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First off, I fully agree with you Bill, as you say you can’t mix a Red color that is as fully chromatic as possible, whether it is a red color or a magenta color, that should be mutually understood. But this maximum chroma stipulation is a novel addition to the rule that you are adding to the “can’t mix a primary color”. Beside that, hmshood did not stipulate that the mix must be an absolute highest chroma magenta.
You will get a desaturated gray color or very close to it.
I do not. Of course cads will not work as well, they also desaturate more than organics, upon mixing.
Proof is done with hard irrefutable data and not with just talk.
Here is, in fact, a magenta that I mixed from napthol red and diox violet, tinted with white to be able to better see the color, it is clearly not close to being a desaturated gray color and it is a serviceable color.
I actually like this color fine, and I could tube this mix up and use it for most all of my magenta needs for the rest of my painting career. My only red on my palette nowadays is this napthol red, I prefer using it over quinacridones.
Napthol red is a common acrylic color that hms may already have, IDK.
hmshood already said that he/she could obtain a tube of magenta, but has asked how to do it if mixing other colors. This is how it is done.
Note that I didn’t claim that it would be the most saturated magenta possible. I do believe that hmshood understands that too but has said that he/she would like to just try it, just merely try it . I am saying yes, go ahead and try it because you often learn better by actually doing it and trying it out in real life, instead of talking about it.I’d like to try mixing my own. Is there a “rule of thumb’ formula?
hms, is this mix good enough?, if not, or you don’t have colors that can mix to what you want, then you already know what you have to do, but what I have advised regarding the most efficient process there is, for this particular color mixing example, is dead on accurate and shows you what can be done in real life.
And there is often more than one way to skin a catfish so to speak.
Here are the very same two colors that I mixed in the other example, napthol red on both the left, and the right, under a nice little dioxazine violet glaze laid over top, I left a spot of it in the corner so you can see it.
Take note of the whopping increase in chroma with only one glazing.
Vermeer among others used this method centuries ago. I use it too sometimes.
This was a quickie done on a canvas surface, you can make it look more uniform on a flatter surface, without those tiny dark pools of the dark dioxazine settling in the interstices of the weave. You can also do multiple glazings.And there is often more than one way to skin a catfish so to speak.
Here are the very same two colors that I mixed in the other example, napthol red on both the left, and the right, under a nice little dioxazine violet glaze laid over top, I left a spot of it in the corner so you can see it.
Take note of the whopping increase in chroma with only one glazing.
Vermeer among others used this method centuries ago. I use it too sometimes.
[IMG]http://s3.amazonaws.com/wetcanvas-hdc/Community/images/18-Jan-2018/112587-rsz_img_1305.jpg[/IMG]
This was a quickie done on a canvas surface, you can make it look more uniform on a flatter surface, without those tiny dark pools of the dark dioxazine settling in the interstices of the weave. You can also do multiple glazings.Hi, Sid!
Please look at my observation:
You can also reach a dirty violet by mixing a transparent Naphthol Red (e.g PR 112) with Ultramarine Blue. Again, that only works with the transparent versions, because they’re a bit more violet.
Of course, your version is significantly cleaner than what I expected. But that is probably because it is also significantly more purplish. I suspect this is a transparent naphtol red?
Golden’s acrylic paint line has purplish, transparent naphtols. They are much yellower than the quinacridones, but still so much significantly more purplish than normal that I totally believe they can achieve cleaner purples. In other words, even though they look yellowish, these transparent versions don’t really work in mixing as substitutes for Cadmium reds, but as yellower substitutes for quinacridones:
This makes me wonder if magenta pigments have to be transparent to be magenta. I don’t know a single pigment which is both opaque and magenta. Maybe transparent pigments with lots of white, obviously, but as far as I know opaque versions of pigments that would otherwise mix to a magenta or crimson are significantly yellower. For example, Golden has an opaque version of PR 264 they call Pyrrole Red Dark, but it doesn’t mix much like Alizarin Crimson – instead, it mixes more like Cadmium Red Deep (PR 108).
Sid, I’m saying that because I have mixed them. I used Winsor & Newton acrylics’ Cadmium Red Medium (PR 108) and Dioxazine Purple (PV 23).
There’s a glare here and a slight color shift, so it’s not very accurate. But, in real life, Colors are much deeper, and brownish in masstone (due to Dioxazine Purple). They only reveal the violet undertones when you glaze.
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