Ever wonder how to create the rich, natural colours of Rembrandt and Leonardo, or mix a dazzling spectrum inspired by Monet and Van Gogh?
Do you want to push the limits by going deep with the versatile Zorn palette, or explore today’s frontier with the Modern palette?
These reference guides will show you pigment and colour relationships as well as how to mix and match the colours you want. Simply pick or create a palette of your choice!
By mastering your colour palette, then – and only then – can you unleash your individual creative powers.
Mix just two paint pigments to get a linear spectrum of possible colours. To create any colour within a gamut, mix just three pigments. Add white, and you’ve extended the gamut into another dimension of colour possibilities.
Video: Learn how to mix and match any colour with paint [3:13]
The Colour Wheel and Mixing Guide is a line of reference sheets useful for artists, students, and colourists. They help guide the artist in properly mixing pigments, in order to paint colours with accuracy. Learn how to avoid painting "mud!"
Fig. 1. Instructions: Mix cadmium red light (1) with viridian (2), then add cadmium yellow (3) to create yellow ochre (A). Add a little more (1) to create (opaque) raw sienna (B).
By mixing only a handful of primary paint pigments, artists can reproduce virtually any colour within a gamut of pigments (Fig. 1). The desired colour with its specific hue, brightness or dullness, lightness or darkness, could be created by the mixing of two or more of the selected pigments plus white (Fig. 2).
Fig. 2. Using only the outer edge of the Modern Palette, just six paint pigments were mixed. Virtually any range of hues can be made from these paints. Mixes inside the ring include some examples of browns and greys. Simply add white to lighten.
These reference guides also help problem solve colour issues, and teach about colour and light relationships. By mastering these reference guides, the individual becomes a better artist. They have been valuable tools for my own works:
Wilted Rose Joachim Lapiak 2020
Marcus Aurelius Redux Joachim Lapiak 2021
Switzer Dawn Joachim Lapiak 2022
Each reference guide corresponds to the typical palette from historical periods, or to the palette choices of the artist. The chosen pigments were carefully considered for their stability, mixability, convenience, strength, gamut coverage, chroma, transparency/opacity, and lightfastness.
Some pigments were also selected to be the modern equivalents to the more expensive, more toxic, unstable, or weaker pigments of the past. For example, verdigris, a bright bluish-green pigment, was readily available during the Renaissance, however would turn into a dark brown over time.
Each reference guide also includes:
a true complementary colour chart,
instructions for tint, shade, and saturation,
complementary colours,
hue descriptions/temperature,
saturation ranges, and
gradient circles of high chroma pigments mixed with white.
Designed for the oil, acrylic, and watercolour artist.
Specifications:
Full colour-matching printing precision
8.5 × 11 inches (22 × 28 cm)
Bright high-quality matte paper
Laminated for durability and protection
Close up sample of the guide
Finished product sample
Modern Palette
My business is to paint what I see, not what I know is there.
Today's selections would have been the crown jewels of the old masters. With a little bit of mixing, this efficient palette can be used to create a wide range of deep and brilliant hues.
Pigments (9):
◆ cadmium yellow (PY35)
◆ cadmium red light (PR108)
◆ quinacridone magenta (PR122)
◆ ultramarine blue (PB29)
◆ phthalo blue (PB15)
◆ phthalo green blue shade (PG7)
◆ transparent yellow oxide (PY42)
◆ burnt sienna/transparent red oxide (PR101)
◆ titanium white (PW6)
Tip: You don't have to use all of the pigments listed if you only plan on covering a specific gamut range. Mix burnt sienna/transparent oxide red with ultramarine blue to get a rich black.
Suitable for:Still lifeLandscapePortraitureFigureAlla prima
Impressionist Palette
The richness I achieve comes from Nature, the source of my inspiration.
The Impressionists (1860–1905) pushed paint to the edge of its brilliance. The discovery of new pigments enabled innovative artists, such as Monet, Van Gogh, Renoir, and Sorolla, to capture a wide spectrum of bright colours.
Pigments (8):
◆ cadmium lemon (PY35)
◆ cadmium yellow (PY35)
◆ pyrrole orange (PO73)
◆ quinacridone magenta (PR122)
◆ ultramarine blue (PB29)
◆ phthalo blue (PB15)
◆ phthalo green (blue shade) (PG7)
◆ titanium white (PW6)
Tip: There are a few ways of making a chromatic black. Mixing pyrrole orange with either ultramarine blue or a touch of phthalo green will create cool or warm neutrals. A deeper and cooler chromatic black can be made by mixing phthalo green with quinacridone magenta.
