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Can you make white by mixing colors
I tend to only use white when mixing a pastel colour. I also use a limited palette; ultamarine, cadmium red med., cadmium yellow light, mars black, titanium white and burnt umber. I always try to use another colour to lighten up the shade eg; adding yellow to lighten up a green I’ve mixed. If the effect is not light enough. then I’ll use some white, as a last resort.
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September 12, 2005 at 4:06 am #1056906
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Thanks for the info fellas, It been a change for me since switching over to oil, all i had to do in watercolor was dilute to get a lighter shade,altough i must imagine that experienced oil painters can lighten any color and still get non-chalky results, Yellow being the lightest color and Violet being the darkest, is it possible to tint white with one of these to mix with a color to make it either a darker or lighter color?
September 12, 2005 at 10:00 am #1056903
Hi, Patrick’s two posts cover many of the basic issues. What white does when you add it to another colour is dependant on the white you use and the other pigment or pigments, since we are dealing with paint, not colour in the abstract. Paints mix with other paints in ways that are not always predictable so, like many areas of colour mixing, you have to learn the wrinkles with your own set of paints by trying things and seeing what you get (and what you like). As for specific lightening cases with a split-primary palette, with deep yellows, oranges, orange-reds and many greens you’ll often find that adding yellow as well as white will give you the result you’re looking for – the orange-yellow (or ‘warm’ yellow) and the green-yellow (or ‘cool’ yellow) respectively. With crimson reds and many violets adding white only will often work fine. With blues, adding white along will often work fine, but adding a little of the ‘warm’ blue may make the highlights look better for a couple of reasons. But remember, these are just formulaic approaches and won’t necessarily give you what you’re looking for.
…I’ve also heard you should always tint that white with another color so as to make the mixed color more vibrent?
Bear in mind that more vibrancy isn’t necessarily something to aim for – it depends on your taste as much as anything. If you’re trying to reproduce colour accurately you have to deal with areas within the painting on a case-by-case basis – an area lit by a shaft of afternoon sunlight will be treated very differently to the remainder lit by indirect light for example. In this case, were the basic colour a medium green, adding yellow for the area lit by sunlight would likely be appropriate and using white alone for the other portions might work… possibly with a touch of added blue (or yellow, or orange, or brown!) depending on how your actual paints work and the colour you’re aiming for. Einion
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September 12, 2005 at 1:07 pm #1056904
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I think Richard and Einion have said it very well. Let me just elaborate a bit on their points, if I may. A good example of a tube color that is typically affected by white is Grumbacher’s Cadmium Orange. When mixed with white, it has a definite tendency to swing to a red (a LIGHT red, of course, but red, none the less). In other words, when white is added to this orange you get a “pink”, instead of simply a “light orange”, and this is its normal tendency. It’s called an “overtone”.. Some other colors behave rather unpredictably, as well. So, for this reason, an artist is often obliged to mix in another color, when adding white, for no other reason than to simply KEEP the original color from swinging toward another color. In the case of Grumbacher’s Cadmium Orange, the addition of a tiny amount of yellow along with the white, would help to keep it as a light orange, when lightened, rather than allowing it to swing toward “pink” (light red). Keep in mind that not every color is going to appear “redder” when mixed with white. Some may appear “bluer”, some “grayer”, some “yellower”, etc. That is the nature of the phenomenon. For example, try mixing white with Grumbacher’s “Grumbacher Red” (napthol AS-D / PR112). What begins as a beautiful, clean red in the tube, quickly deteriorates to a gray, bluish sort of pink color, when mixed with white–definitely not the wonderful, clean, light pink that you might expect. Bill
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September 12, 2005 at 3:35 pm #1056900
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as a plein air painter of subjects outdoors…I generally observe that light and color appear warmer. It is difficult imitating color we see outdoors in natural light, and our tendency is to add white to “brighten” as well as lighten a color. what I have observed quite some time ago is that white is a cool color (generally speaking)…and yes, it tints…but it also cools the color down and flattens its potential for three dimensional punch. Cooling down or neutralizing works against the notion of “brightening”…and is thus counter productive for me. What I use as a substitute for tinting closer color to maintain warmth and yet lighten is Naples Yellow. It makes lovely tints that feel warmer. As a color goes back I’ll use some Naples Yellow plus white since that color would begin to lose its sense of nearness to the eye anyway, and if I want the color to appear even further back I’ll use just the white to tint. I try to be sparing with my use of white so that particular highlights I want will pop with greater depth illusion. Of course it is not always possible to avoid white…so I’ll often add a bit of Naples to the mix after using white to restore some of the warmth lost. Some will argue against this, as is their right…but such thinking has worked for me for umteen years, and I think where painting is concerned the ends does justify the means. Proof is in the pudding as they say… Larry
