Painting on Location art 2


Interactive Backgrounds Matching Oil Tube Pigment Colors and Crystal Colors

RCW Color Form for Oil Paint


Each color's first number relates to its color position on the 36 color Real Color Wheel. Yellow at the top, read-red-right.
Pure Yellow is the second color number (#1.0) the full designation is (36RCW#1.0.5), 1st is the color number, 2nd is the mass-tone color number, the 3rd diget number is the warm to cool value.
The third digit number of #1.0.5 is in the middle of the warm to cool veritable as shown in the degrees of a 360RCW.
A DOUBLE digit number as the second number (#1.01 to #1.09) they are a yellow tints, (#1.09) is a very light yellow tint next to white
The number (#1.1) is the first darker version of yellow, (#1.9) is a very dark yellow brown/side.
Opposite complement pigments mix dark shadow colors just as nature makes darker and lighter shadows on any color object.
#1.9 brown, plus the opposite color blue #19.0, from light to dark #19.9, French blue to dark ultramarine blue deep, both will mix into a dark neutral.
The Rutile crystal shows progressive color from a tint of yellow, full yellow, half-yellow, dark brown, blue and black. Titanium Crystal, Rutile  
Enter any colors HTML name or Hexidesimal code, i.e. FFFFFF = White
and than click the button.
Red, Blue, BlueViolet, Brown, FireBrick, YellowGreen, Green, DarkGreen, Red, Yellow, Gold, Magenta, LightSkyBlue. (reload the page to change colors)

TOP-TONE is adding White to the color. UNDER-TONE is adding clear medium. MASS-TONE is thick out of the tube.
White is in the middle of the palette, the palette is white.
Click the radio button to change the background of this page to the matching tube color.
Test your monitor, this is the deepest Black.
This is White.    Go to White.
This is Gray

