Analogous Color Schemes

Analogous color schemes use colors that are adjacent to each other on the color wheel.
One color is used as a dominant color while others are used to enrich the scheme.

Energy
F7AFB3 FFA8AC F7C4AF FFC0A8 FBDBAC FFDCA8
F15F66 FF5159 F1885F FF8151 F1B75F FFBA51
EA151E FF000B EA5015 FF4700 EA9515 FF9A00
9A0E14 A80007 9A350E A82E00 9A620E A86500

Aqua
BAEDD3 A8FFD4 BAEDED A8FFFF BAD3ED A8D4FF
74DCA8 51FFA9 74DCDC 51FFFF 74A8DC 51A9FF
33CB80 00FF82 33CBCB 00FFFF 3380CB 51A9FF
228654 00A855 228686 00A8A8 225486 0055A8

Sunny
F7D9AF FFDBA8 F7E8AF FFECA8 F7F5AF FFFCA8
F1B55F FFB851 F1D15F FFD951 F1EC5F FFFA51
EA9415 FF9800 EABC15 FFC800 EAE515 FFF900
9A610E A86400 9A7C0E A88400 9A970E A8A400

Split Complementary Color Schemes

Split complementary schemes use a color and the two colors adjacent to its
complementary. This provides high contrast without the strong tension of the
complementary scheme.

Red Accents
F6BFB1 FFBAA8 FDC7AA FFC6A8 FDD3AA FFD2A8
EE8062 FF7651 FC8F54 FF8E51 FCA654 FFA551
E64419 FF3600 FB5B04 FF5900 FB7D04 FF7C00
982D10 A82300 A53B03 A83A00 A55203 A85100

C7DFDE BFE7E5 C7D6DF BFD9E7 C7CEDF BFCAE7

90C0BE 80D0CD 90AFC0 80B4D0 909DC0 8095D0
5CA2A0 44BBB6 5C89A2 4491BB 5C6FA2 4464BB
2D7B78 3D5B6B 2D5F7B 3D496B 2D427B 2D427B
Eggplant
D3EDBA D2FFA8 C6EDBA BCFFA8 BAEDBB A8FFAA
A7DC74 A6FF51 8DDC74 7AFF51 74DC77 51FF55
7ECB33 7DFF00 57CB33 3CFF00 33CB37 00FF06
538622 52A800 398622 27A800 228624 00A803

D8BAED DCA8FF E0BAED EAA8FF E9BAED F9A8FF

B274DC B951FF C374DC D651FF D574DC F351FF
8E33CB 9900FF A733CB C300FF C133CB EE00FF
5D2286 6400A8 6E2286 8000A8 7F2286 9D00A8

Contrast
F6D2B1 FFD1A8 F6D9B1 FFDBA8 F6E1B1 FFE5A8
EEA562 FFA451 EEB462 FFB851 EEC562 FFCC51
EEA562 FFA451 EEB462 FFB851 EEC562 FFCC51
985110 A85000 986010 A86400 987010 A87700

BAE2ED A8EDFF BACFED A8CBFF BABAED A8A9FF

74C6DC 51DBFF 749EDC 5197FF 7476DC 5154FF
33ACCB 00CBFF 3371CB 0067FF 3336CB 0004FF
227186 0085A8 224A86 0043A8 222386 0002A8

Triadic Color Schemes

Triadic color schemes use three colors equally spaced around the color wheel. The
scheme is popular among artists because it offers strong visual contrast while retaining
balance, and color richness.

Fantasy
FDC7AA FFCDA8 EDD4BA FFD6A8 EDDABA FFDFA8
FC8F54 FF8E51 DCAB74 FFAE51 DCB674 FFC051
FB5B04 FF5900 CB8533 FF8900 CB9433 FFA300
A53B03 A83A00 865722 A85A00 866122 A86B00

D9C2E4 DEB6F0 E3C2E4 F0B6EC E4C2D3 F0B6D7

B586CA BE6DE3 C986CA E16DE3 CA86A8 E36DAF
934DB2 A129D6 B04DB2 D329D6 B24D80 D6298A
603375 691B8D 743375 8B1B8D 753354 8D1B5B
 C0EDBA B2FFA8 BAEDBA A8FFA8 BAEDD4 A8FFD5
81DC74 66FF51 75DC74 52FF51 74DCAA 51FFAC
46CB33 1FFF00 34CB33 01FF00 33CB82 00FF85
2E8622 14A800 228622 00A800 228655 00A857

Science
CFC8DE CDC0E6 D6C8DE D8C0E6 DEC8DE E1C4E2
A091BF 9B81CF AF91BF B381CF BD91BF C48AC6
745DA1 6C46B8 895DA1 9046B8 9F5DA1 A953AB
4D3E6A 472F79 5A3E6A 5F2F79 693E6A 6F3771

F3B4BA FFA8B0 F3BDB4 FFB5A8 F3CEB4 FFCBA8

E86875 FF5162 E87C68 FF6C51 E89C68 FF9751
DD2234 FF0019 DD3E22 FF2700 DD6E22 FF6700
921622 A80010 922916 A81900 924816 A84300

C8DEDE C0E6E5 C8DBDE C0E0E6 C8D7DE C0DAE6

91BFBE 81CFCC 91B8BF 81C3CF 91B0BF 81B5CF
5DA19F 46B8B5 5D97A1 46A7B8 5D8BA1 4693B8
3E6A69 2F7977 3E636A 2F6E79 3E5C6A 2F6179

Sports
F7E4AF FFE8A8 F7EDAF FFF2A8 F7F5AF FFFCA8
F1CB5F FFD251 F1DC5F FFE651 F1EC5F FFFA51
EAB315 FFBD00 EACC15 FFDB00 EAE515 FFF900
9A750E A87C00 9A860E A89000 9A970E A8A400

F3B4C8 FFA8C3 F3B4B5 FFA8A9 F3BDB4 FFB4A8

E76990 FF5187 E7696B FF5154 E77B69 FF6951
DC235C FF004F DC2326 FF0004 DC3C23 FF2300
91173D A80034 911719 A80002 912817 A81700

BAD3ED A8D4FF BEBAED AFA8FF D0BAED CDA8FF

74A8DC 51A9FF 7D74DC 5F51FF A174DC 9B51FF
3380CB 0082FF 4033CB 1500FF 7433CB 6C00FF
225486 0055A8 2A2286 0D00A8 4D2286 4700A8
 Original Real Color Wheel
This crystal color wheel joins together the colors of
Light, Crystals and Pigments.

Free RCW tif in CMYK, printable zip.