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September 12, 2005 at 6:07 pm #1056907
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I’m useing the munshell value system and it arranges colors generly like this in value(from what i read in a book): White Highlight –Yellow Light –Yellow Green,Yellow Orange Low Light –Green,Orange Middle Gray –Blue Green, Red orange High Dark –Blue, Red Dark –Blue Violet, Red Violet Low Dark –Violet Black I was searching around these forums for simular approches to this concern and found something intersesting , It said to lighten a color, mix white plus what ever color is directly above it on the color-value scale plus the color you wish to lighten And to darken a color, mix white plus what ever color is directly below it on the color-value scale plus the color you wish to darken I belive your guys info as been helpful in narrowing down a search for a solution, yet I’ve only been in oils for a month so it will no doubt come with time
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To change paint colors, you will need:
- a paint color mixing chart (a.k.a. the color wheel)
- craft colorants (acrylic for latex/acrylic paints, and oil-based for alkyd paints)
- white paint (in the same sheen as the starting paint)
Before you start mixing custom paint colors, realize that you will usually get only an approximation of the color you have in mind. The final color will mimic your desired color, but may not match it exactly.
The final result will depend on the starting color, your experience with mixing paint colors, and available colorants. Paint base will also determine how much a color can be lightened or darkened.
Mixing Custom Paint Colors
The only way to make a paint color lighter is to add white paint to it. The amount will depend on how dark the starting paint color is, and how pale you want to make it. But usually it takes a lot of white paint to noticeably lighten up a paint color.
Sometimes it makes more sense to just add a few cups of starting paint to white paint, than the other way around. Lightening up a color is the cheapest way to “stretch” paint, because white paint is usually very cheap. You may already have some white paint leftovers in your garage.
Darken the Color
To make a color darker, add some black or gray craft colorant to it. Use black when darkening already deep colors, and gray when working with lighter colors. It takes a relatively small amount of black to visibly darken a pastel. But when going for a dramatic change, be prepared to use a lot of colorant.
A rule of thumb is, stay within 2 shades of the starting color. Trying to turn a pale sky blue color into a dark navy blue will only lead to frustration.
How to Make White Colour?
I love colours. I have always wondered how to make white colour? White is not only a symbol of peace, but it also conjures up images of purity, order, and innocence. It can also give a room a sense of spaciousness. White rooms look to be open and uncluttered. Furthermore, white can have an icy aspect. This chilly aspect is frequently associated with blandness and sterility.
When many individuals look at white, they imagine a “blank slate.” As a result, white is often connected with a “new beginning” or “new start.” Purity, freshness, and simplicity are some of the positive connotations of white.
The intriguing thing about white is that when you combine red, green, and blue light, you get white light. When trying to manufacture white paint, however, this method does not work. In fact, no other colour can be mixed to make white paint. This is due to the fact that any paint colour you use will absorb at least one wavelength.
Many people believe that combining all of the colours of the rainbow (red, orange, yellow, green, blue, indigo, and violet) will result in white. This, on the other hand, will result in grey.
What colors make white?
You might be perplexed as to how paint producers manage to produce white paint when it appears to be a near-impossible task. They utilise a white pigment, which is the answer.
A medium, such as acrylic or alkyd resin, is mixed with a white pigment in the white paint formula. Paint makers typically utilise lead carbonate, zinc oxide, calcium carbonate, calcium hydroxide, or mineral powders as pigments.
White paint is a sensitive process that necessitates meticulous chemistry. Furthermore, if necessary precautions are not taken to avoid exposure to potentially harmful pigment selections, the process of making white paint can be rather dangerous.
I hope this answer would help you with your concern about how to make white colour? There’s no doubting that the subtlety of white is striking. That is why it is such a pleasurable hue to work with. New options for producing realistic depth, texture, and shadows open up after you understand how to mix white with multiple colours to generate shades of white.
