Watercolor Mixing Charts: How to Make Them and Why

Daniel Smith Color Mixing Charts How to Make Them and Why

Why take the time to make watercolor mixing charts? 

Color Mixing Charts (or grids) are terrific tools for learning, for color referencing, an excellent way to understand your DANIEL SMITH Extra-Fine Watercolors, and see some of the range of colors that can be mixed.  For our example, we’re making a color mixing chart or grid with the 6 colors from the DANIEL SMITH Colors of Inspiration Watercolor Half Pan Set.  

DANIEL SMITH Colors of Inspiration Watercolor Half Pan Set with color mixing chart

As a Learning Tool

When you are mixing colors for your chart, you are learning what colors can be made with each color mixed with every other color on your chart, and get an idea of the color range that can be mixed. Without the opportunity to explore (play!) and see what your colors can do with one another, you may never discover some gorgeous color mixes! You can make glazing color charts, mix colors on your chart (wet into wet) or as we’re doing for this article, mixing them on a plate or palette then painting them onto our Mixing Chart. 

While this might seem like a chore to do, it is actually really interesting to see what your colors can do, it is color swatching with a purpose!  We generally try to vary the how the watercolors are painted for each box. For example, a little heavier application on the lower right, lighter at the upper left to show more variation for each color and mixed color in the boxes. Painting them that way allows you to see some of the colors’ properties like transparency and granulation. Every color mixing chart you paint becomes a helpful reference tool, so be sure to keep them and make new ones when you add more watercolors!

DANIEL SMITH Colors of Inspiration Watercolor Half Pan Set mixing chart

How the Mixing Chart is organized

The colors are laid out chromatically in both the horizontal rows and vertical columns as shown in the example below for the DANIEL SMITH Colors of Inspiration Watercolor Half Pan Set.

WisteriaLavenderRose of UltramarineMoonglowShadow Violet and Serpentine Genuine

Photo 1. Colors of Inspiration painted out on labeled mixing chart.

Photo 1. After transferring the lines from the downloadable pdf. (link further below) label your colors as in photo 1., and paint out in the order shown in Photos 1 & 2.

Photo 2. Painting each of the six colors, deeper colors on vertical columns, mid tone on the horizontal rows and light wash on the diagonal.

Photo 2

  • Paint the first vertical column with your colors, we used less water for deeper colors.
  • Paint in the first horizontal row with the six colors, here we did a mid-tone wash.
  • The main diagonal, we painted with a light wash.  
  • Using different ratios of water allows you to see a range of each main color, deep, mid and light. 
Photo 3. Color mixing begins with the Wisteria vertical column and horizontal row.

Photo 3. Now the color mixing begins! 

  • Working by columns painting both down the column and across a row at a time, you can begin mixing your first color in column 1, Wisteria.
  • Mixing Wisteria with Lavender, in a slightly larger portion of Wisteria to Lavender, paint that mix in the box below the light Wisteriawash (that is the Wisteria column) next to the Lavender box on the left. 
  • Take that same mix of Wisteria/Lavender and add more Lavender and paint that mix in the second column just below the Lavenderbox (that is the Lavender column) in the Wisteria row. 
  • Repeat these steps for the remaining 4 colors as shown in the following photos.  
Photo 4. Lavender column and row.

Photo 4. Lavender column and row.

Photo 5. Rose of Ultramarine column and row.

Photo 5. Rose of Ultramarine column and row.

Photo 6. Moonglow column and row.

Photo 6. Moonglow column and row.

Photo 7. Shadow Violet and Serpentine Genuine columns and rows

Photo 7Shadow Violet and Serpentine Genuine columns and rows.

As you paint your way down each column and across each row, it becomes faster and faster until your fifth color, Shadow Violet, only has 2 boxes, and the sixth color, in this case, Serpentine Genuine is finished when you finish the fifth color!

Adding extra colors 

Gray Titanium Mixing Grid with Essentials Watercolor Set.

When you add new colors, it’s a good idea to mix them with your existing palette of colors like the example above, mixing our new Gray Titanium with our 6 color Essentials Watercolor Set.  For this, we used our 6 color mixing chart template, and added a 7th row and 7th column to accommodate Gray Titanium as the 7th color. 