#1.01.1, Rembrandt Nickel Titan Yellow Light, a cool opaque mass-tone tint pigment. #"F1F0A7", R=241 G=240 B=167.
Opposite color = 19.0.5, Blockx French Ultramarine Blue, translucent. #"150036", R=21, G=0, B=36
To mix a dark neutral, use the darkest form of opaque yellow, #1.10.1, Mussini Raw Umber and mix it 1:1 with its opposite color, Ultramarine Blue Light.
#1.0.1, Mussini Zinc Yellow, the coolest full chroma Yellow. An extra color, not on the palette unless I see it's needed. #"F1F10A", R=241 G=241 B=010
To mix a dark neutral, use the darkest form of opaque yellow, #1.10.9, Mussini Burnt Umber. 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
Opposite color = 19.0.5, Blockx 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 wedge #1 to make a neutral dark or neutral gray.
#1.0.2, Mussini Cadmium Yellow Pale, a slightly cool Yellow. #"FFFA43", R=255 G250 B=067
Opposite color = 19.0.5, Blockx 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 or neutral gray.
#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.
Opposite color = 19.0.5, Blockx French Ultramarine Blue, translucent. #"150036", R=21, G=0, B=36
#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.
Opposite color = 19.0.5, Blockx French Ultramarine Blue, translucent. #"150036", R=21, G=0, B=36
#1.0.5, Tint of Isoindolinone = Mussini Cadmium Yellow. #"FFFF00", R=255 G=255 B=0
#1.0.5, Mussini Cadmium Yellow Lemon, the middle Yellow. #"FFFF0E", R=255 G=255 B=000.
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 Light, translucent. #"150064", R=21 G=0 B=100.
#1.0.5, Tint of Tartrazine = 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.
#1.0.6, Dual-tone Gamboge, tint, 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, the problem with this color is that it's already an unsaturated mass-tone color that is readily recognized when it's used. #"FF9F00", 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, Tint, 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. #"331D00", R=51 G=29 B=0
Opposite color = #19.0.5, Mussini Ultramarine dark, translucent. #"150064"
#1.0.9, Tint, this is the Under-tone tint color of Old Holland Indian Yellow/Brown Lake Extra Dual-tone. It's a cool, clean yellow, that's why I use it so often. #"FCE146", R=252 G=225 B=70.
#1.4.8, Mass-tone, 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 (Tartrazine will do it) not just in oils by only one manufacture. Update, 2010, today every major color brand now has an Indian yellow. A Yellow/side Burnt Sienna if you will. #"986011", R=152 G=096 B=017.
It will lighten farther too, very close to a pure 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. The Yellow-Orange side Indian yellow has a warm cast to it.
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.
#1.10.5, Rembrandt or Mussini Asphaltum, mass-tone, the ancient color Bitumen, a translucent 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 translucent tint 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, mass-tone, 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 Yellow darks. #"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 is two digets) it means the mass-tone appears as or is a tinted color. Mussini Naples Yellow Light is an opaque Nickel and Titanium replacement for Antimony Yellow Light. 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. Ultramarine Blue Light will do just fine.
#2.0.2, Schmincke Mussini Cadmium Yellow Middle is more Yellow than Grumbacher Cadmium Yellow Medium. #"'FF9F00", R=255 G=237 B=009
#2.0.6, Grumbacher Cadmium Yellow Medium. #"FF9400" R=255 G=231 B=9
Opposite color = #20.0.5, There is no pre-made tubed color in the opposite color wedge #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, orange and red, 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.
#3.01.5, Mussini Naples Yellow Deep, Tint mass-tone, (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. Any blue tint would work, not as dark but a neutral gray tint.
#4.0.1, Old Holland Indian Yellow-Orange Lake Extra, PY153, mass-tone, a dual-toned Orange to Yellow transparent color. #"de761c", 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, translucent. #"150064"
#4.0.1, Isoindolinone PY110, mass-tone, used in Old Holland Indian yellow-orange. #"FF8200", R=255, G=130, B=0, slightly dual-tone hues cadmium orange to cadmium yellow light.
Opposite color = #19.5.5, Ultramarine Blue Dark. They mix together to make a fairly good neutral dark.
#4.0.5, 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
#4.0.5, Tartrazine PY100 = mass-tone = #4.0.5, SpectraColor, #"FF8200", R=255, G=130, B=0, dual-tone hues cadmium orange to cadmium yellow light.
#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 ( CMYK= Y 80M )
Opposite color = #22.0.5, cobalt blue to #19.0.5, ultramarine blue
#7.0.5, (YYMM,) 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. #"990000", 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, PV19, transparent Scarlet-Crimson. #'F1004C'", R=241, G=0, B=76
Opposite color = #004949, Rembrandt Blue Green in it's mass-tone, a transparent Turquoise color., R=0 G=48 B=48
Opposite color = #009a9a, Rembrandt Blue Green as a top-tone (add white) tint, a transparent Turquoise color.
The under-tone of this tube color Rembrandt Rose.
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, Quinacridone Magenta PR122, a warm Magenta with a cooler mass-tone 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 by ShinHan, is a tint of Quinacridone Magenta with QV10 added, another perfect magenta but it's a little fugitive, not as bad as Alizarin Crimson was. It makes excellent reds, blues and neutral but can't make the mass-tone of Magenta.
Opposite color = 31.6.2, Mussini Phthalo Green mass-tone is blue/side and yellow/side green, transparent, I use the yellow/side. 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 ( CMYK= 80C M)
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, Yellow-Yellow-Yellow-Green dark = Mussini Raw Umber or Green Umber, a translucent, cool, brown/green side umber. #"332500", R051, G=037, B=000
Top-tone tint of this color Ultramarine Violet.
19.0.5, Blocks French Ultramarine Blue, mass-tone, translucent. #"150036", R=21, G=0, B=54
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 color, use the darkest value of transparent or opaque yellow = 36RCW#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 color use the darkest form of opaque yellow, 1.10.9, Mussini Burnt Umber, slightly translucent.
Top-tone tint of this color Mussini Ultramarine Light.
#22.0.5, Mussini Cobalt Blue Light, mass-tone opaque. No one makes a natural Cobalt Blue anymore. The artificial colors are in this same opaque azure color range, transparent cyan-cobalt-blue. 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. #"003030", R=0, G=48 B=48
Opposite color = #12.0.5 (YMMM,) 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 with colors from Scarlet-crimson to Magenta.
#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, ( MMMC,) 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=119,G=119, B=0
#34.4.5, Rembrandt Chromium Green Oxide, warm opaque. #'366432'", R=54, G=100, B=50 ( CMYK=85Y 70C 22M 23K )
Opposite color = #16.0.5, ( MMMC )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 ( CYMK= 20C Y ) 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=219 G=255 B=118
Opposite color = #19.0.5, Ultramarine Violet, translucent mass-color from the tube. #"260035", R=38 G=0 B=53 ( CYMK= 80CM. ) 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 ( CYMK= 80CM )
A top-tone tint by adding white to this dual-toned Genuine Golden Green color is: RGB, R=246 G=255, B=0
36.10.1 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 ( CYMK= 80CM. )
36.10.5 Mussini Green Umber, a translucent cool Green/brown side: #"544c2d" R86 G=74 B=45
Opposite color = #19.0.5 Ultramarine Violet, translucent mass-color from the tube. #"260035", R=38 G=0 B=53 ( CYMK= 80CM. )
These colors make painting very easy indeed.
Return to White
Return to a Cool Neutral Tint. #"CCCCCC", R=204 G=204 B=204


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