Q. Why is a color wheel handy?

Q. When you're on location painting or photographing how do you use it?
A. In sunlight painting you see your object, you see the brightest color on it and use
the opposite color to shadow it. I think I took the "hit and miss out of it" by having
the correct oppositions. It takes a lot of memorizing to know every color's opposite.
For the Printer and Plotter artists, see the gamma differences between an RGB profile and a CMYK profile.
Compare between an RGB/YMC colourwheel and my RCW Real Color Wheel.

See elements matching crystals, light, and pigments.

The RCW and RGB use the same 36 rim colours but each color wheel gets dark differently.
The RCW matches crystals, the RGB subtracts light, only the tint colors are the same.
Orange darkens to reds brown just like yellow and red darken to reds brown.
Orange gets redder as it gets darker.
Opaque red objects become lighter adding opaque orange pigment.
Orange objects darken by adding cad red or burnt sienna or burnt umber at any ratio.
Cadmium red light changes to cadmium red medium with the addition of transparent
magenta (PR:122)

The raw umber hue is the darkest pigment for color this color I call RCW#36 yellow-
green.
#36 and #1 yellow are side by side at 10 degrees each.

Likewise and opposite..

Cyan & cobalt & ult. blue darken to the same dark blue, similar to the way yellow &
orange & red go to the same brown in the opposite set of 7 colors.
With cyan you have a color matching choice to go from cyan to cobalt to ultramarine
before adding any of the complement burnt umber.

Magenta and green just add their opposite colors to get darker.

Here are correct tint colors - Incorrect shadow colors

RCW tint color wheel is the same as the RGB tint color wheel, only.
The RGB/CMY colorwheel is Not for pigments,
it does not darken as pigment crystals do.

Notice in this table chart how this original crystal matching colorwheel darkens yellow
to warm brown while cyan darkens to cool ult blue.

This chart is available as an RGB and CMYK Pen Palette Tiff Zip. Thank you -
SEND ME THE LINK.
 0 0 0 0 0 0 0 0 0 1 1 1 1 1 1 1 1 1 1 2 2 2 2 2 2 2 2 2 2 3 3 3 3 3 3 3 0
1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 1

E
F

H
I
J

The primary color Yellow in pigments can shade to either a green Cool Dark, like in the
RGB/YMC light system. Or to a red warm dark, like my color wheel has it for
pigments. The color pigment Yellow must be on the warm side for the artist to mix it
with any other warm color. By adding a cool yellow/green pigment to a warm yellow
color you would lessen the intensity of the yellow and make it muddy.

Yellow to Black in the RGB is very similar to Green's dark in both the RGB and CMYK
colorwheels.
The Real Colour Wheel, RCW, is different. Yellow goes to Red's warm dark brown not
green's cool dark.
As in the Titanium crystal Rutile. Link
There are two groups of thinking among the color theorists.

1) One does not have to be an artist to have an excellent understanding of color, it's a
science.
A) Transparent to opaque and handling qualities aren't as important as the final dried
chip color to the non-artist where as with the artist they are paramount. To the current
scientist the computers RGB and CMYK colorwheel is the basis of all knowledge about
color, it runs the presses but needs some tweaking for the artist using pigments to use it.

A) One does have to be an artist to understand how to change colors in the painting to
match the image being painted. An artist is concerned with pigment handling
properties. An artist needs accurate analogous and complementary colors plotted on a
good logical color wheel.

2) A non-artist once said, "Your point about getting darker towards green is not
accurate. Dark yellows and cyan's may look green but they do not change hue - they're
still yellow or cyan after all."

A) I think this is perceptual problem, the thinking of a non-artist color theorist. The
artist in me can see green as there is an appearance of green as yellow darkens to black
in the gamma chart of yellow and also as cyan darkens to black. If it quacks like a
duck..
 Printer and plotter artists, don't miss this RGB-CMYK printing comparison.

The RCW Real Color Wheel is the physical crystal color wheel with the properties of
each color crystal getting darker. This matches the elements color in it's natural
progression to dark. Like crystal oxides containing iron they go from yellow to brown.

Since this is so, it makes the RGB/YMC/LAB colorwheel inaccurate for plotting
pigments for the artist to use as a color wheel in the field. Ult blue must be opposite
yellow and plot opposite yellow, like on my wheel which can be just as accurate for
positioning pigments in relationship to each other as simple RGB positioning, only
better.

The new opaque Irgazine yellow is a perfect warm darker yellow, 36RGB#1.6. While
the new Bismuth yellow is the bright full chroma RGB#1.0 The Irgazine yellow has a
very slight duel-tonality and will mix with it's complement ultramarine blue to a dark.

Look at RCW#36.0, Yellow-green and compare it to the primary path to dark for yellow
on the RGB, they look the same. There is no warm yellow path to dark in the RGB, only
a cool path. On the RCW matrix I put them side by side and use the warm path of
yellow as the pure primary yellow and the cool path as Yellow-green's path. Duel-toned
Irgazine Green is a transparent yellow-green, it mixes neutral with dioxzine purple.

Here are some color examples of crystals that the artist would be interested in since
crystals are pigment and chemicals are made with the same elements.

Calcite crystal, [CaCo3], makes the perfect Cyan color with Copper in the Iceland Spar
Crystal, it polarizes to the color Ultramarine Blue. Yellow is made with Iron, and
Magenta is the Sphaerocobaltite Pink Calcite Crystal made with allochromatic Cobalt.
The Calcite Crystal is also a natural polarizing filter.
Quartz, [Si02], Iron Rose Quartz and Manganese Amethyst both touch on the Magenta
color.
Copper makes Green to Cyan Chalcedonie and the opposite color Red Carnelian.
Allochromatic Nickel makes a cool Yellow Chrysoprase Crystal, added Iron makes a
warm yellow to orange Citrine Quartz Crystal.
Iron will make all three primary colors in the crystal Corundum, [A1203], plus making
the secondary colors Red, Ult. Blue and Green. The Red and Green have added
Chromium.

For the chemical colors and there color paths go here.

Here are some permanent chemical pigments used in oil, water, fresco and
acrylic paints today. Note that Indian Yellow and Gamboge are hue/color
names, genuine is not available or used.
 PERMANENT TRANSPARENT YELLOWS

PY153 or PY150 dioxine nickel complex = Indian Yellow Golden Brown,

Gamboge, Indian Red Gold, Sap Green
PY108 Anthrapyrmidine = Indian yellow Orange/side
PG10F Nickel Chelated Azo = Indian Yellow Green side, a good transparent
yellow for a Rich Green Gold.
PY129 irgazine green, duel-toned yellow-green
PO69 isoindolinone = Yellow, Orange, semi-transparent
PR 260 isoindoline = Indian Yellow Golden, Vermilion to Red Scarlet dual-
toned, semi-transparent
PY129 methin copper complex = Golden Green, Indian Yellow Green with
PY153
PR101 synthetic iron oxide = Translucent Yellow to Brown
PY3 stable di-arylide = Yellow Lemon opaque on barium sulfate, Gamboge
hue, Indian Yellow hue, semi-transparent

YELLOW PIGMENT COMPOUNDS THAT WORK AS TRANSPARENT

TRIADS FOR FULL COLOR NEUTRAL DARK OPPOSITION PAINTING
USING A COLOR WHEEL

Transparent oil colors are precipitated on alumina, the oxide of aluminum

present in clay. Another base for these colors could be cyclohexanone, wax,
alum, acrylic polymer emulsion or alkyd.

