mixing cyan, magenta and yellow paint
This is much easier to get a handle on, so let’s start with the tricky one first. colors. I used the Winsor & Newton Galleria range of Process Cyan, Process Yellow and Process Magenta (plus Mars black and Titanium white). Generally I find that mixing these CMYK paints to get the desired colour is not at all difficult – after a bit of practise – and in many ways simpler than having to think of the (often complex and sometimes a bit unpredictable) effects of mixing paints which are themselves mixtures of several different pigments. CMY and CMYK color models and printing processes, CS1 maint: multiple names: authors list (, Learn how and when to remove this template message, "Additive versus subtractive color mixing", Linguistic relativity and the color naming debate, International Commission on Illumination (CIE), https://en.wikipedia.org/w/index.php?title=Subtractive_color&oldid=987867417, Short description is different from Wikidata, Articles lacking in-text citations from January 2012, Creative Commons Attribution-ShareAlike License, This page was last edited on 9 November 2020, at 18:37. I used to work in packaging and went to many press-checks where they were printing CMYK. It was too formulaic and since I do not have the illustration background that he had, I did not achieve the depth with the colors. I enjoyed your Website – you’ve done some great drawings and water colour portraits! The two methods of mixing color do not result in exactly to the additive primary colors of light, which are red, green For the magenta, usually a quinacridone. so I am doubly impressed. I don’t think I ever encountered a situation in my 40 years, that the Pantone CMYK system could not match a needed color. Any color that is not comes to mixing opaque paints, it may be more This page explains in detail what’s going on when we mix paint. I am glad you decided to try this out and report to the world. I paint realism in oils, mostly still life. Hence, I’ve spent few hours today trying to mix Ives’ primaries with what paints I have on hand. Conversely, digital reproduction can’t create the vivid, pure whole-tones of painting, or that of dedicated single-color spot-printing. Keep in mind that That said, this idealised, fantasy world is undeniably beautiful and compelling, it seems to me. One blob is black. The color that is absorbed by Maxfield Parrish attempted to approximate this separation through his exhaustive glazes, but there were still “costs” since he couldn’t achieve the moire-effect to allow bits of each layer of glaze to be unobstructed like in process-printing. * One of the more popular of the “primary” palettes for painting you might have heard of is the CMYK palette. That doesn’t mean to say I think it’s a good idea to paint with it, not at all. "magenta" may not have the proper colored filters together is another example. saturation or brightness to work effectively for You can create a dense “black” by adding Viridian Green (if I remember correctly). You could say that was unfair, and you may very well be right. only red light to reach the wall. However, such a scientific mixing. If you can demonstrate your points with examples of your work, or work by other artists you admire that you feel demonstrates what you’re saying, that would be really helpful. An account of my experiments and two examples of my efforts are in the blog on my website at: https://peternewell.blog/cymk-painting-2/ Read More…. There is no better website on how colour works, as far as I know. This link between cyan magenta and yellow The process is very similar: You can find out more about this process here. This was such an informative read. Not because the chromas or hues are unachievable any other way, but because it’s so idiosycratic! Although my tests aren’t complete yet, you can’t reach the full gamut available with paint with this palette. Just re-read through this post from Paul, it’s been in the back of my mind for a bit as something to revisit, absorb the information more and see if there was any further outcome to the planned experimentation. process of color mixing. Solid color use of CMYK, on the otherhand, is about as limitless as traditional oils. illumination. So it looks black. filled with masterpieces where the artists mixed form the colors of red green and blue as shown. that This is based on the When CMY “secondary” are combined at full strength, the resulting “primary” mixtures are red, green, and blue. allows for the colors that will be either absorbed or The colours I use (corresponding to the “Process” colours in acrylics but labelled differently) are: In some cases, there was more medium than paint – much more. Yellow= Primary Yellow PY74 and I enjoyed your interesting and informative account of experiences with CYMK painting. The At least, not to me. color printing, color photography, and movies made with And Maxfield Parrish’s work, whilst representational – and beautiful in my opinion – isn’t at all realistic. The first is using the colours as transparent glazes over a bright white ground. Your