Suitable for:Still lifeLandscapeAlla prima
Portrait of Dr. Gachet Vincent van Gogh 1890
Rouen Cathedral, West Façade Claude Monet 1894
Bouquet in a Vase Pierre-Auguste Renoir 1878
Related Movements:
◆ Post-Impressionism ◆ Expressionism ◆ Tonalism
The Baroque period (1600s) produced great masters such as Rembrandt, Vermeer, Velázquez, Caravaggio, and Rubens. These artists used deep, earthy colours with touches of vibrant hues to bring paintings to life.
Pigments (9):
◆ nickel titanate (PY53)
◆ cadmium red light (PR108)
◆ quinacridone rose (PV19)
◆ ultramarine blue (PB29)
◆ transparent yellow oxide (PY42)
◆ burnt sienna/transparent red oxide (PR101)
◆ burnt umber (PBr7)
◆ ivory black (PBk9)
◆ titanium white (PW6)
Tip: It's recommended to use burnt umber only in the underlayers. Switch to black with transparent red and yellow oxides for the following layers.
Suitable for:Still lifePortraitureFigure
The Milkmaid Johannes Vermeer c.1660
A Basket of Flowers Jan Brueghel the Younger c.1620
Heroine from the Old Testament Rembrandt van Rijn 1633
The Renaissance (1300–1600) featured famed artists such as Michelangelo, Botticelli, Titian, and Dürer. Their works captured a bright and natural colour gamut. Many key hues could be mixed from just two pigments.
Pigments (9):
◆ nickel titanate (PY53)
◆ cadmium red light (PR108)
◆ quinacridone rose (PV19)
◆ ultramarine blue (PB29)
◆ chromium oxide green (PG17)
◆ transparent yellow oxide (PY42)
◆ burnt sienna/transparent red oxide (PR101)
◆ ivory black (PBk9)
◆ titanium white (PW6)
Tip: To get an opaque yellow or orange, mix some nickel titanate with a small amount of cadmium red light.
Suitable for:Still lifeLandscapePortraitureFigure
Portrait of a Lady Spinning Maerten van Heemskerck c.1531
The Sistine Madonna Raphael 1512–1513
Bacchus and Ariadne Titian 1520
Related Movement:
◆ Quattrocento ◆ Mannerism
Related Artists:
◆ Altdorfer
◆ Anguissola
◆ Arcimboldo
◆ Barocci
◆ Bassano
◆ Bosch
◆ Bellini
◆ Bronzino
◆ Bruegel
◆ Berruguete
◆ Botticelli
◆ Correggio
◆ Cranach
◆ Da Vinci
◆ Del Piombo
◆ Del Sarto
◆ Del Vaga
◆ Dürer
◆ El Greco
◆ Fontana
◆ Giorgione
◆ Giovane
◆ Grünewald
◆ Holbein
◆ Lippi
◆ Lochner
◆ Lotto
◆ Pantoja de la Cruz
◆ Parmigianino
◆ Pontormo
◆ Primaticcio
◆ Memling
◆ Michelangelo
◆ Morales
◆ Moroni
◆ Romano
◆ Sánchez Coello
◆ Tintoretto
◆ Titian
◆ Van Eyck
◆ Van der Goes
◆ Van Leyden
◆ Van Heemskerck
◆ Veronese
◆ Weyden
◆ Yáñez de la Almedina
◆ Zuccari
Anders Zorn (1860–1920) created remarkable illusions and depth with only a few pigments. His palette covered a narrow yet versatile gamut of earthy colours. This colour range has been used since Apelles and extensively by numerous artists, especially Hals, Ribera, and Rembrandt.
Pigments (4):
◆ yellow ochre (PY42/PY43)
◆ cadmium red light (PR108)
◆ ivory black (PBk9)
◆ titanium white (PW6)
Tip: To capture the full hue range of this palette: Mix yellow ochre and black to get shades of green. Black and white make perceptible tints of steel blue.
Suitable for:PortraitureFigure
Self Portrait with Model Anders Zorn 1896
Buffoon with a Lute Frans Hals c.1623
James Stuart, Duke of Richmond and Lennox Anthony van Dyck 1634–35
Custom Palette
Personalize your palette for $74.99Free shipping
Customize your palette by choosing 3–10 pigments + white.
Your custom photo cropped in.
The first name of whom the palette belongs to.
Your chosen list of pigments will correspond to the colour gamut within an optimal mixing arrangement.
Instructions for mixing will be relevant to your pigment colour gamut.