These little palette colors will take you to new windows
Dioxine Purple Ultramarine Blue Cobalt Blue Thalo Cyan Blue Turquoise transparent Green Opaque Thalo Green
Burnt Umber Real Color Wheel in Pigments Permanent Green Light
Burnt Sienna
Venetian Red Yellow Green Opaque
Yellow Oxide
Naples Yellow Light Green Gold Transparent
Magenta Rembrandt Rose Cadmium Red Medium Cadmium Orange Indian Yellow Gold transparent Cadmium Yellow Medium Cadmium Yellow Pale
and describe each pigment color on the colorwheel.



CD for $35. It includes all the links to everything in this Site Tree Index.


This is the only transparent 3 primary color wheel like this, copy it if you are an artist
or someone working with color. It matches natures way in making crystals dark.
Use this Real Color Wheel to match pigments that are the correct neutral dark color mixing complements.
Use it for mixing shadows and shade colors without using black pigment.
A color wheel designed by a color artist painting only on location for 30 years and taking color notes. It matches crystal color oppositions; cyan is from copper and the copper crystal has cyan's opposite red color.

Original Real Color Wheel 
This transparent 3 primary color crystal color wheel joins together
the colors of Light, Crystals and Pigments.


Free RCW tif in RGB & 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. While painting you see an object, you see the brightest color on it and mix in the opposite color to shadow it. 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 the yellow and cyan colors between the RGB/YMC colourwheel and the (RCW) Real Color Wheel.

Real Color Wheel Compare Chart

Color Elements Make Transparent Colored Crystals which match Light and Pigment colors.
The RCW and RGB colorwheels use the same 36 intense rim colours but each color gets dark differently.
The Red-yellow-Green-cyan-Blue called the RGB light spectrum that the computer uses subtracts light to darken colors, so only only the full hue colors and tints are the same as the full hue colors on the Real Color Wheel.
The RCW matches the way the transparent colored crystal of each colors element becomes darker.
Real Color Wheelcomes in CMYK for Pigment colors and RGB for Light colors. These transparent pigment colors are used in my plotter for printing the Real Color Wheel. I'm using in my plotter.

Real Colour Wheel master

Orange darkens to the brown of red just like yellow and red, in the transition we get Burnt Sienna.
Yellow, orange and red darken to the same dark umber brown.
Opaque red objects become lighter adding opaque orange pigment. I noticed this on a cardinal in the sunlight.
Orange objects darken by adding burnt sienna or burnt umber.
Cadmium red light changes to cadmium red medium with the addition of transparent magenta (PR:122)

Raw umber is the coolest dark pigment for the color that is RCW#1.10.1 yellow. This yellow-green-brown is a much cooler in the 10º arc for Green Umber in RCW#36.10.5. #36 Yellow-yellow-green and #1 yellow are side by side each using 10 degrees of the 360 degrees circle.

Likewise and opposite..
Cyan, cobalt blue & ultramarine 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.
Cyan is opposite red, which together mixes dark neutral. Red and yellow darken to warm brown, warm brown and cool dark blue make a neutral dark. Any neutral dark can be tinted to a neutral tint, like the underside of a cloud,

Transparent magenta and transparent green are opposite, just add any opposite colors together to get a color darker or all the way dark to neutral dark.

Here are correct tint colors & incorrect shadow colors

Tint, Real Color Wheel tint colors RGB/YMC colorwheels
RCW tint color wheel is the same as the RGB tint color wheel.
The RGB/CMY colorwheel is NOT for pigments:
it does not darken as pigment crystals do.


 
 

Notice in this table chart of numbers (this is not an image) 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 image and CMYK image in the Pen Palette Tiff Zip.  SEND ME THE LINK.

 00   19   18   17   16   15   14   13   12   11   10   09   08   07   06   05   04   03   02   01   02   03   04   05   06   07   08   09   10   11   12   13   14   15   16   17   18   19 
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The transparent 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 transparent 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 dirty.