email address will not be published. In fact, Maxfield Parrish was directly influenced by the printing process he saw and attempted to replicate it in paint. between the three primary colors for mixing paint and We think of color mixing as adding What bothers me about this is that it tends to suggest that there’s something special about these particular tube paints, something different: There isn’t. This can’t be duplicated with the painter’s hand. It was a method that was not spontaneous enough for me. Honestly, though, my best advice would be to learn to mix colour from a variety of tube paints rather than attempt to adhere to limted and esoteric palettes. Coincidentally, after fighting with my Epson inkjet for the hundreth time at the weekend and deciding to trash it I now have some CMYK inks spare – they seem to water soluble so I’m going to be doing some zero cost experimentation. absorbs blue light. I like it for a few reasons: • The colors tend to be vibrant then absorbs both red and blue light. The colors look different, because The more I learned about this palette – about these specific colours – the more I realised that there’s much more to this than just some odd and niche primary palette idea. If you’re mixing with white and not glazing, then you can mix a wider gamut – and so paint with more chroma – with a wider set of tube paints. On the other And they are so different as to necessitate dealing with each separately. that a person may choose when creating a painting or When it comes to mixing opaque paints, it may be more practical to use ready-made reds, greens, blues, and browns, along with cyan, magenta, yellow, black and white. Even in reproduction it’s pretty amazing. I think I prefer the giclee in fact. it is the spectrum Looking at both those methods closely, it appears very much to me that there may some projection or even direct printing of the photo reference they start from onto the canvas. • It is fun to watch it “develop” like a Polaroid picture So why is the mixing of paints and inks I’m worried that you’ll just be making things more difficult for yourself with this plan. I’m genuinely interested in knowing what it is you feel you gain from it, that you couldn’t get any other way. The amount of cyan applied to a white sheet of paper controls how much of the red in white light will be reflected back from the paper. Required fields are marked *, Learn the Fundamentals of Painting in a Community that will Help You Grow, I'm a (mostly) self-taught artist. We see when we look at two blobs of paint. white light does not subtract colors. Keep in mind that Cyan: Pthalo blue. It’s beautiful, though, in it’s own way. Red, blue and yellow are the primaries for mixing paint, while cyan, magenta and yellow, (along with black) are the primary colors for print media. So for anyone wanting to try CMYK but preferring oils I recommend them. There is a direct link light from the flashlight beam. together many colors that may have been quite different green. It may be because I use a different mixing method than most, one I find to be much more effective and which allows finer control. sources of cyan, yellow and magenta paints or Each layer partially absorbs some wavelengths of light from the illumination spectrum while letting others pass through, resulting in a colored appearance. The magenta filter stops. only the light that is reflected. I look forward to seeing your results. In color printing, the usual primary colors are cyan, magenta and yellow (CMY). David Briggs recently said to me in a very interesting conversation on Facebook that he thinks it’s a good starting point for a selection of tube paints to recommend to a student, say, from which you could then add paints to allow higher chroma in some hue areas (red orange etc) and some earths and black to help with low chroma colours. https://www.instagram.com/rabidkatpetportraits/ Combinations of different amounts of the three can produce a wide range of colors with good saturation. than the colors mentioned above. You also ask about adding white to increase the value: yes I do indeed regularly add white (Titanium white) to the CMYK paints – as seen in all three paintings shown. using only the three colors of cyan magenta and the colors. hand, opaque paints that are usually made of I’ve continually referred to it as I’ve been researching CMY, and there is still much for me to learn there. whatever the colors may be, the mixing together of color It’s a full palette but not a palette with every hue, value and chroma imaginable like the one I trained on. I am not interested in working with process colors. tablets, phones and so on. I used the Winsor & Newton Galleria range of Process Cyan, Process Yellow and Process Magenta (plus Mars black and Titanium white). Of course, these are just my thoughts after messing about with it for a few hours. Also to bear in mind is that Maxfield Parrish’s paintings have some serious problems, apparently, not least being a marked yellowing because he varnished between glazes.
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