This is probably the greatest difference between this Modern Theory Color Mixing Set and a classical set.

The Modern (organic) pigments (Quinacridrones, Phthalos and Hansas) are more transparent, have higher chroma and most importantly, when mixed together create incredibly clean mixtures. These pigments are typically more opaque and when mixed together, yield a lower chroma mixture. These pigments were augmented at the beginning of the industrial age with the advent of industrially produced mixed metal colors, such as cobalts, cadmiums, zinc and a wide range of manufactured oxide pigments. The broad generalization is that Mineral pigments (inorganic) are typically mined from the earth such as the umbers, siennas and ochres. We typically use nicknames: Modern (organic pigments) and Mineral (inorganic pigments). Let’s go back a minute to a quick review of the organic and inorganic properties of pigments. Why Only Organic Pigments in the Modern Theory Color Mixing Set?

For this set we chose only organic colors (plus Titanium White), providing a warm and cool selection of pigments for each hue space other than green. Not only does this allow the artist to produce the widest color range with the fewest number of colors, it also provides mixtures of remarkably clean, intense color blends that retain their brilliance even in the thinnest wash or glaze. The Modern Theory Color Mixing Set includes just seven colors plus Titanium White. The modern mix of pigments in this new set will create very high chroma, bright mixtures that a historical palette cannot achieve. While this will produce a color gamut quite comfortable to many artists, the range of hues and chroma (color intensity) is significantly reduced. A more classical approach would attempt to create a palette with historically significant colors. This singular position is to create within a reasonably small selection of colors, the potential to mix the widest range of unique colors. The concept around the new Modern Theory Color Mixing Set is to provide just one of those vantage points. However, each of these concepts, whether historical, contemporary or genre specific, create a starting point that is extremely helpful for the artist beginning to assemble their own aesthetic approach to painting. There are probably as many theories of the correct color mixing palette for artists as there are artists that promote them. No theory substitutes for actually using the paint, but I’ve taught long enough to know that knowledge, even at a basic level, will reverse a lot of wasted effort and a good deal of wasted paint!

Coupled with that, these artists work with pigments using scales (for precision mixing ratios), spectrophotometers (for measuring color), special lighting, light boxes, and some truly amazing computer programs! My approach to color as an artist has always been to just play and you’ll discover. I was more than slightly astonished that I was the designated writer! We have an amazing number of wonderful painters working for Golden Artist Colors, many in highly technical capacities, and several who taught color at prestigious Universities. I had been given what to me seemed like the daunting task of writing an article on color mixing and to introduce the new Modern Theory Color Mixing Set.

Just paint it white