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 like in nature, not green's cool dark.
As in the Titanium crystal Rutile. Link

Electromagnetic Spectrum Color Chart (EM) 7-25-8

Real Color Wheel Electromagnetic (EM) Spectrum Color Chart is very accurate and measured in Nanometers,
1,000,000,000 nm to 1 meter.
Here is how to check it for color accuracy. Open the downloaded 600 ppi EM spectrum chart and enlarge it 200%, (that's really big) and read the color just above or below the color's dot with your color picker. Read this color in an RGB color wheel like Adobe's or the Real Color Wheel. For the less saturated colors like yellow and orange move the slide to the full hue. This small 72 dpi web image has a Twentieth Anniversary Macintosh profile. The download 600 ppi tif has an sRGB IEC61966-2.1 profile.

Real Color Wheel Electromagnetic Spectrum (EM) color chart

If you would like the link to this large 600 dpi tif EM image in a Zip file ask for one by Email.
Electromagnetic Spectrum Chart 600 ppi by Real Color Wheel - Email


Here is a sample of what the downloaded image will look like.
Real Color Wheel Electromagnetic Spectrum (EM) color chart sample

If you want more information about the electromagnetic spectrum it's on my rainbow page.

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 its 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 dual-tonality and will mix with its 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 and it mixes a 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 Chalcedony 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 their color paths go here.
Here are some permanent chemical pigments used in oil, water, fresco and acrylic paints today.
Note that Transparent Indian Yellow and translucent Gamboge are hue/color names, these colors as "genuine" are not available or used today.

 

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, dual-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, very nice Indian yellow. Also added, a green/brown Indian yellow hue called Nickel Azo Yellow.

TODAY'S 7-23-8 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 = dual-toned green to yellow-green

PIGMENTS FOR 36 REAL COLOR WHEEL

36RCW#1 is the first color arc, RCW#1.0 is the full color in the first color ard, RCW#1.0.1 to RCW#1.0.9 are the warm and cool of the full color, RCW#1.01 to RCW#1.09 are tints of the first color, RCW#1.1 to RCW#1.10 are the darker scaled colors of the first arc.

The RCW Pigment Color Number for Cadmium Yellow Lemon Opaque is:
36RCW#1.0.1, that is the coolest full chroma yellow in the yellow arc.
36RCW#1.0.9, is the warmest yellow in the yellow arc, a tint of Indian yellow transparent.
36RCW#1.0, is the Pure Yellow arc with 10 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.
36RCW#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 its opposite color Ultramarine blue to Cyan for a neutral dark.

36RCW#1.01 to RCW#36.01 are the outer rings, lighter pigment or tinted hues of this color section.
36RCW#1.0 to RCW#36.0 are 100% full chroma mass-tone opaque pigments (or) 50% top-tone colors of transparent pigments.

#1.01 Tint of the 1st color arc, yellow
#1.0 Full chroma, the 1st color is yellow.
#1.0.1 (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 (darkest).


RCW#1.01.1 Light Chrome Yellow Light, Lead Chromate, PY-34
RCW#1.01.2, Nickel Titanate Yellow PY53
RCW#1.01.3, Hansa Yellow, Monoazo Yellow, PY-74, Translucent
RCW#1.0.1, Light, Yellow Light Hansa, Arylamide, PY3, 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#1.10.1, Raw Umber Brown, Natural Earth, Hydrated Iron Oxide, PBr7, PY42, Translucent
RCW#1.10.9, 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#2.10, 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 Sienna, 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#14.0, 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, B/s, Phthalocyanine, PG7, Transparent
RCW#31.01.9, Tint, Emerald Green, Brominated Copper Phthalocyanine, Titanium Dioxide, PG36, PW6, Opaque
RCW#31.0.9, Phthalo Green Y/s, Phthalocyanine, PG36, 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#36.01, Priderit Yellow PY157, Yellow-green, Opaque
RCW#36.0, 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 Ochre, 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, then , 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, Daniel 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 color's number relates to its 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 (#1.0) The number (#1.10) is a darker version of (#1.0)
on the way through the dark neutral middle to its opposite color (#19.10) dark Ultramarine Blue.
Just as in 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 impure but this can't always be shown on the web. The percentage CMYK was from mathematical 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 to RGB color and read it with a Digital Color Meter.

Top-tone is adding White to the color. Under-tone is adding clear, like water or oil. Mass-tone is thick out of the tube pigment. Click the radio button to change the background to the matching tube color.