PY153 or PY150 dioxine nickel complex = Indian Yellow Brown.

PY153 dioxine nickel complex + PR260 isoindoline = Indian Yellow Golden.
Isoindolinone / Isoindoline is not transparent.
PY153 dioxine nickel complex + PY42 synthetic iron oxide = Indian Yellow
Brown.
PY108 Anthrapyrmidine = Indian yellow Orange/side PY153 dioxine nickel
complex + PY3 stable di-arylide = Gamboge.
PY83 stable di-arylide + PR101 synthetic iron oxide = Italian Brown Pink
Lake.

TODAY'S PERMANENT TRANSPARENT CHEMICAL PIGMENTS

PY153 or PY150, dioxine nickel complex = Indian Yellow Brown.

PY108 Anthrapyrmidine = Indian yellow Orange/side
PG10F dioxine nickel complex = Indian Yellow Green side, still a good
transparent yellow
PY153 dioxine nickel complex + PR260 isoindoline = Indian Yellow Golden.
PY153 dioxine nickel complex + PY3 stable di-arylide = Gamboge
PY129 Irgazine green, duel-toned yellow-green gold PR 170:F5rk naphthol
carbamide = Scarlet Pink
PV19 quinacridone = Rose
PR122 quinacridone = Magenta
PV23:1r carbazole dioxazine = Purple
PV23 dioxine nickel complex = Permanent Violet Blueish transparent
secondary blue
PB60 anthraquinone and Indanthrone = Blue Deep to Turquoise
PB15.3 copper phthalocyanine and PB33 manganese Barium Manganate=
Cyan (Thalo Blue and Manganese Blue transparent)
PB7 Chlorinated copper phthalocyanine = Turquoise to Green
PY83 stable di-arylide + PG7 chlorinated copper phthalocyanine = Sap Green
Y/S
PY83 stable di-arylide HR + PG7 chlorinated copper phthalocyanine + PO43
perinone orange = Sap Green O/S
PY129 methin copper complex = Green Gold
PY129 azomethine = Genuine Green Gold
2002, Liquitex has some nice new transparent colors, Acra Gold = yellow to
brown, darker than Indian Yellow Brown Side. A Burnt Orange that's brown
to orange and Van Dyke Brown, a brown to red color. Daniel Smith has a new
semi-transparent Indian Yellow Golden they call Permanent Yellow Deep,
isoindoline
2006, Golden Artist Colors added Indian Yellow Golden Hue, Arylide Yellow
PY7, Nickel Complex Azo PY150 and Quinacridone PR206, Transparent. A
very nice Indian yellow. Also, a green/brown Indian yellow hue called Nickel
Azo Yellow.

TODAY'S TRANSLUCENT TO OPAQUE PALETTE PIGMENTS,

needed for their opaqueness and brilliance.

PY35 cadmium Zinc sulfide = Cadmium Yellow Lemon

PY37 cadmium sulfide = Cadmium Yellow Light, Medium
PO20 cadmium sulfo-selenide = Cadmium Orange
PR108 cadmium seleno sulfide = Cadmium Red Light, Medium
PR88 Thioindagoid Red, a perfect red. PR101 synthetic red iron oxide = Red
Oxide
PY42 synthetic yellow iron oxide = Yellow Oxide
PBr7 natural iron oxide, raw and calcined = Sienna and Umber
PB29 silica, aluminium, sulphur complex = Ultramarine Blue
PB28 oxides of cobalt and aluminium = Cobalt Blue
PG17 anhydrous chromium senquioxide = Chromium oxide Green
PY129 irgazine green = duel-toned green to yellow-green

TODAY'S PERMANENT TRANSPARENT CHEMICAL PIGMENTS

PY153 or PY150, dioxine nickel complex = Indian Yellow Brown.

PY108 Anthrapyrmidine = Indian yellow Orange/side
PG10F dioxine nickel complex = Indian Yellow Green side, still a good
transparent yellow
PY153 dioxine nickel complex + PR260 isoindoline = Indian Yellow Golden.
PY153 dioxine nickel complex + PY3 stable di-arylide = Gamboge
PY129 Irgazine green, duel-toned yellow-green gold PR 170:F5rk naphthol
carbamide = Scarlet Pink
PV19 quinacridone = Rose
PR122 quinacridone = Magenta
PV23:1r carbazole dioxazine = Purple
PV23 dioxine nickel complex = Permanent Violet Blueish transparent
secondary blue
PB60 anthraquinone and Indanthrone = Blue Deep to Turquoise
PB15.3 copper phthalocyanine = Cyan (Thalo Blue) and in 2008 - O.H.
Manganese Blue transparent PB33 = Cyan.
PB7 Chlorinated copper phthalocyanine = Turquoise to Green
PY83 stable di-arylide + PG7 chlorinated copper phthalocyanine = Sap Green
Y/S
PY83 stable di-arylide HR + PG7 chlorinated copper phthalocyanine + PO43
perinone orange = Sap Green O/S
PY129 methin copper complex = Green Gold
PY129 azomethine = Genuine Green Gold
2002, Liquitex has some nice new transparent colors, Acra Gold = yellow to
brown, darker than Indian Yellow Brown Side. A Burnt Orange that's brown
to orange and Van Dyke Brown, a brown to red color. Daniel Smith has a new
semi-transparent Indian Yellow Golden they call Permanent Yellow Deep,
isoindoline
2006, Golden Artist Colors added Indian Yellow Golden Hue, Arylide Yellow
PY7, Nickel Complex Azo PY150 and Quinacridone PR206, Transparent. A
very nice Indian yellow. Also, a green/brown Indian yellow hue called Nickel
Azo Yellow.
 TODAY'S TRANSLUCENT TO OPAQUE PALETTE PIGMENTS,
needed for their opaqueness and brilliance.

