones and how colors affect one another, and this skill will undoubtedly improve your paintings. We believe that the only way to truly understand color relationships is to experience mixing them on your own. You might wonder why it’s important to mix secondaries when you can easily purchase them ready-made. Photo 1B, above, shows our cadmium orange mix, for an example of a secondary color. To save time in the field, we suggest that you mix your secondaries in advance in your studio. That way your brush can always easily find the right color.Īfter you’ve arranged your colors, mix three secondary colors from the primaries on your palette. Once you arrive at your optimal arrangement, don’t change it. We’ve placed our reds and yellows like a color wheel to reflect our preferences. Over time, you’ll arrange your primary colors to your liking. Muddy colors can often develop from mixing complementary colors, or colors with a complementary component in them. It can be helpful to think of the warm primaries like cadmium yellow as “one yellow, one red,” and ultramarine as “one blue, one red.” This is important for obtaining clean, rather than muddy, colors. In photo 1A, above, we’ve marked the primaries with a “P.” Going clockwise from lower left, these colors are: A split primary palette consists of a warm and a cool of each primary - red, yellow and blue. We recommend that you become thoroughly familiar with the concept of color temperature and complementary colors.
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