#1.01.1, Rembrandt Nickel Titan Yellow Light, a cool tint pigment. #"F1F0A7", R=241 G=240 B=167.
#1.1.1, Mussini Zinc Yellow, the coolest full chroma Yellow. An extra color. #"F1F10A", R=241 G=241 B=010
To mix a dark neutral use the darkest form of opaque yellow 1.10.1, Mussini Burnt Umber. Note: Cadmium Yellow also darkens to this color in the "Real Color Wheel" using this Brown to form all warm Yellows. #"331500", R=51 G=29 B=0
#1.0.2, Mussini Cadmium Yellow Pale, a slightly cool Yellow. #"FFFA43", R=255 G250 B=067
Opposite color = 19.0.5, Blocks French Ultramarine Blue, translucent. #"150036", R=21, G=0, B=36
To mix a dark neutral use the darkest form of opaque yellow, 1.10.9, Mussini Burnt Umber and mix it 1:1 with its opposite color ultramarine blue.
Do that with each of the colors in this arc #1 to make a neutral dark.
#1.0.3, Bellini Lemon Yellow, Lead Chromate, a light cool Yellow. #"FAFF28", RGB, R=250 G=255 B=098.
To mix a dark neutral use the darkest form of opaque yellow 1.10.9, Mussini Burnt Umber.
#1.0.4, Grumbacher Cadmium Barium Yellow Pale, a middle Yellow. #"FFFF0E", R=255 G=255 B=14.
To mix a dark neutral use the darkest form of opaque yellow 1.10.9, Mussini Burnt Umber.
#1.0.5, Mussini Cadmium Yellow Lemon, the middle Yellow. #"FFFF00", R=255 G=255 B=0.
To mix a dark neutral use the darkest form of opaque yellow 1.10.9, Mussini Burnt Umber.
Opposite color = #19.0.5, Mussini Ultramarine, translucent. #"150064", R=21 G=0 B=100.
To mix a dark neutral use the darkest form of opaque yellow, 1.10.9, Mussini Burnt Umber.
#1.0.2, Dual-tone Gamboge, changing to this Cadmium Yellow under-tone. #"FAFB32" R=250, G=251 B=50
#1.2.2, Old Holland Gamboge Lake Extra, Mass-tone, a Yellow-Orange dual-tone color, #"EFCA40", R=255, G=159 B=000
Opposite color = #19.0.5, Mussini Ultramarine, translucent. #"150064", R=021, G=000, B=100,
To mix a dark neutral use the darkest form of opaque yellow, 1.10.9, Mussini Burnt Umber.
#1.0.8, This is the Under-tone color of Old Holland Indian Yellow/Brown Lake Extra Dual-tone. #"F6E45B", R=252 G=225 B=70.
#1.4.8, Mass-tune, 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 decent 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. A Yellow/side Burnt Sienna if you will. #"986011", R=152 G=096 B=017.
It will lighten farther to very close to a pure yellow like the Yellow-Orange side Indian yellow. I use this color when I only use one Indian yellow or one yellow only. It's not like translucent Gamboge that you can recognize everywhere.
Opposite color = #19.0.5, Mussini Ultramarine dark, translucent. #"1A166B", R=26 G=22 B=107. This color Old Holland Indian Yellow/Brown transparent will also make a neutral dark when mixed with ultramarine dark.
#1.0.9, Here is the dual-toned Under-tone color of Old Holland Indian Yellow-Orange Lake Extra. The pale undertone is a strong Yellow-Pale while the top mass-tone hue is Orange and Vermilion mixed 1:1.#"FFF000", R=255, G=240, B=000, To make a dark neutral use 1.10.9, Mussini Burnt Umber. Note: Cadmium Yellow also darkens to this color in the "Real Color Wheel" using this Brown to form all warm Yellows. #"331500", R=51 G=29 B=0
#4.0.1, Old Holland Indian Yellow-Orange Lake Extra mass-tone, a dual-toned Orange to Yellow transparent color. #"FF5700", R=255, G=87, B=0 This color can replace the famous "golden transparent", one of the two color aspects of Natural Indian Yellow.
Opposite color = #19.0.5, Mussini Ultramarine dark, translucent. #"150064",
