{"id":530,"date":"2022-05-20T22:59:36","date_gmt":"2022-05-20T22:59:36","guid":{"rendered":"http:\/\/www.teaksouls.com\/johnsblog\/?p=530"},"modified":"2024-02-21T17:03:08","modified_gmt":"2024-02-21T17:03:08","slug":"many-ways-to-gray-part-2-how-to-make-a-neutral","status":"publish","type":"post","link":"https:\/\/www.teaksouls.com\/johnsblog\/many-ways-to-gray-part-2-how-to-make-a-neutral\/","title":{"rendered":"Many Ways to Gray, Part 2: How to Make a Neutral"},"content":{"rendered":"\n[et_pb_section fb_built=”1″ _builder_version=”4.14.7″ _module_preset=”default” custom_padding=”||0px|||” global_colors_info=”{}”][et_pb_row _builder_version=”4.14.7″ _module_preset=”default” custom_margin=”-43px|auto|-227px|auto||” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.14.7″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.14.7″ _module_preset=”default” global_colors_info=”{}”]

Whenever you want to mix any color, the easiest path will always be to mix two colors which are close to the color you desire. As a simple example, consider mixing a violet. You would choose a red that had a bluish component (like a rose or magenta), and a blue that leans red \u2013 such as ultramarine blue.\u00a0 Carrying this argument forward; to mix a neutral more easily<\/em>, start with pigments that are already close to neutral (center of the color wheel). Grays can certainly be mixed using high-chroma paints, but it will be more difficult.<\/p>\n

Approaching from that point of view, I will list some of the more common low-chroma pigments that can be easily used as a neutralizer .\u00a0 There is quite a variety here, so you should be able to find some of these in your palette.\u00a0 Many of the same pigments have different paint names. Look on the tube for pigment ID\u2019s. [I will often refer to a paint’s ‘Pigment Identifier’ or ‘CI’.\u00a0 If you’re not familiar with this, you might want to take a quick review of the guide to knowing What’s in your Paint.<\/a>]<\/p>\n

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\u00a0Blacks<\/span><\/h2>\n

Do not eliminate blacks just because they have a bad reputation.\u00a0 The classic blacks (made from soot) have some nice properties, and as long as your not using them too strongly, will be just fine.\u00a0 Lamp Black (PBk 6) is used in many neutrals, grays and other low-chroma colors, so why shouldn’t you use it? Often you will see a watercolor artist claim that s\/he would never use black, yet they might have a paint in their palette like ‘Indigo’, which is merely a convenience mix of blue and black.\u00a0 Of the classic blacks, Lamp Black seems to be the best choice for reducing the chroma of some bright paint.\u00a0 Ivory Black (PBk 9) is slightly warmer than Lamp.\u00a0 Other carbon blacks include Furnace Black (PBK 7, from coal), and Charcoal Black (PBk 8, from wood).\u00a0 It is best to think of these carbon blacks as ‘grays’; if they are used to achieve a dark value, the result will be dull. Better to use a strong blue, like ultramarine.<\/p>\n

There are some non-carbon blacks, notably:\u00a0 Spinel Black (PBk 26) – This is the black to keep on your palette.\u00a0 Spinel is a semi-precious gemstone, but the pigment is made in the lab. Perylene Black (PBk 31), which is more of a green than a black, as mentioned earlier is a great neutralizing pigment – can be used to tone down any color. \u00a0A fun black choice is a \u2018Magnetic Black\u201d (PBk11).\u00a0 It is an iron-based black rather than carbon, and it is extremely granulating.\u00a0 Use this with plenty of water and watch the pigment particles respond to a magnet!<\/p>\n

[At the time of this writing only a couple paint manufacturers offer a Spinel Black.\u00a0 Mairimblu has a \u2018Neutral Tint\u2019 which is really just Spinel Black and Rembrandt\u2019s version is called Spinel Gray. Daniel Smith offers the Magnetic Black as \u201cLunar Black\u201d.]<\/p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.14.7″ _module_preset=”default” min_height=”457.8px” custom_padding=”8px|||||” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.14.7″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.14.7″ _module_preset=”default” min_height=”394.8px” custom_margin=”2px|||||” custom_padding=”0px|||||” global_colors_info=”{}”]