PY35 cadmium Zinc sulfide = Cadmium Yellow Lemon

PY37 cadmium sulfide = Cadmium Yellow Light, Medium
PO20 cadmium sulfo-selenide = Cadmium Orange
PR108 cadmium seleno sulfide = Cadmium Red Light, Medium
PR88 Thioindagoid Red, a perfect red. PR101 synthetic red iron oxide = Red
Oxide
PY42 synthetic yellow iron oxide = Yellow Oxide
PBr7 natural iron oxide, raw and calcined = Sienna and Umber
PB29 silica, aluminium, sulphur complex = Ultramarine Blue
PB28 oxides of cobalt and aluminium = Cobalt Blue
PG17 anhydrous chromium senquioxide = Chromium oxide Green
PY129 irgazine green = duel-toned green to yellow-green

CHOSEN PIGMENTS FOR MY 36 REAL COLOR WHEEL

RCW#1.00.1 to RCW#1.00.9 (=) RCW#1 is the first color, RCW#1.01 is a tint

of the first color, RCW#1.1 to RCW#1.9 is the warm to cool scale of the first
color.

The RCW Pigment Color Number for Cadmium Yellow Lemon Opaque is:
RCW36#1.0.1, that is the coolest full chroma yellow in the yellow arc.
RCW36#1.0.9, is the warmest yellow in the yellow arc, a tint of Indian yellow
transparent.
RCW36#1.0, is the Pure Yellow arc with10 graduated values getting darker
below it, there are 36 color arcs in all. RCW#13.6 is a 50% top-tone color for
transparent pigments like Magenta.
RCW36#1.0 Yellow happens to have five different pigment color values located
in it. 01 is a tint, 0 is the full mass-tone color, rings 3, 6 and 10 all have
pigments in them.

Brown is the darkest intensity of yellow-greens, yellows and reds. Mix this low
intensity brown with it's opposite color Ultramarine blue to Cyan for a neutral
dark.

RCW36#1.01 to RCW36#36.01 are the outer rings, lighter pigment or tinted

hues of this color section.
RCW36#1.0 to RCW36#36.0 are 100% full chroma mass-tone opaque
pigments (or) 50% top-tone colors of transparent pigments.

#1.01 Tint of 1st color

#1.0 Full chroma opaque or tint, the 1st color is yellow.
#1.0.1 First (warmest) of 9, #1.0.9, left to right divisions from warm to cool
#1.1 First dark of 10 divisions to dark of this first color
#1.2
#1.3
#1.4
#1.5 Mass-Color of some transparent pigments.
#1.6 Mass-Color of some transparent pigments.
#1.7
#1.8
#1.9
#1.10 10% intensity of this color.

RCW#1.01.1 Light Chrome Yellow Light, Lead Chromate, PY-34

RCW#1.0.1 Light, Yellow Light Hansa, Arylamide, PY3, Translucent
RCW#1.01.2, Nickel Titanate Yellow PY53
RCW#1.01.3, Hansa Yellow, Monoazo Yellow, PY-74, Translucent
RCW#1.0.1, Cadmium Zinc Sulfide, PY35, Opaque
RCW#1.0.2, Cadmium Lemon, PY35, Opaque
RCW#1.0.3, Bismuth Yellow PY184
RCW#1.0.5, Aureolin, Potassium Cobaltinitrite, PY40, Translucent
RCW#1.2, New Gamboge, Indian Yellow, Anthrapyrimidine PY108,
Translucent.
RCW#1.4, Wm Gold ocher - Azo Yellow, Monoazo Yellow, PY-151, Translucent

RCW#1.6, Indian Yellow-Brown Lake Extra, Dioxine Nickel Complex,

Synthetic Iron Oxide, PY153 or PY150, PY42, transparent.
RCW#1.6.1, Indian Yellow Gr/s, Nickel Chelated Azo PG10F, transparent.
RCW#1.6.5, Indian Yellow-Orange Lake Extra, Dioxine Nickel Complex,
Isoindoline, PY153 or PY150, PR260, Transparent
RCW#1.8, Raw Umber Brown, Natural Earth, Hydrated Iron Oxide, PBr7,
PY42, Translucent
RCW#1.10, Burnt Umber Brown, Natural Earth, Hydrated Iron Oxide, PBr7,
Translucent
RCW#2.01, Naples Yellow, Titanium Dioxide, Rutile-Nickel-Tin-Titanium,
Chromium-Antimony-Titanium Yellow PW6, PY53, PBr24, Opaque
RCW#2.0, Chrome Yellow Orange Lead Chromate, PY34, Opaque
RCW#2.4, Yellow Ochre, Natural Hydrated Iron Oxide, PY43
RCW#.10, Burnt Umber Brown, Natural Earth, Hydrated Iron Oxide, PBr7,
Translucent
RCW#3.01, Naples Yellow Deep, Lead Antimonate, PY41, Opaque
RCW#3.0, Cadmium Yellow Deep, Opaque
RCW#3.3, Raw Siena, Natural Iron Oxide, PBr7, Opaque
RCW#3.4, Italian Deep yellow Ocher R/s, Opaque
RCW#3.6, Quinacridone Deep Gold PO48, Transparent
RCW#3.7, Brown Oxide PR101, Transparent
RCW#3.10, Burnt Umber Brown, Natural Earth, Hydrated Iron Oxide, PBr7,
Translucent
RCW#4.0.4, Benzimidazolone Orange, Benzimidazolone, PO62, Transparent
RCW#4.0.5, Cadmium Orange, Cadmium Sulfo-Selenide, PO20, Opaque
RCW#4.6, Burnt Sienna PBr7, Translucent
RCW#4.10, Burnt Umber Brown, Natural Earth, Hydrated Iron Oxide, PBr7,
Translucent
RCW#5.7, Italian burnt Sienna PBr7, Translucent
RCW#5.10, Burnt Umber Brown, Natural Earth, Hydrated Iron Oxide, PBr7,
Translucent
RCW#6, Chinese Vermilion, Mercury Sulfide, Translucent
RCW#6 Vermilion Extra, Isoindolindon, PR260, Translucent
RCW#6.10, Burnt Umber Brown, Natural Earth, Hydrated Iron Oxide, PBr7,
Translucent
RCW#7.0.5 Thioindagoid Red PR88, Opaque
RCW#7.0.5 Cadmium Red Light Red PR108
RCW#7.6, Light Red Oxide - Venetian Red Warm, Synthetic Iron Oxide,
PR101, Opaque
RCW#8.0, Irgazine Red PR254, Opaque
RCW#10.01, Light Portrait Pink, Naphthol Red AS-D, Titanium White,
Diarylide Yellow, PR122, PW6, PY83, Opaque
RCW#10.0, Naphthol Crimson, Naphthol AS, PR170, Translucent
RCW#12.01, Light Magenta, Naphthol AS, Quinacridone Violet, Titanium
Dioxide, Zinc Oxide, PR188, PR122, PW6, Opaque
RCW#12.0, Permanent Rose, Quinacridone, PV19, Transparent
RCW#13.0, Quinacridone Magenta, PR122, Transparent Magenta
RCW#14.00, Cobalt Violet, PV49, Opaque Cool Magenta
RCW#14.0, Cobalt Violet, Cobalt Phosphate, PV14, Transparent Cool
Magenta
RCW#15.0, Manganese Violet PV23 R/s, Top-tone, Transparent
RCW#15.6, Manganese Violet PV23 R/s, Mass-tone, Transparent
RCW#16.0, Dioxazine Purple, Carbazole Dioxazine, PV23, Top-tone,
Transparent
RCW#16.6, Dioxazine Purple, Carbazole Dioxazine, PV23, Mass-tone,
Transparent
RCW#18.0, Ultramarine Violet, Alumosilicate of Sodium, PV15, Top-tone,
Transparent
RCW#18.6, Ultramarine Violet, Alumosilicate of Sodium, PV15, Mass-tone,
Transparent
RCW#19.01.1, King's Blue Deep, Tint, Zinc Oxide, Titanium Dioxide Rutile,
Synthetic Ultramarine PB29, PW4, PW6, PB29, Opaque
RCW#19.01.5, Light Blue Violet, Ultramarine Blue, Titanium Dioxide, PB29,
PW6, Opaque
RCW#19.0.5, French Ultramarine Blue PB29, Translucent
RCW#19.2.5, Ultramarine Blue Light PB29, Translucent
RCW#19.3.5, Ultramarine Blue Deep PB29, Complex Silicate of Sodium and
Aluminum with Sulfur, Translucent
RCW#22.0, Cobalt Blue PB28, Oxides of Cobalt and Aluminum, Opaque
RCW#25.0, Pathalocyanine - Phthalo - Thalo - Cyan Blue PB15 transparent,
Cerulean Blue Opaque PB-36 = Oxides of Cobalt and Chromium Opaque =
Cyan Hue
RCW#25.0, Manganese Blue by O.H. Cyan transparent PB33, new 2008.
RCW#25.6, Thalo Blue - Phthalo Blue - Cyan PB15.3 Pathalocyanine, Mass-
tone
RCW#27.01, Phthalo Turquoise PB15.3 + PG36, Pathalocyanine, Top-tone
RCW#27.6, PhthaloTurquoise PB15.3 + PG36, Pathalocyanine, Mass-tone
RCW#28.3, Bright Aqua Green, Phthalocyanine Green, Phthalocyanine Blue,
Titanium Dioxide, PG7, PB15, PW6, Opaque
RCW#29.3, Opaque Green Light, Phthalocyanine Green, Monoazo Yellow,
Cobalt-Titanium-Nickel-Zinc-Aluminum-Oxide,
RCW#31.0.1, Phthalo Green, Y/S, Brominated Chlorinated Phthalocyanine,
PG36, Translucent
RCW#31.0.5, Tint, Emerald Green, Brominated Copper Phthalocyanine,
Titanium Dioxide, PG36, PW6, Opaque
RCW#31.0.9, Phthalo Green Y/g, Phthalocyanine Green Y/s, PG7, Transparent

