Layer by Layer: Color Mixing 101 - Mixing Made Easy PDF Free Download
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COLOR MIXING 101
M i x i n g M a d e E a s y
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9”x12” Canson XL Mixed Media Pad (or similar paper 98lb/16g)
Moon Palace Roll - Oriental Art Supplies (or any white paper on a roll)
12” square Gell Pate (or size of choice)
Black and white Markers (I use Posca Black and Acrylic Artist White)
Black spray paint or color/s of choice - optional, not mandatory
Fluid acrylics: Black, White, primaries of choice and one fluorescent.
Pencil
Ruler
Scissors
Paper towel
Various brushes and mark-making tools of choice
Water bottle
Sponge
Fluid Matte or Gloss Medium (I use GOLDEN)
Satin Glazing Liquid (optional)
Imitation gold leaf (optional)
Supplies
I’m into color right now, and vibrant hues that pop! Color mixing can be
overwhelming because there are many brands available, tons of conflicting
information and different teaching methods that you may not understand
or resonate with. While theory is necessary, the basics are all you need to get
started. Practicing, experimenting, and making notes are key to your
mission to create a wonderful palette or mix that perfect colour.
To help you achieve the colors you’re after, it’s important to note that not all
primaries are created equal. Reds, Blues, and Yellows can be either cool or
warm. Depending on which you choose, your results will vary.
A VIBRANT Color Palette
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Today, I want to show you my favourite colors,
which I use to mix a large variety
of bright colors that can still be tinted
or toned down easily. There are also
some excellent resources online that
explain things much better than I ever
could. I’ll share a couple of them in this
PDF, which you can reference at any time.
Know that there isn’t any right or wrong way to create colour, but there are
some important considerations to help you avoid the common mistakes of
making MUD, unless that’s what you want :)
The color wheel is
your map for seeing
how colors relate.
Primaries (yellow,
red, blue) are your
starting points, with
other hues
branching out.
Knowing where
each color sits helps
you predict mixes
and avoid muddy
surprises.
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Using the Color Wheel
The wheel is a guide, not a rulebook. Use it to find contrast, harmony, or a
balanced pop. The more you practice mixing with the wheel in mind, the
more intuitive it becomes. Keep your wheel handy while you experiment,
and make notes of what you discover along the way. That’s how you build
your own personal color-mixing “cheat sheet.”
This is my palette of choice, all from GOLDEN, from which to create an
extensive range of vibrant colors.
A VIBRANT Color Palette
1 YELLOW - Benzi Yellow (Benzimidazolone Yellow)
2 REDS - Naphthol Red Light
- Primary Magenta
2 BLUES - Phthalo Blue (Green Shade PB15:3)
- Phthalo Blue (Red Shade PB15:0)
1 BLACK - Carbon Black
1 GREEN - Phthalo Green (Blue Shade PG7)
1 WHITE - Titanium White
1 *Fluorescent - Pink (*ATSM Rating is fugitive -
Fluorescents are not lightfast. Added steps are
required to protect the art from fading)
1.Use artist-grade pigments. (Student grade tend to have
more filler and less pigment which could lead to lightfast
issues, however is less expensive and great for starting out)
2.Work with a limited palette (fewer decisions to make -
you’ll learn faster)
3.Always keep brushes and water clean
4.Allow your paint layers to dry before moving on to the next
5.Avoid mixing complementary colors without care. Mixing
equal parts generally results in a gray/brown color.
6.Work with both transparent and opaque colours
7.Watch out for warm/cool primary intermixing
8.Mix colors with a palette knife instead of a brush
9.Mix tiny amounts at a time.
One of the main reasons artists mix custom
palettes is that all the hues work together
harmoniously. When you pick and purchase individual
colors from an art store, there’s no guarantee they’ll work
together. It’s also costly. That said, you can still encounter
problems when creating your own palette, so let me share some
tips to help you avoid them.
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Top Tips!
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No-Waste Paint Tip: Got leftover paint after a creative
painting session? Mix all the colors to create a mud,
gray, or brown, and store it in an airtight container to
use as a neutral in future paintings.
Monotone Hue
Tint: Addition of white = LIGHT
Tone: Addition of Gray = Muted or desaturated
Shade: Add black = DARK
Use a bright, cool red like quinacridone red or magenta.
Add a small amount of white to lighten the color.
For extra vibrancy, mix in a tiny amount of purple.
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HOT Tips for PINKS
Reds Commonly Used to Create Pink
1.Cadmium Red: Highly lightfast and durable. It’s a good
choice for creating pinks that won’t fade.
2.Quinacridone Red/Magenta: Known for its high
lightfastness and transparency, quinacridone pigments
are ideal for mixing vibrant or cool pinks.
3.Alizarin Crimson: This traditional color is often used for its
deep, rich red tones. However, it has low lightfastness and
tends to fade over time unless you opt for a more
permanent version, such as Permanent Alizarin Crimson
or Alizarin Crimson Hue.
4.Pyrrole Red: Has excellent lightfastness and can be used
to mix a soft pastel pink.
Add a small amount of paint at a time to build up colour effect. Follow a
1:10 ratio of one part paint to ten parts medium
To achieve true glazes, use transparent pigments (opaque colors will
create a foggy effect)
Apply in thin layers and wait for each layer to completely dry before
continuing
Add solid/opaque colors in between layers for added depth and interest
Experiment by removing some glazes or paints with a rag or to soften
brush marks
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5 Tips for Working with Glazing
Mediums
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Creating Your Own Color Chart
Making a color chart is such a handy way to keep yourself organized and
have a quick reference while you’re painting. It also saves you from the “how
did I make that color again?” struggle later on.
A few things you might want to include:
Highlight your primary colors so it’s clear where each mix started
Write down rough mixing ratios (like 2 parts blue with 1 part yellow)
when you create secondary or tertiary colors
Add little notes about the mixes, like “more opaque,” “leans warm,” or
“great background color”
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Recommended Books
Here are some of my favorite books on color mixing:
“The New Munsell Student Color Set” by Ron Reed
“Werner's Nomenclature of Colours” by Abraham Gottlob Werner and
Patrick Syme
“Spectrum Heritage Patterns and Colours” printed by Thames and
Hudson in association with the Victoria and Albert Museum
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