Classic Brown Neutralizers<\/span><\/p>\n

<\/span><\/span>Any of the browns are born neutralizers.\u00a0 Browns are just low-chroma yellows, oranges and reds. So, when you\u2019re looking for a complement to them, be sure to keep that in mind. There are classic browns and modern browns.\u00a0 The primary difference is that modern browns are typically floaters, while the classic browns are heavier, sinking pigments.<\/p>\n

The classic browns have been in use for centuries.\u00a0 Traditional names include words like ochre, burnt, raw, sienna, umber, Mars<\/em>, etc.\u00a0 They are all iron oxides of a type. Though they all have the same Pigment ID code, the pigments can vary considerably across pigment manufacturers.\u00a0 In addition, the pigments are very easily manipulated by paint manufacturers to bring out specific characteristics, such as opacity and granulation. Next time you have one of these mixed, smell it closely; you will smell rust \u2013 iron oxide.\u00a0 The two classic pigments most used (by far) are PR 101\/102 and PBr7. These two pigments are responsible for literally 100\u2019s of watercolor paints on the market. [PR 101 and 102 are the same pigment; 101 is made in the lab, and 102 has a natural origin.]\u00a0 The colors can be made to range from a dull yellow all the way to a deep reddish violet.\u00a0 The paints made from these pigments are typically called opaque, to semi-opaque, but do not let that discourage you \u2013 most of them thin to gorgeous, quite transparent washes.\u00a0 These pigments have been in use as\u00a0 neutralizers for several centuries, and are still a favorite among all painters.\u00a0 They can be used to tone down any bright paint, and work especially well with blues and greens.<\/p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ _builder_version=”4.14.7″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.14.7″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.14.7″ _module_preset=”default” global_colors_info=”{}”]

Here are four examples of paints made with PBr 7.\u00a0 You can see the variation in colors available.<\/p>\n

From top to bottom:<\/p>\n

Burnt Umber from M.Graham<\/p>\n

Raw Umber, Sennelier<\/p>\n

Raw Sienna, M.Graham<\/p>\n

Burnt Sienna, Holbein<\/p>\n

 <\/p>[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.14.7″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”http:\/\/www.teaksouls.com\/johnsblog\/wp-content\/uploads\/2022\/06\/PBr-7s.jpg” title_text=”PBr 7’s” _builder_version=”4.14.7″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ _builder_version=”4.14.7″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.14.7″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.14.7″ _module_preset=”default” global_colors_info=”{}”]

These are all swatches made with different versions of PR 101\/102.\u00a0 As you can see, colors can vary from a orangish yellow all the way to a reddish violet.<\/p>\n

From top to bottom: “Red Sartorius Earth” by Rublev, “English Red Earth” by Dan Smith, “Venetian Red” by Old Holland, and “English Red Ochre” by Dan Smith<\/p>\n

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Modern Brown Neutralizers<\/span><\/p>\n

Most modern browns are synthetic organics.\u00a0 Simply put, it means made in the factory<\/em> and based on a carbon atom (organic)<\/em>.\u00a0 There are quite a few of these, but I will just mention some of the most used. PO 48 (Quinacridone Orange), PR 206 (Quinacridone Maroon) and Perylene Maroon (PR 179) \u00a0are a few of the most popular and can be mixed to match any color in the classic brown category.\u00a0 The big difference is that these modern pigments are finer and lighter than their classic counterparts and tend to flow out evenly in a wash \u2013 they are floaters.\u00a0 Try mixing these with blues, greens, and violets that are sinkers for a separating gray.<\/p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.14.7″ _module_preset=”default” custom_padding=”4px||3px|||” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.14.7″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.14.7″ _module_preset=”default” global_colors_info=”{}”]

Green, Violet, and Blue Neutralizers<\/span><\/p>\n

Dioxazine Violet (PV 23 or PV 37) and Indanthrone Blue (PB 60) are both modern, fairly transparent, low-chroma neutralizers.\u00a0 Try either with a strong, transparent green (Phthalos).\u00a0 And try with any oranges or earths. They both have many aliases, so check your tubes for pigment info.<\/p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.14.7″ _module_preset=”default” custom_padding=”13px|||||” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.14.7″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.14.7″ _module_preset=”default” global_colors_info=”{}”]