RCW#33.3, Permanent Green Light, PG-7, PY-3, Phthalo Green + Monoazo

Yellow, Opaque
RCW#33.6, Hooker's Green Permanent PG36 + PY3 + PO49, Transparent
RCW#34.6, Chrome Oxide Green, PG-17, Chrome Oxide, Opaque
RCW#35.0, Yellow Green Organic, Opaque
RCW#35.0.6, Sap Green PY73, PG7, PR101, Arylamide Yellow GX,
Phthalocyanine Green, Red Oxide, Opaque
RCW#36, Priderit Yellow PY157, Yellow-green, Opaque
RCW#36, Thalo Yellow Green PG7 + PY3 + PW4, Chlorinated Copper
Phthalocyanine, Arylide Yellow 10G, Zinc Oxide, Opaque
RCW#36.3, Green Gold, Nickel Chelated Azo, PG10, Translucent
RCW#36.6, Indian Yellow-Green Extra, Dioxine Nickel Complex, Methin
Copper Complex, PY153, PY129, Transparent
RCW#36.6, Green Gold, PY129, Azomethine Copper Complex, Transparent
RCW#36.6, Irgazine green PY129, Translucent
RCW#36.10, Green Umber, Translucent
 Oil Pigment palette.
There is a space for each of these colors on my 27 RCW COLOR OIL
PALETTE although I may not fill them all every time I paint.

White is in the middle of the palette. The top of the palette on the left is
Dioxazine Purple, Ultramarine Blue, Cobalt Blue, Thalo Blue or O.H.
transparent Manganese blue., Turquoise, Opaque Green and Thalo Green on
the right.

The left side goes from Dioxazine Purple to Burnt Umber, Bt. Sienna, Red
Oxide, Yellow Ocher, Naples Yellow (or lead-tin Yellow) to Quinacridone
Magenta at the bottom.

The bottom row of colors is Quinacridone Magenta, Rembrandt Rose, Cad

Red, Cadmium Orange, Indian Yellow Golden, Cadmium Yellow Medium,
Gamboge, Cadmium Yellow Light, Cadmium Yellow Pale, Lead Yellow Lemon
is in the bottom left corner of the palette.

The right side is from Thalo Green on the top, than , Permanent Green Light,
Green Gold, Yellow Green Opaque with Lead Yellow Light at the bottom.

I keep all 37 of these oil pigments below on hand with me, they all have their
special color and pigment properties.

00. Mussini Zinc Yellow, 01. Bellini Lemon Yellow, 02. YYYY, Grumbacher
Cadmium Barium Yellow Pale, 02a. YYYY, Mussini Cadmium Yellow
Lemon, 04. Old Holland Gamboge Lake Extra, 05. Schmincke Mussini
Cadmium Yellow Middle, 06, Old Holland Indian Yellow-Orange Lake
Extra, 06a. Old Holland Indian Yellow Brown Lake Extra, 07. YYYM,
Mussini Cadmium Orange, 08. Rembrandt Chinese Vermilion Extra, 09.
YYMM, Cadmium Red Medium, 10, YMMM, Rembrandt Rose, 11.
MMMM, Danial Smith Quinacridone Magenta, 12. MMMM, Bocour, New
York, Cobalt Violet Phosphate, 13. MMMC, Liquitex Carbazole Dioxazine
Purple, 14. Grumbacher Dioxazine Purple, 15. Ultramarine Violet, 16.
MMCC, Blocks French Ultramarine Blue, 17. Mussini Ultramarine Light,
18. Mussini Cobalt Blue Light, 19. CCCC, Grumbacher Thalo Blue, 20.
CCCY, Rembrandt Blue Green, 21. CCYY, Mussini Phthalo Green, 22.
Mussini Opaque Green Light, 23. Grumbacher Thalo Green Yellow/Side, 24.
Mussini Permanent Green Light, 25. Winsor and Newton Sap Green
permanent, 26. CYYY, Old Holland Yellow-Green Organic Opaque, 27.
Mussini Naples Yellow Light, 27a. Mussini Naples Yellow Deep, 28. Mussini
Yellow Raw Ocher, 29. Mussini Translucent Yellow Oxide, 30. Rembrandt or
Mussini Asphaltum, 31. Mussini Raw Umber, 32. Mussini Burnt Umber, 33.
 Mussini Burnt Sienna, 34. Blocks Venetian Red, 35, Rembrandt Chromium
Green Oxide, 36. Grumbacher Green Earth, 37. Mussini Genuine Golden
Green,

Interactive Real Color Wheel Matching Tube Pigment

Colors in RGB and YMC.

