NEUTRALS

Neutrals encompass browns, grays, and a range of muted tints, tones, and shades. Pure hues, such as blue or green, tend to receive more attention, but neutrals are in fact more prominent in our day-to-day lives. They are easy on the eyes—soft, soothing, and atmospheric—and they can serve to help pure hues appear more vibrant.

WORKING WITH BROWN

Browns are earthy mixes of the three primary colors in varying proportions. Tints, tones, and shades of brown can range from pale tans and ruddy terra-cottas to deep chocolates and rich skin tones. Although browns do not have a place on the traditional color wheel, they play an important role in painting.

The muted colors of this classic landscape suggest a light, airy atmosphere. Although the mind still reads some areas as vivid color, such as the complementary reddish brown tree and green bushes, the colors are softened and neutralized for a unified, subtle appearance.

MIXING NEUTRALS

Neutrals are blends of all three primaries: red, yellow, and blue—plus white when desired for softening and lightening. To create neutrals that lean warm or cool, simply adjust the proportions of your pigments. Red-and orange-leaning neutrals appear much warmer than blue- or green-leaning neutrals. Experiment with the pigments on your palette to discover the wide range of neutrals at your fingertips.

Cadmium red medium, cadmium yellow medium, and ultramarine blue combine to create a range of rich neutrals.

Using the same primary colors, add white for a range of softer tones. Add more blue for darker, cooler mixes, and add more yellow and white for lighter mixes.

For a warm brown, try mixing red and yellow with just a touch of blue in the bristles.

In this example, the top mix contains more yellow, whereas the bottom mix contains more red.

For cool browns and grays, blend yellow, blue, and white with just a touch of red in the bristles.

WORKING WITH BLACK

Not considered a hue on the color wheel, black is just black—right? Not exactly, There are differences in appearance, consistency, and mixability among black pigments. Some artists choose to avoid blacks and grays altogether by mixing them for a more natural look (see below).

MIXING BLACKS

Black pigments tend to look unnatural and flat set against the rest of a color palette. However, mixed blacks (or deep, dark colors) often suit the overall color balance of a painting. Mixed blacks have a subtle sense of color and depth, which help create deep, lively shadows with dimension.

Using black to deepen or neutralize a color can overwhelm and deaden the other pigments in a mix. Remember, a little dab goes a long way.

Mixing equal parts burnt sienna and ultramarine blue yields a dark, earthy black with a slight hint of blue.

Blending cadmium red medium with dioxazine purple yields a red-leaning black, which can be used for tree branches and trunks.

Cobalt violet and phthalo green creates an effective cool black for the deepest ocean colors in seascapes.

Mixing equal parts cerulean blue and crimson red gives a deep, purple-leaning black. As more red is added, the mix becomes more of a dark brown.