We also wanted to see how colors mixed with the Essentials Set colors look, for example, New Gamboge mixed with Quinacridone Rose, an orange, looks when mixed with Gray Titanium

  • New Gamboge mixed with Quinacridone Rose – 4th box down in the Quinacridone Rose column.
  • New Gamboge mixed with Quinacridone Rose then mixed with Gray Titanium – 5th box down in the New Gamboge column. 
  • Note, all the colors below the diagonal wash colors are mixed with Gray Titanium
  • Those boxes with the 3rd color, Gray Titanium, mixed into the 2-color mix are noted with (plus GT) in the boxes in the 7 color diagram below on the right. 
6 color template and 7 color diagram, adding in Gray Titanium

You can download the 6 color mixing chart template HERE  

The 6 color template was designed to be printed on 8.5 x 11 inch standard copy paper, you can trace or transfer the lines onto 140 lb. watercolor paper, we cut the watercolor paper down to 8 x 12 inches so we would have a wider border.    

Adding more columns and rows is easy, just print out more 6 color templates, cut them up and tape the extra columns and rows you need, then transfer to your watercolor paper.

Color Mixing Chart for the 15 color Ultimate Mixing Watercolor Half Pan Set.

We used the 6 color template as a guide when we did our 15 color DANIEL SMITH Ultimate Mixing Half Pan Watercolor Set Mixing Chart, so you can modify the basic template to accommodate larger collections of colors as well. 

As a Color Reference  

Once completed, your color mixing chart becomes a wonderful color guide to reference when needed. Painting charts like these are also great exercises when inspiration is low and can help stir your creative juices when you discover beautiful new colors. 

Have fun painting your DANIEL SMITH Extra-Fine Watercolors Mixing Charts!

Painting out the Colors of Inspiration Color Mixing Chart.

Introducing Jansen Chow, Watercolor Artist

We are delighted to introduce DANIEL SMITH Watercolor Artist, Jansen Chow! Jansen will take us step-by-step through his process for making a watercolor portrait. All Daniel Smith Watercolors, Sets, and Grounds are on sale for 40% off during the month of March – so now is the perfect time to test out some colors, treat yourself to that set you’ve been eyeing, and/or experiment with new techniques!

To demonstrate the DANIEL SMITH watercolor paints and my appreciation and understanding of their characteristics, I have used my favourite 18 colors from the DANIEL SMITH Watercolour collection [see Jansen’s Dot Card colors and list further below] to complete this painting. The title of this artwork is “Tinkus dancer at the Oruro Carnival”. This painting was completed to participate in an International Exhibition organized by the Bolivia Watercolor Society. I chose a colour theme that can represent the National colors of Bolivia.

Jansen Chow’s DANIEL SMITH Artist Dot Card with Watercolor tubes with “Tinkus Dancer at the Oruro Canival” painting

Today, I will share my creative process of how I created this painting in 6 simple steps:

Step 1. Drawing or sketch for Tinkus Dancer at the Oruro Carnival

Step 1 : Drawing / Sketching

I have a lot of ways to start my paintings. Sometimes I like to use a pencil to sketch out the details, other times I start with just a general pencil sketch, and occasionally I paint directly with a brush. I wanted this painting to appear more realistic, so I drew the face very carefully with pencil, but only a few strokes for the background as I wanted it to have a more carefree simple background.  

Step 2. Mixing the colors directly on the paper for Tinkus Dancer at the Oruro Carnival

Step 2: Mixing the colors directly on the paper

I personally do not like to mix the colors too much on the color palette but prefer to mix the colors directly on the paper.  I first freely applied the DANIEL SMITH paint from my palette directly on the paper to add color to the face of the character and the hat with the colorful feathers, with a combination of thick and thin colour application. 

Step 3. Completing the main subject for Tinkus Dancer at the Oruro Carnival

Step 3: Completing the main subject 

My usual technique is to leave the highlights of the main subject white, to capture the reflecting light rays. I then slowly painted the important portions of the main subject and applied more details to about 80% of completion of my artwork.  Often artists will focus on completing the main subject to about 100%, but for me, I usually focus on completing it up to 70-80% of the whole artwork, so that there is room to add in more colors and strokes as the overall work is nearing 100% completion.

Step 4. Application of the background for Tinkus Dancer at the Oruro Carnival

Step 4: Application of the background

I used a single color, Payne’s Gray, to color the background in an easy and free way with the brush and water spray technique. The grey background contrasts sharply with the main subjects’ vibrant and fresh colors! During this process, I pay attention to the space treatment and try to complete the background in an interesting manner during the application of colors by keeping some white spaces.

Step 5. Gradients of the background for Tinkus Dancer at the Oruro Carnival

Step 5: Gradients of the background

I gradually added my favorite 18 colors both carefully and freely through lighter brush strokes. The usage of brushes at this stage is very important! You must use a softer brushstroke with the right pressure and direction to show greater space contrast between the background and the main subject.

Step 6. “Tinkus Dancer at the Oruro Carnival” by Jansen Chow.