#1.10.5, 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? Don't use this pigment it is much too oily, Rembrandt had no other choice at that time, he used it as his last glaze. #"331D00", R=51 G=29, B=0. New in Liqutex, transparent Van Dyke Red Hue, mixes neutral with Ultramarine Blue. Way to go Liqutex!
A transparent Under-tone of Rembrandt or Mussini Asphaltum or the new Benzimidazolone PBr:25.
Opposite color = #19.0.5, Mussini Ultramarine Light, medium or dark, translucent. #"150064", R=21 G=0 B=100
1.10.9, Mussini Burnt Umber, a calcined translucent warm Red-Brown. Note: Cadmium Yellow also darkens to this color in the "Real Color Wheel" and iron based crystals, using this Brown to form all warm Yellows. #"331500", R=51 G=29 B=0
Opposite color = #19.0.5, Mussini Ultramarine Light, medium or dark, translucent. #"150064", R=21 G=0 B=100
#2.01.5, Mussini Naples Yellow Light (.01 means the mass-tone appears as or is a tinted color, .010 is the lightest tint before white) Mussini Naples Yellow Light is an opaque Nickel and Titanium replacement for Antimony Yellow. 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
Opposite color = #20.0.5, There is no opposite tubed color to make a neutral dark because there is too much white in the pigment to go dark.
#2.0.2, Schmincke Mussini Cadmium Yellow Middle is more Yellow than Grumbacher Cadmium Yellow Medium. #"FFED09", R=255 G=337 B=009
#2.0.6, Grumbacher Cadmium Yellow Medium. #"FFE709" R=255 G=231 B=9
Opposite color = #20.0.5, There is no pre-made tubed color in this opposite color arc #20.
To mix a dark neutral use the darkest form of opaque yellow, 1.10.9, Mussini Burnt Umber.
#2.3.5, Mussini Yellow Raw Ocher, opaque tan. #"9B6A26", R=155 G=106 B=038
Opposite color = #20.0.5, no pre-made tubed color.
To mix a dark neutral use the darkest form of opaque yellow, 1.10.9, Mussini Burnt Umber.
#2.4.5, 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
The top-tone of Mussini Translucent Yellow Oxide.
Opposite color = #20.0.5, no pre-made tubed color.
To mix a dark neutral use the darkest form of opaque yellow, 1.10.9, Mussini Burnt Umber.
#3.00.5, 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
Opposite color = #21.0.5, There is no pre-made tube color in this opposite color arc #21 because there is too much white in the pigment to go dark.
#4.0.1, Isoindolinone PY110, mass-tone, Old Holland Indian yellow-orange transparent, #"FF8200", R=255, G=130, B=0, dual-tone to cadmium yellow light
#1.0.5, Tint of Isoindolinone = Mussini Cadmium Yellow. #"FFFF00", R=255 G=255 B=0
Opposite color = #19.5.5, Ultramarine Blue Dark. They mix together to make a fairly good neutral dark.
#4.0.5, YYYM, Mussini Cadmium Orange, opaque. #"FF8200", R=255, G=130, B=0
Opposite color = #22.0.5, Mussini Cobalt Blue Light, or dark, opaque. Because both colors are opaque the final mixture is not dark but rather it's a lighter neutral gray. #"00255C", R=0 G=37 B=92
#4.6.5, Mussini Burnt Sienna, transparent Red-Brown. Orange changing to dark brown, goes through Burnt Sienna. The mass-tone from the tube #"4D0000", R=77, G=0, B=0
Opposite color = Cobalt Blue to Ultramarinelt Blue, these combinations can make a Burnt Umber or a neutral dark.
The Under-tone (the pigment color with clear medium added) of Mussini Burnt Sienna.
The high Top-tone tint of Mussini Burnt Sienna.
#6.0.5, Rembrandt Chinese Vermilion Extra, translucent, 10% more yellow than in red light pigment. #"FF3200" R=255 G=50 B=0
Opposite color = #22.0.5, cobalt blue to #19.0.5, ultramarine blue
#7.0.5, Cadmium Red Light. #"FF0000" R=255 G=0 B=0
