HOW TO GET YELLOW COLOR MIX PLUS
The Modern Theory Color Mixing Set includes just seven colors plus Titanium White. The modern mix of pigments in this new set will create very high chroma, bright mixtures that a historical palette cannot achieve. While this will produce a color gamut quite comfortable to many artists, the range of hues and chroma (color intensity) is significantly reduced.
A more classical approach would attempt to create a palette with historically significant colors. This singular position is to create within a reasonably small selection of colors, the potential to mix the widest range of unique colors. The concept around the new Modern Theory Color Mixing Set is to provide just one of those vantage points. However, each of these concepts, whether historical, contemporary or genre specific, create a starting point that is extremely helpful for the artist beginning to assemble their own aesthetic approach to painting. There are probably as many theories of the correct color mixing palette for artists as there are artists that promote them. No theory substitutes for actually using the paint, but I’ve taught long enough to know that knowledge, even at a basic level, will reverse a lot of wasted effort and a good deal of wasted paint! Coupled with that, these artists work with pigments using scales (for precision mixing ratios), spectrophotometers (for measuring color), special lighting, light boxes, and some truly amazing computer programs! My approach to color as an artist has always been to just play and you’ll discover. I was more than slightly astonished that I was the designated writer! We have an amazing number of wonderful painters working for Golden Artist Colors, many in highly technical capacities, and several who taught color at prestigious Universities. I had been given what to me seemed like the daunting task of writing an article on color mixing and to introduce the new Modern Theory Color Mixing Set. There is a mixing chart with Goethite here.
P.S. DS also produces a deeper version of PY43 (or yellow ochre) called Goethite, which I have used extensively. I would be happy with any one of these three yellow ochres in my palette. All wet, mixed, lifted, and painted easily.
In practice, all three brands of yellow ochre performed extremely well. (It really is pretty, isn't it?) MG stood strong in mixes and produced very opaque results, so if that's your thing, then this is your yellow ochre. (I used MG for the Black Eyed Susan sketch above.) It mixed really well with all but Cerulean, but some may enjoy the effect that Cerulean's granulation produced during drying. We introverts appreciate that! If you do too, this is your yellow ochre. WN's most lofty trait is that it performs well without calling attention to itself. WN yellow ochre still performed well and didn't once separate out or fight within the mixes. Winsor & Newton's yellow ochre lightened significantly when mixed, but this watercolor brand is prized for its transparent lightness of being, not its boldness. Though at first glance I didn't care for the color of DS yellow ochre, it was my favorite of the three to paint with. If you want an earth-toned ochre that can hold its own, this is your yellow ochre. You can see its granulation settling into the dips of the cold-press paper, but this resulted in a lovely effect that I don't find distracting in the least. It even handled fickle Cerulean and those bossy Phthalos just fine. I often have trouble with DS's granulating pigments misbehaving in mixes, but not this time! The Daniel Smith yellow ochre mixed out beautifully. Since I've used all three of these brands extensively (you can see my review and comparison of these brands here), they mixed out almost exactly like I expected. Please note that these observations are only my opinions, so these colors may look differently to your eye and react differently in your hand and with your instruments. Graham, and Winsor & Newton (all are PY43)- and painted with each on a variety of papers. I looked at three, top brands of yellow ochre watercolor- Daniel Smith, M. Yellow excites a warm and agreeable impression… the eye is gladdened, the heart expanded and cheered, a glow seems at once to breathe toward us.” Goethe’s Theory of Colours This pigment has been used in paints for hundreds of years and is a beloved favorite of many artists. The most common pigment used in watercolors labeled “yellow ochre” is natural yellow iron oxide, also known as Pigment Yellow 43 or PY43. One of the most popular warm yellow watercolors has long been known as Yellow Ochre. This earthy pigment is a nice transition color to seat in a palette between yellow and orange or red, or it can easily fit right in among the siennas and browns.
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