Each colors number relates to it's position on the 36 color Real Color Wheel.
These 36 RCW colors get dark just as they do in crystals.
Opposite complement pigments mix dark shadow colors just as nature makes shadows
on sunlit items.
The top color Yellow is the color numbered (1a.) The number (1b) is a darker version of
(1a)
on the way through the dark middle to it's opposite color, (19a) Ultramarine Blue.
Just as the Titanium Crystal, Rutile

Test your monitor, the top button is the deepest Black.

The lower radio button is White.
Go back to White.

Enter a color name or hexidesimal code, FFFFFF = White (all colors full, the numbers
000000 = black (no color). Use numbers in groups of 33 to be web safe. Examples:
FF0000 is red, 990000 is a dark red color red and no other colors, 660000 is a darker
red, 33000 is very dark red. 00FF00 is green, 0000FF is blue, CCCCCC is neutral gray.
I think a spectroscope of dried pigment color would show all colors to be unpure.

I think a spectroscope of dried pigment color would show all colors to be unpure, this
can't always be shown on the web. The percentage CMYK was from mathamatical
printed chart and matched to the tube color by eye..

I matched the dried chip color to the computer by eye. It's close enough to paint with a
computer tablet and compare the relationships of similar colors in pigments.

I matched the pigment tube color dry by eye to RGB color and read it with a Digital
Color Meter.

Top-tone is adding White to the color. Under-tone is adding clear. Mass-tone is thick out
of the tube.
Click the radio button to change the background to the matching tube color.

01a. Bellini Lemon Yellow, Lead Chromate, a light cool Yellow. #"FAFF28", RGB,
R=250 G=255 B=098, CMYK= 80Y 20M

01a. YYYY, Grumbacher Cadmium Barium Yellow Pale, a middle Yellow.

#"FFFF0E", R=255 G=255 B=014
01a. YYYY, Mussini Cadmium Yellow Lemon, the middle Yellow. #"FFFF00",
R=255 G=255 B=000, CMYK= Y

01b. Mussini Zinc Yellow, the coolest Yellow. An extra color. #"F1F10A", R=241
G=241 B=010
01b. Mussini Cadmium Yellow Pale, a slightly cool Yellow. #"FFFA43", R=255
G250 B=067

01c. Old Holland Gamboge Lake Extra, a Yellow-Orange dual-tone, #"FF9F00",

R=255, G=159 B=000
changing to a Cadmium Yellow Under-tone. #"FF9F00" R=255, G=159 B=000

1c. Old Holland Indian Yellow-Orange Lake Extra, a dual-toned Orange to Yellow
transparent color. #"FF5700", R=255, G=087, B=000 The pale undertone is a strong
Yellow-Pale while the top mass-tone hue is Orange and Vermilion mixed 1:1. This color
can replace the famous "golden transparent", one of the two color aspects of Natural
Indian Yellow.
Here is the dual-toned Under-tone color of Old Holland Indian Yellow-Orange Lake
Extra. #"FFF000", R=255, G=240, B=000

1d. Old Holland Indian Yellow-Brown Lake Extra. It makes a good dark triad neutral,
but not a strong Yellow, more like a Cadmium Yellow Middle Under-tone. (Old Holland
Indian Yellow Brown Lake, has a Warm Tan Ocher top-tone with a Middle Cadmium
Yellow undertone. It makes a poor Orange but will turn Ultramarine Blue to a nice
Neutral Dark if that is all you had on a three color palette.) We artists REALLY need
this color in acrylics and water colors, not just in oils by only one manufacture. NEW,
Liqutex Quinacridone Acra Gold in acrylics is a little close. A Yellow/side Burnt Sienna
if you will. #"986011", R=152 G=096 B=017.
This is the Under-tone color of Old Holland Indian Yellow Brown Lake Extra and
Liqutex Acra Gold Quinacridone PO:49 + PO:45. #"FF9F00", R=255 G=159 B=000.

1e. Rembrandt or Mussini Asphaltum, the ancient color Bitumen, a transparent

dark brown/yellow side, Rembrandt used this favorite glaze to transcend dark
(Doerner). The Smithsonian says he did not use this color? #"331D00", R=051, G=029,
B=000. New in Liqutex, Van Dyke Red Hue, mixes neutral with Ultramarine Blue. Way
to go Liqutex!

A transparent Under-tone of Rembrandt or Mussini Asphaltum and the new

Benzimidazolone PBr:25 is clickable below

1e. Mussini Burnt Umber, a calcined translucent warm Red-Brown. Note:

Cadmium Yellow also darkens to this color in the "Real Color Wheel" using this Brown
to form all warm Yellows. #"331500", R=051, G=029, B=000, CMYK= Y M C

02a. Mussini Naples Yellow Light, an opaque Nickel and Titanium replacement for
Antimony Yellow. This is the first of eleven pre-made with added white colors, they
must be added to a complete painting color palette. This was the traditional (1875) base
flesh tone when made with Antimony Lead, later and earlier lead-tin Yellow was used.
#"FFEDA8", R=255 G=237 B=168, CMYK= 60Y 20M

03a. Mussini Naples Yellow Deep, (True Naples is either Green-side, Yellow-side or Red-
side, higher firing temperatures make warmer, lighter colors. #"D9A878", R=217
G=169 B=120, CMYK= 60Y 40M

2b. Schmincke Mussini Cadmium Yellow Middle is more Yellow than Grumbacher
Cadmium Yellow Medium. #"FFED09", R=255 G=337 B=009, CMYK= Y 20M

05a. Grumbacher Cadmium Yellow Medium. #"FFE709" R=255 G=231 B=009

02c. Mussini Yellow Raw Ocher, opaque tan. #"9B6A26", R=155 G=106 B=038,
CMYK= 80Y 20C 40M
 02d. Mussini Translucent Yellow Oxide, dual-toned red-tan, add white for a yellow-
tan. It has the same mass-tone matching color as Mussini Indian Yellow Brown Lake
Extra. #"986011", R=152 G=096 B=017

A top-tone of Mussini Translucent Yellow Oxide is clickable below

4a. YYYM, Mussini Cadmium Orange, opaque. #"FF8200", R=255, G=130, B=000,
CMYK= Y 60M

4b. Mussini Burnt Sienna, transparent Red-Brown. Orange changing to dark

brown, goes through Burnt Sienna. Above click is the mass-tone from the tube.
#"4D0000", R=077, G=000, B=000, CMYK= Y 60C M

To See an Under-tone (the color with clear medium) of Mussini Burnt Sienna, click
below.