Opposite color = #25.6.5, Grumbacher Thalo Blue mass-tone, transparent. A neutral dark can be made by adding any color from cyan to ultramarine blue. #"000040", R=000, G=000, B=064
#7.5.5, Blocks Venetian Red, warm opaque. Cadmium Red going to neutral dark black. #"A60000", RGB = R=153 G=0 B=0
Opposite color = #25.6.5, Grumbacher Thalo Blue mass-tone, transparent, a perfect Cyan. tint =
#12.0.5, Rembrandt Rose, transparent Scarlet-Crimson. #"F1004C", R=241, G=0, B=76
Opposite color = #27.6.5, Rembrandt Blue Green in it's mass-tone, a transparent Turquoise color. #"003020", R=0 G=48 B=48
The under-tone of this tube color.
The top-tone of Rembrandt Rose, the perfect Pink, notice it is getting cooler. #"FF4186", RGB, R=255, G=065, B=134
#13.0.5, Daniel Smith Quinacridone Magenta PR122, a warm dual-tone Magenta with a cooler mass tone similar to Cobalt Violet and a warmer top-tone, #"BD0053" R=189 G=0 B=83
The top-tone of PR:122, the perfect primary magenta. The pigment Opera is another perfect magenta but it's fugitive.
Opposite color = 31.6.2, Mussini Phthalo Green mass-tone is blue/side green, transparent. Thalo Green mixes to a perfect neutral dark. #"003010" R=0. G=48, B=16
#14.0.5, 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. Today this pigment is not available #"BD0081" R=163 G=0 B=109
Opposite color =#31.6.8, Grumbacher Thalo Green Yellow/Side, transparent. Has a warmer mass-tone than top-tone. #"003000" R=000, G=048, B=000
Cool top-tone.
Cooler top-tone with more White.
Warm transparent under-tone.
#16.0.5, 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
Opposite color = 33.6.5, Hooker's green Permanent, transparent or translucent, depending on the brand. #"1A2813", R=26, G=40, B=19
A top-tone tint of this color Carbazole Dioxazine Purple.
#16.0.5, Grumbacher Dioxazine Purple, this mass-tone tube color looks like this:
Opposite color = 33.6.5, Hooker's Green Permanent, transparent or translucent, depending on the brand. #"1A2813", R=26, G=40, B=19
With the addition of White this pigment fills the warm slot. Here is the tinted color of this pigment Grumbacher Dioxazine Purple.
#18.0.5, Ultramarine Violet, translucent mass-color from the tube. #"260035", R=38 G=0 B=53
Opposite color = #36.10.5, Mussini Raw Umber, a translucent cool Brown/green side. #"332500", R051, G=037, B=000
Top-tone tint of this color Ultramarine Violet.
19.0.5, Blocks French Ultramarine Blue, translucent. #"150036", R=21, G=0, B=36
The top-tone tint of this color French Ultramarine Blue.
The opposite color = #1.0.5, Mussini Cadmium Yellow #"FFFF00".
To mix a dark neutral use the darkest form of opaque yellow, 1.10.9, Mussini Burnt Umber.
19.2.5, Mussini Ultramarine Light, translucent. #"150064", R=21, G=0, B=100
The opposite color = #1.0.5, Mussini Cadmium Yellow #"FFFF00".
To mix a dark neutral use the darkest form of opaque yellow, 1.10.9, Mussini Burnt Umber.
Top-tone tint of this color Mussini Ultramarine Light.
#22.0.5, 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
Opposite color = #4.0.5, Mussini Cadmium Orange, opaque. #"FF8200", R=255, G=130, B=0
Because both colors are opaque the final mixture is not dark but rather it's a lighter neutral gray.
A Top-tone tint of this color Cobalt Blue.
#25.6.5, Grumbacher Thalo Blue mass-tone, transparent, a perfect Cyan. This colors mass-tone resembles Ultramarine Blue (because of the sheen?), 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=0, G=0, B=64 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 as in the Iceland Spar crystal.
Opposite colors = #7.5.5 Blocks Venetian Red, warm opaque going to neutral dark black and #7.0.5 Cadmium Red.