Perylene Green (PBk 31) and Perylene Violet (PV 29).\u00a0 These two are both wonderful low-chroma neutralizers used alone, or make a very well-behaved cool gray when combined.\u00a0 [Note that the green actually has a black pigment code.] It\u2019s very possible that you do not own either of these paints.\u00a0 The Perylenes are a class to themselves in terms of how well they behave, especially when very wet.\u00a0 The perylenes colors vary from a deep scarlet, to a very low-chroma violet.\u00a0 A good one to start with is Perylene Maroon (PR 179).\u00a0 A very nice low-chroma maroon that can compliment just about any paint. Many watercolor artists make their transparent neutral from Perylene Green and Perylene Maroon, but I prefer the Violet.<\/p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.14.7″ _module_preset=”default” custom_padding=”2px|||||” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.14.7″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.14.7″ _module_preset=”default” global_colors_info=”{}”]

Mixing a Neutral with High-Chroma Pigments<\/span><\/p>\n

So far I have only listed low-chroma pigments.\u00a0 Neutrals can also be mixed with high-chroma pigments, its just a little more difficult. A violet and green mix is a common recipe for modern neutral tints.\u00a0 Quinacridone Violet (PV 19) and Phthalo Green, either shade (PG 36 or PG 7). These are two fairly high-chroma pigments, yet make a good, extremely powerful, extremely transparent neutral.\u00a0 Since they are so far apart on the color wheel, mixing to the perfect neutral is a bit harder.\u00a0 Go slow, and as you look at the mix, ask yourself \u2013 \u201cdoes it look more Green, or more Violet?\u201d\u00a0 Whichever the answer, add more of the opposite. When you get to the point where you can\u2019t say either, you are there.\u00a0<\/p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ _builder_version=”4.14.7″ _module_preset=”default” custom_margin=”|auto|-29px|auto||” custom_padding=”0px|||||” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.14.7″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.14.7″ _module_preset=”default” global_colors_info=”{}”]

\u00a0This set of test strips illustrates a couple of points:<\/p>\n

Watercolor palettes may contain 2 or 3 colors that are the same, but have different characteristics.\u00a0 In this particular case I am looking at three blue-greens, all of which have approximately the same hue: Thalo Green, blue shade (PG 7), Viridian Green (PG 18), and Amazonite (From Dan Smith, this pigment is made from ground Amazonite stone which has not been assigned a CI.)<\/p>\n

A gray can be mixed with a green and a violet.\u00a0 For these mixes I have used Perylene Violet (PV 29) with each of the 3 greens.\u00a0<\/p>\n

Note a couple of things.\u00a0 1) Viridian is a heavy granulator, therefore it produces a granulating gray where we can see the violet separating from the green.\u00a0 2) The mixture with Thalo Green stays well mixed.<\/p>[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.14.7″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”http:\/\/www.teaksouls.com\/johnsblog\/wp-content\/uploads\/2022\/06\/3-greens-with-peryV.jpg” title_text=”3 greens with peryV” _builder_version=”4.14.7″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.14.7″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.14.7″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.14.7″ _module_preset=”default” global_colors_info=”{}”]

In the next post of this series we will look at some of the commercial \u2018neutral tint\u2019 mixes available from the top watercolor purveyors.<\/p>[\/et_pb_text][et_pb_button button_text=”Go to Many Ways to Gray, Part 3″ _builder_version=”4.14.7″ _module_preset=”default” hover_enabled=”0″ sticky_enabled=”0″ button_url=”https:\/\/www.teaksouls.com\/johnsblog\/many-ways-to-gray-part-3-some-popular-neutral-tints\/” button_alignment=”center” locked=”off”][\/et_pb_button][\/et_pb_column][\/et_pb_row][\/et_pb_section]\n","protected":false},"excerpt":{"rendered":"

Whenever you want to mix any color, the easiest path will always be to mix two colors which are close to the color you desire. As a simple example, consider mixing a violet. You would choose a red that had a bluish component (like a rose or magenta), and a blue that leans red \u2013 […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"1080","footnotes":""},"categories":[19],"tags":[],"class_list":["post-530","post","type-post","status-publish","format-standard","hentry","category-many-ways-to-gray"],"yoast_head":"\nMany Ways to Gray, Part 2: How to Make a Neutral - John Duncan McLaren<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.teaksouls.com\/johnsblog\/many-ways-to-gray-part-2-how-to-make-a-neutral\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Many Ways to Gray, Part 2: How to Make a Neutral - John Duncan McLaren\" \/>\n<meta property=\"og:description\" content=\"Whenever you want to mix any color, the easiest path will always be to mix two colors which are close to the color you desire. 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