Below is a high Top-tone tint of Mussini Burnt Sienna.

6a. Rembrandt Chinese Vermilion Extra, translucent bright Red Light. #"FF3200"
R=255 G=050 B=000, CMYK= Y 80M

07a. YYMM, Cadmium Red Medium. #"FF0000" R=255, G=000, B=000, CMYK=
YM

7b. Blocks Venetian Red, warm opaque. Cadmium Red going to neutral dark black.
#"A60000", RGB, R=153, G=000, B=000, CMYK= Y 40C M

10a, YMMM, Rembrandt Rose, transparent Scarlet-Crimson. #"F1004C", R=241,

G=000, B=076, CYMK= 90M

An Under-tone of this tube color is here below.

Here below is a light Top-tone of Rembrandt Rose, the perfect Pink, notice it is getting
cooler. #"FF4186", RGB, R=255, G=065, B=134

12a. MMMM, Danial Smith Quinacridone Magenta PR122, a warm dual-tone

Magenta with a cooler mass tone similar to Cobalt Violet and a warmer top-tone, it
mixes to a perfect neutral dark with Thalo Green. #"BD0053" R=189 G=000 B=083,
CMYK= M. All complementary colors make perfect neutral grays and blacks, that can
be adjusted warm or cool.

13a. MMMM, Bocour, New York, Cobalt Violet Phosphate, transparent dual-toned,
dark mass-tone to a cool Top-tone pink when mixed with White and a warm Under-tone
pink when mixed with medium. This color is perfect for making Ultramarine Blue using
Thalo Cyan. #"BD0081" R=163, G=000, B=109, CMYK= 10C 90M

Cool Top-tone below

Cooler Top-tone with more White below,

Warm transparent Under-tone below

16a. MMMC, Liquitex Carbazole Dioxazine Purple, transparent. With the addition
of White, this pigment completely changes into a cooler color Purple, it is dual-toned.
#"300030" R=048, G=000, B=048, CMYK= 80C M

A tint Top-tone color of this pigment is this radio button below.

16a. Grumbacher Dioxazine Purple, the same mass color as #13, this tube color
looks like this. With the addition of White this pigment fills the warm slot. The tinted
color of this pigment is this radio button.

18a. Ultramarine Violet, translucent, from the tube. #"260035", R=038 G=000
B=053, CYMK= 80C M
A Top-tone tint of this color is:

19a. MMCC, Blocks French Ultramarine Blue, translucent. #"150036", R=021,

G=000, B=036, YMCK= C 80M

A Top-tone tint of this color is:

19b. Mussini Ultramarine Light, translucent. #"150064", R=021, G=000, B=100

A Top-tone tint of this color is:

22a. Mussini Cobalt Blue Light, opaque. Nobody makes a true Cobalt Blue
anymore, the artificial colors are in this Opaque Azure range, there are no Transparent
Azures available. #"00255C", R=000, G=037, B=092, CMYK== C 80M

A Top-tone tint of this color is:

25a. CCCC, Grumbacher Thalo Blue, transparent, a perfect Cyan. This colors
Mass-tone is Ultramarine Blue transparent, and the Top-tone tint color is RGB Cyan,
just like the sky. The more white that is added, the warmer the color becomes.
#"000040", R=000, G=000, B=064, CYMK= C. Paint the sky with Thalo Blue or
Manganese blue and Dioxine Purple to make all the colors between and including the
Ultramarine Blue color. In crystal Cyan darkens by adding magenta which makes blue.

A middle Top-tone tint of this color:

A very high Top-tone tint of this color is, RGB, Cyan:

27a. CCCY, Rembrandt Blue Green, a transparent Turquoise color. #"003020",

R=000, G=048 B=048, CYMK= 20Y C

A lighter tint of this color is:

29a. Mussini Opaque Green Light, a mix of Titanium and Phthalo Green, cool
opaque, too handy to be in the auxiliary color wheel. #"007559" R=000, G=117, B=089,
CYMK= 60Y 80C

31a. CCYY, Mussini Phthalo Green is Blue/side, transparent. #"003010" R=000.

G=048, B=016, CYMK= Y C

A tint of this color is: RGB, 000, 225, 233,

32a. Grumbacher Thalo Green Yellow/Side, transparent. Has a warmer mass-tone

than Top-tone . #"003000" R=000, G=048, B=000

A Top-tone tint of this color is: RGB, R=000,G=255, B=176

33a. Mussini Permanent Green Light, warm opaque. #"00590A", R=000, G=089,
B=010, CYMK= 80Y 80C

A tinted Top-tone by adding white of this color is: RGB, R=000,G=255, B=147

34a, Rembrandt Chromium Green Oxide, warm opaque. #"009B7A", R=000,

G=080, B=000, CMYK== Y 80C 40M

34a. Grumbacher Green Earth, warm translucent. #"3E5600", R=062, G=086,

B=000

35a. CYYY, Old Holland Yellow-Green Organic Opaque has a cooler mass-tone
than Under-tone. #"79C700" R=121, G=199, B=000, CYMK= 20C Y, Here below is the
warmer Under-tone mixed with a clear medium.
 35b. Winsor and Newton Sap Green, #"233A00, R=035, G=058, B=000, transparent
dual-tone, from a mass-tone cooler dark to a warmer tint mixing Yellow-Green and
White. Caution; Most brands include black in this pigment and don't give it a
permanent rating. Be safe and don't use it or use a synthetic.

A tint with added white of this color is: RGB, R=152, G=197, B=000

36a. CYYY, Brillant Yellow-Green, transparent in acrylic, opaque in oil.

#"DBFF76" R=121, G=255, B=028, CYMK= 10C Y

36b. Mussini Genuine Golden Green, #"606300", R=096, G=099, B=000, CYMK= Y
40C 40M

A Top-tone tint by adding white to this dual-toned color is: RGB, R=246, G=255, B=000

36c. Mussini Raw Umber, a translucent cool Brown/green side. (Yellow-Yellow-

Yellow-Green darkens to this color in my light to pigment color wheel). #"332500",
R051, G=037, B=000, CMYK= Y 80C 80M

These colors make painting very easy indeed.

Return to White

Or,
a cool neutral tint. #"CCCCCC" R=180, G=180, B=180, CMYK= 20Y 40C 20M, RCW=
Any triad or complementary set of colors, plus white.