Step 6: The Finish 

In addition to the strong light illuminating the part of the main body through the white space left earlier, I used watercolor brushes of different sizes and design to apply all the colors on my palette with different strokes, from treating the light to dark areas, to applying bright to dark colors for the details and background of the main subject. Upon completion, you will see that this piece has a strong sense of music surrounding the main subject, because of the colors chosen and the brush strokes applied. The overall feeling of this painting is warm and happy! This really achieves the emotion that I want to express through this painting – that the world is beautiful!

I am very honored and happy to be able to share with you the creative process of my work. I hope you liked it. Thank you!

–Jansen Chow
Jansen Chow in front of his watercolor painting of Machu Picchu

I have always liked painting this beautiful and colorful world with rich texture and colors, and DANIEL SMITH paints make it very easy for me to achieve that effect in my artwork. For me, DANIEL SMITH Watercolors are beautifully made, colorful and offer lots of choices. Most importantly, unlike other brands of paint, the richness and vibrancy of the colours assist me in capturing the beauty I see in this world and express that in my paintings. 

My 18 Favourite DANIEL SMITH Watercolors on my Dot Card and used in this step by step article

Lemon Yellow

Indian Yellow

Cadmium Yellow Deep Hue

Permanent Red Deep

Alizarin Crimson

Permanent Orange

Cerulean Blue

Ultramarine Blue

Viridian

Permanent Green

Cobalt Teal Blue

Cobalt Violet Deep

Cobalt Violet

Payne’s Gray

Indian Red

Yellow Ochre

Opera Pink

Indigo

Jansen Chow is a signature member of the American Watercolor Society (AWS) and National Watercolor Society (NWS).  He won an art scholarship and studied in The Art Students League of New York, New York from 1994-1996, and he was a student of Mario Cooper, a great American Watercolor Master.  Jansen has held 18 solo art exhibitions and took part in more than 350 National and International watercolor exhibitions since 1992. He has won more than 60 National and International awards in watercolor, oil, etching and photography since 1988, including receiving 1st place 9 times in watercolor competitions in USA, Canada, Turkey and Malaysia. Recently he was the IWS Malaysia Country Head, FabrianoInAcqurello Malaysia Country Leader, and the curator of “1st Malaysia International Watercolor Biennale 2018”. 

Jansen Chow lives in Kuala Lumpur, Malaysia

“Colors get the attention, but values do the work”

Portland Grey Value Studies by Ellie Wilson

It’s been raining a lot in Los Angeles, and our grey skies have inspired us, much like the grey skies of Portland inspired Robert Gamblin to formulate three Portland Greys – Light, Medium, and Deep. These three neutral greys were developed to help painters quickly adjust the value and chroma of colors. And until February 8th, Gamblin Artists Oil Colors are on sale for 40% off! That’s right – all the greys, and all the other colors, as well as mediums!  

Munsell Values

Portland Grey Deep, Medium, and Light are formulated at Munsell values 4, 6, and 8, respectively.

How are Portland neutral greys useful?

Out of the tube, these three values of grey can effectively be used to create preliminary value studies. Simplifying subject matter down to three values is an excellent way to organize complex compositions down to larger shapes, as illustrated in the work below by California artist Ellie Wilson.

Ibantik Lake, Ellie Wilson

Wilson explains, “The Portland Greys were used to create two close-up thumbnails in preparation for my painting Ibantik Lake. The Portland Greys are a key step for my process of creating a studio painting.” 

Color mixing with Portland neutral greys

In color mixing, these neutral greys give painters the ability to simultaneously adjust value and reduce the intensity of brighter colors for more natural color mixtures.

The inner circles of the color wheels below show the mixing effects of Portland Grey Light, Medium, and Deep on a palette of Cadmium Yellow Medium, Cadmium Orange, Alizarin Permanent, Dioxazine Purple, Ultramarine Blue, and Sap Green.

Another tip for creating harmony in color mixing: consider using Portland Grey Light in place of white for low-light painting situations.

Colored Greys: Portland Warm Grey and Portland Cool Grey

Gamblin expanded their range of Portland Greys to include Portland Warm Grey and Portland Cool Grey, which tilt toward red and blue, respectively. With Titanium Buff added as a yellow-grey, they created a triad of muted primary colors. From these three muted primaries, you can mix a range of muted secondaries.

Formulated to work together, these colors give painters a range of colored greys for nuanced color mixing. Having a complete range of primary and secondary colored greys can be incredibly valuable for figurative and landscape painting. The compressed value range of these colors is helpful in creating atmospheric effects in paintings.

Remember, paintings with the wildest of color schemes can be held together with a strong value structure. And as the adage goes, “colors gets the attention, but values do the work.”