Adding either color mixes to a neutral dark.
A middle top-tone tint of this color Thalo Blue.
A very high top-tone tint of this color is, Cyan Thalo Blue.
#27.6.5, Rembrandt Blue Green in it's mass-tone, a transparent Turquoise color. #"003020", R=0, G=48 B=48
Opposite color = #12.0.5, Rembrandt Rose, transparent Scarlet-Crimson. #"F1004C", R=241 G=0 B=76.
The top-tone tint Blue Green.
#29.3.5, Mussini Opaque Green Light, a mix of Titanium and Phthalo Green, cool opaque, too handy to be in the auxiliary color wheel. #"007559" R=0 G=117 B=89
Opposite color = #11.0.5, There are no tube colors opposite Opaque Green Light.
This color Opaque Green Light has too much white in it to make a good dark, it will mix to an neutral gray.
#31.6.2, Mussini Phthalo Green mass-tone is blue/side green, transparent. #"003010" R=0 G=48 B=016
Opposite color = #13.0.5, Quinacridone Magenta, PR122.
A tint of this color Phthalo Green.
#31.6.8, Grumbacher Thalo Green Yellow/Side, transparent has a warmer mass-tone than top-tone. #"003000" R=0 G=48 B=0
Opposite color = #13.0.5, Quinacridone Magenta PR122.
A top-tone tint of this color Thalo Green yellow/side is: RGB, R=0 G=255 B=176
#33.3.5, Mussini Permanent Green Light, warm opaque. #'00590A'", R=000 G=089 B=010
Opposite color = #14.0.5, a cool magenta, cobalt violet transparent is not available anymore.
A tinted top-tone by adding white of this Permanent Green Light color is: RGB, R=0,G=255, B=147
#33.6.5, Hooker's green Permanent, transparent or translucent, depending on the brand. #"1A2813", R=026, G=040, B=019
Opposite color = ##16.0.5, Liquitex Carbazole Dioxazine Purple, transparent. #"300030" R=48 G=0 B=48
A tinted Top-tone by adding white of this color Hooker's green Permanent is: RGB, R=0,G=255, B=147
#34.4.5, Rembrandt Chromium Green Oxide, warm opaque. #'4B7344'", R=54, G=100, B=50
Opposite color = #16.0.5, Grumbacher Dioxazine Purple.
This combination will only make a neutral gray not black.
#35.0.5, Old Holland Yellow-Green Organic Opaque has a cooler mass-tone then Under-tone. Same color as Lime Green. #"79C700", R=121, G=199, B=000 Here below is the warmer Under-tone mixed with a clear medium.
Opposite color = #18.0.5, Ultramarine Violet, translucent.
Tint of Old Holland Yellow-Green Organic Opaque.
#35.6.5, Winsor and Newton Sap Green, #"233A00, R=35, G=58, B=0, 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. Warning: it sticks out like a sore thumb.
#19.0.5 Ultramarine Violet, translucent mass-color from the tube. #"260035", R=38 G=0 B=53
This is the closest pigment that will mix neutral dark with sap green.
A tint with added white to this Sap Green color is: RGB, R=152, G=197, B=0
36.0.5, Brillant Yellow-Green, translucent in acrylic, opaque in oil. #"DBFF76", R=121 G=255 B=028
Opposite color = #19.0.5, Ultramarine Violet, translucent mass-color from the tube. #"260035", R=38 G=0 B=53 Brillant Yellow-Green has too much opaque yellow in it to be used for a neutral dark, use the color 36.10.5 raw umber instead.
36.6.5, Mussini Genuine Golden Green, #"606300", R=96 G=99 B=0
Opposite color = #19.0.5 Ultramarine Violet, translucent mass-color from the tube. #"260035", R=038 G=000 B=053
A top-tone tint by adding white to this dual-toned Genuine Golden Green color is: RGB, R=246 G=255, B=0
36.10.5 Mussini Raw Umber, a translucent cool Brown/green side: #"332500" R51 G=37 B=0
Opposite color = #19.0.5 Ultramarine Violet, translucent mass-color from the tube. #"260035", R=38 G=0 B=53
These colors make painting very easy indeed.
Return to White
Or,
a cool neutral tint. #"CCCCCC", R=180 G=180 B=180