The Aerial Palette for 10 Concentric Rings.

 ARTISTS 36 REAL COLOR WHEEL
All dots are links to each pigments discripton. Read the linking color name in
the browser status bar below.
The center links to the photo pigment color chip chart page. Pigment artists,
don't miss it!
Real Color Wheel's are 36, 12, 6 or 3 colors.

The color arcs are numbered from 1 to 36.

#00. Outer rings, lighter pigment or tint hue of this color.

#0. 100% full chroma for opaque pigments, 50% top-tone

 tint for transparent pigments.
00. Tint
0. full chroma hue.
1. 10 shades to dark.
2.
3.
4.
5.
6. Mass-Color of transparent pigments.
7.
8.
9.
10. 10% intensity of this color.

Clickable Artists Real Color Wheel matching pigments

This CLICKABLE chip color map below shows the true
opposition pigment colors for mixing neutral darks on my
color wheel.
It will be the new "basic" color wheel because the color
oppositions are accurate.
The revolution of the color wheel, replace your old color wheel
now. The old Red-Blue-Yellow and Yellow-Magenta-Cyan
plain color wheels are inaccurate, for any artist.
Equal amounts of yellow and magenta make red, that's 100%
twice.

Arc#1, 10 Tint Values of Yellow, 10 Darker Values of Yellow to

Dark Brown.
Arc#1, Top of circle, Primary, 10 degrees of 360 degrees
RCW01= Yellow Full Chroma, Full Intensity, or
RCW01.00= Yellow Full Chroma, Full Intensity
RCW01.00.01= 100% Full Chroma, Full Intensity, Coolest
Yellow Hue
RCW01.00.05= 100% Full Chroma, Full Intensity, Middle
Yellow Hue
RCW01.00.09= 100% Full Chroma, Full Intensity, Warmest
Yellow Hue
RCW01.05.05= 50% Yellow + 50% Brown, Value #5, Middle
Brown Hue
RCW01.10.09= 100% Brown, Value #10, Warm Dark Brown
Hue
Add ultramarine blue to reach black, like the Titanium Rutile
Crystal
Cooler Yellow to Warmer Yellow, RCW01.00.01 to 09
Cooler Brown to Warmer Brown, RCW01.10.01 to 09

Arc#2, 10 Tint Values of Yellow Medium, 10 Darker Values of

Yellow Medium to Dark Brown
Arc#2, Yellow Medium to Dark Brown = Values 01 to 10
RCW02.00= 100% Yellow + 16% Magenta.
RCW02.05= 50% Yellow + 8% Magenta + 100% Brown
RCW02.10= 0% Yellow + 0%Magenta + 100% Brown
Add ultramarine blue to reach black, like the Titanium Rutile
Crystal

Cooler Yellow Medium to Warmer Yellow Medium, 01 to 09

Medium Yellow, RCW01.00.05

Pigment Mixing Percentages. Use the same percentages for

Magenta to Cyan and Cyan to Yellow.

Transparent Yellow to Transparent Magenta, full chroma.

RCW01.0= 100%Yellow
RCW02.0= 100%Yellow+16%Magenta.
RCW03.0= 100%Yellow+32%Magenta
RCW04.0= 100%Yellow+50%Magenta Orange
RCW05.0= 100%Yellow+66%Magenta
RCW06.0= 100%Yellow+84%Magenta
RCW07.0= 100%Yellow+100%Magenta Red
RCW08.0= 84%Yellow+100%Magenta
RCW09.0= 66%Yellow+100%Magenta
RCW10.0= 50%Yellow+100%Magenta Scarlet
RCW11.0= 32%Yellow+100%Magenta
RCW12.0= 16%Yellow+100%Magenta
RCW13.0= 0%Yellow+100%magenta Magenta

Transparent Magenta to Transparent Cyan, full chroma.

RCW13.0= 100%Magenta
RCW14.0= 100%Magenta+16%Cyan.
RCW15.0= 100%Magenta+32%Cyan = Violet
RCW16.0= 100%Magenta+50%Cyan = Purple
RCW17.0= 100%Magenta+66%Cyan
RCW18.0= 100%Magenta+84%Cyan
RCW19.0= 100%Magenta+100%Cyan = Ultramarine Blue
RCW20.0= 84%Magenta+100%Cyan
RCW21.0= 66%Magenta+100%Cyan
RCW22.0= 50%Magenta+100%Cyan = Cobalt Blue
RCW23.0= 32%Magenta+100%Cyan
RCW24.0= 16%Magenta+100%Cyan
RCW25.0= 0%Magenta+100%Cyan

Transparent Yellow to Transparent Cyan, full chroma.

RCW1.0= 100%Yellow
RCW36.0= 100%Yellow+16%Cyan.
RCW35.0= 100%Yellow+32%Cyan
RCW34.0= 100%Yellow+50%Cyan
RCW33.0= 100%Yellow+66%Cyan
RCW32.0= 100%Yellow+84%Cyan
RCW31.0= 100%Yellow+100%Cyan = Green
RCW30.0= 84%Yellow+100%Cyan
RCW29.0= 66%Yellow+100%Cyan
RCW28.0= 50%Yellow+100%Cyan
RCW27.0= 32%Yellow+100%Cyan = Turquiose
RCW26.0= 16%Yellow+100%Cyan
RCW25.0= 0%Yellow+100%Cyan

Painting opaquely, yellow darkens to gold ocher then to deep

brown. All three of these opaque pigments are needed on the
artists palette. One transparent yellow will do it if you are also
using transparent magenta and cyan to paint full color
paintings.

Yellow and orange arcs become dark by adding brown, the

same dark brown that matches the red arc.

Magenta will get dark by adding it's opposite color or the

other two triads, which do combine to make the complement
opposition secondary color, green.

Magenta arcs change to cyan by adding cyan in 22%

increments. Equal amounts of transparent magenta and cyan,
arc #19, having 100% of each color, make an ultramarine blue
transparent hue. 66% less magenta, three arcs over plus the
100% cyan make a transparent cobalt blue hue.

The cyan arc darkens first to cobalt blue, than ultramarine

blue before becoming neutral. From that ultramarine hue
darker, add the same burnt umber that gets the ultramarine
blue arc darker. So #19 through #25 get dark to the same color
before becoming dark neutral. Just like #1 through #7 get dark
to the same color.

Prismacolor pencils mounted on the Real Color Wheel

The 36 "real color wheel" will give you accurate
split complements too, to cover the whole triangle
evenly. Counting from #1yellow to #19ultblue is
(18) 10 spaces. One on each side of the opposite
color, nine different times. That changes each set
from split colors to analogous colors.

Nine divisions of accurate "split complements" to

"analogous trios" per color. With all the browns
and dark cyans in the right place.

Expect perfection, it happens all the time in

nature.