Seuss Alternative to PlayDough. Sign in. Log into your account. Forgot your password? Password recovery. Recover your password. When Do Breasts Stop Growing? The Rules for Sharing, According to Toddlers. The Downside of Concerted Cultivation. Support vs. Control: The 4 Classic Parenting Styles. Typical paint made by classic procedures is a mixture of pigments responsible for color , resins keep pigments in place , solvent to regulate the viscosity of paint and additives for fine tuning the properties of the paint.
Here how a blue pigment, called Fra Angelico, the starting point of so popular ultramarine blue color, is prepared:. This classic blue pigment is made from semi-precious stone Lapis Azuli and is the reason why blue color was for so many centuries reserved only for rich people.
Today we have an enormous number of different pigments, some of natural, other of synthetic origin. This article is of informative nature only and if you want to know more about blue hues, you can simply check this list of different blue colors.
Please be aware of possible fumes, so take safety precautions. With this, we conclude our a bit longish answer to the seemingly simple, yet tricky question: »What makes blue? How to Make Blue? The Basic Color Wheel Explained There are numerous theories about the color, but most of us are familiar with at least one — the color wheel, developed in by Sir Isaac Newton he actually became a Sir almost 40 years after that.
This color wheel can be presented with a simple diagram, a color wheel of primary colors: The so-called secondary color wheel or 6 color wheel looks like this: Sometimes it is also called a complementary color wheel because the colors, lying on the opposites of the circle make complementaries to each other. This leaves green, i. Where the yellow and magenta overlap, we see the subtractive mixture of yellow and magenta. In other words, we see white from which the yellow filter has subtracted blue and the magenta filter has subtracted green.
This leaves red, i. Where the magenta and cyan overlap, we see the subtractive mixture of magenta and cyan. In other words, we see white from which the magenta filter has subtracted green and the cyan filter has subtracted red.
Finally, where yellow, magenta and cyan overlap in the centre, we see the subtractive mixture of yellow, magenta and cyan. In other words, we see white from which the yellow filter has subtracted blue, the magenta filter has subtracted green and the cyan filter has subtracted red. We return to Subtractive primaries and Subtractive colour mixing below. The illustration at left shows several different colours. The numbers are six-digit hexadecimal representations of RGB colours. Decimal goes from 0 to 9, hexadecimal extends this 9, a, b, c, d, e, f, to give 2 4 values per digit.
The colour saturated red is usually written ff, but could also be written in decimal: ;; The first two digits are the brightness of a red pixel, the next two that of the green, then that of blue. The right hand part of the picture is a close-up of a computer screen, which magnifies the red, yellow, white, magenta intersection.
Looking at the right picture, at top left we see that only red components of each pixel are lit. At top right, both red and green are lit and, from a distance, these appear yellow as in the picture at left. At bottom right, red, green and blue are all lit and the combination centre of left picture is a convincing white. If you have the room to move ten metres or so back from your screen, you'll see that the sections of the picture on the right really do become red, yellow, white and magenta though the white is less bright than the surrounding white.
If you'd like to examine this more closely, here are original close-up photographs courtesy Noel Hanna for the same illustration shown on a computer monitor and a smart-phone. If you download these files, you can zoom out or in or walk backwards and forwards to see the effect. The photoreceptors in your retina that respond to colour come in just three varieties, which we call 'red', 'green' and 'blue' according to the colour which produces maximal response. On the diagram at top right, the proportional response of the 'red', 'green' and 'blue' photoreceptors is shown as a function of wavelength.
A three-colour representation of a spectrum is shown below the graph. The key is using a tube of red and a tube of blue that will produce that hue of purple you are wanting to use in your painting. Typical tubes of red are : permanent rose, magenta, thalo red, cadmium red, cadmium red light, alizarin crimson hue, quinacridone magenta, naphthol red medium, pyrrole crimson, scarlet, pyrrole, red, vermillion, etc.
This is not an exhaustive list. Typical tubes of blue are : phthalo blue red and green shades , cerulean blue, cobalt blue, Prussian blue, ultramarine blue, permanent blue, Antwerp blue, turquoise, manganese, etc.
That is a lot of tubes of red and blue no matter which medium you are working in. Note: In acrylics, watercolor and oils, the names of red and blue tubes may vary. However the variety of reds and blues is vast in each medium. Which red and blue from the above makes a lovely purple? It can be overwhelming trying to choose. Each swatch of color in the above chart is from different tubes of paint representing several brands.
Because artists try to use tubes of red and blue that contain yellow! We know that yellow is the color complement of purple and when they are mixed they de-saturate each other. In other words, when you mix a little yellow with purple it becomes dull or looses its saturation. The color chart below shows the mixtures that result from mixing various yellows and purples. The other factor that makes mixing purple difficult, is that many painters use a standard or typical palette of colors that does not allow them to make purple.
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