The Aerial Palette for 10 Concentric Rings.

Aerial Palette

ARTISTS' 36 REAL COLOR WHEEL

All dots are links to each pigment's description. 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 Wheels 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

Lead Yellow, cool opaque Naples Yellow Light Naples Yellow Deep Acrylic Vivid lime Green, Oil Yellow Green Opaque Brilliant Yellow Green, translucent in acrylics Cadmium Yellow Cadmium Yellow Medium Cadmium Orange, opaque Green Gold, Transparent Indian Yellow-Orange Lake Extra Yellow Raw Ocher, Opaque Translucent Yellow Oxide Chinese Vermilion Extra, translucent Permanent Green light Chromium Green Oxide Indian Yellow-Brown Transparent Burnt Sienna, translucent Cadmium Red Light-Medium, Opaque Thalo Green, transparent Raw Umber, translucent Burnt Umber, translucent Venetian Red Oxide, Warm, Opaque Opaque Green Light Pigment Photo Chip Chart Rembrandt Rose, Translucent Turquoise Blue-Green, transparent Quinacridone Magenta, Warm Thalo Blue Cyan, Transparent Cobalt Magenta, Cool Ultramarine Blue, Translucent Ultramarine Blue Light Manganese Violet Cobalt Blue French Ultramarine Blue Purple, Transparent Raw Sienna, translucent Ultramarine Violet


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.
Use my revolutionary 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.

Blockx Yellow Cobalt Old Holland Gamboge Lake Ex. Syn. O.H. Indian Yellow Brown Lake Syn. Rembrandt Asphaltum Syn, very oily Burnt Umber Mussini Zinc Yellow, the coolest yellow. No link Bocour Cad Yellow Lead Chromate Grumbacher Cad Barium Yellow Pale Mussini Naples Yellow Light, Nickle Titanium O.H. Indian Yellow-Orange Lake Syn. Dual-tone Mussini Raw Umber Blockx Baryum Yellow, very weak O.H. Indian Yellow-Orange Lake Syn. Mussini Naples Yellow Deep Yelow Raw Ocher Mussini Trans Yellow Oxide Green Earth Green Gold Nickel Azo Sap Green Syn. dual-tone Green Umber Earth Green Oxide W/N Flesh Burnt Sienna Rewmbrandt Chinese Vermilion syn. O.H. Yellow Green Organic Mussini Cad. Yellow Lemon Mussini Cad yellow Middle Rembrandt Chinese Vermilion Syn Blockx Venation Opaque Warm Red Oxide Cadmium Orange Cadmium Barium Red Light Permanent Green Light Grumbacher Phthalo Green Light Mussini Opaque Green Light Mussini Phthalo Green Turquoise, Rembrandt Blue Green Cadimium Bayrum Red Light Rembrandt Red Rose Rose Madder, Yarka Garance Violet Grumbacher Thalo Blue, Old Holland Manganese Blue O.H. Scheveninge BLue Light Opaque D.Smith Quinacridone Magenta pr122 Cobalt Violet Transparent, Cool Magenta Dual-tone Cobalt Blue Light Mussini Royal Blue Light Blockx French Ult. Bue Ultramarine Violet Dioxazine Purple Mussini Royal Blue Deep Ultramarine Deep Ultramarine Light Dioxazine Purple tints cool


The 36 "real color wheel" will give you accurate split complements. Between #1yellow and #19ultblue are eighteen 10° spaces, from one to five colors on each side of any opposite color make designers split complements. Expect perfection; it happens all the time in nature and this color wheel.
Prismacolor pencils mounted on the Real Color Wheel

NEXT, Other Color Wheel
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Order this complete color course on CD, $35.00.
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Order this 2 inch by 3 1/4 inch booklet of 21 great views on Maui delivered to you for only $2.50.
Keep you're aerial perspective sharp by using different air-water densities on demand
in different pictures. Color them in with any medium.
Test new colors. See the advantage of drawing closed pattern outlines in you're location drawings.
The patterned outlines will define images on the concentric rings of distance grid.
This little color-in booklet includes a 2 inch Real Color Wheel laminated to carry in you're wallet.
See actual painting done on location with these drawings.


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Free printable Real Color Wheel, CYMK and RGB
Free RCW tif CMYK and RGB printable zips.