Pigment pair · PB27 + mengsel
Mixing Prussian Blue and Payne’s Gray
Nine steps from one to the other, worked out with a spectral model rather than by averaging screen colors. Half and half gives #213A4D. Click any step to open it in the mixer.
The full range, Prussian Blue to Payne’s Gray
Ratios are parts by volume, the way you would put them out on a palette.
These two knock each other back a long way without quite cancelling. The middle of the range is a muted, slightly colored gray — often more useful than a dead neutral, because it still belongs to the painting around it.
The quietest point: #2E3A45
At pure this pair is at its most neutral. That is the mixture to reach for when you need a shadow or a gray that still belongs to the rest of the painting.
The same range with white added
Two parts titanium white to one part of the mixture above. White lifts the value but also takes the chroma down, which is why a tint is never simply a lighter version of the same color.
The same range as a watercolor wash
Roughly one part paint to two parts water, over white paper. Remember that watercolor dries up to about thirty per cent lighter than it looks while wet.
What you are working with
| Pigment | Index | Strength | Opacity | Lightfast | In |
|---|---|---|---|---|---|
| Prussian Blue | PB27 | 9/10 | transparent | good | Oil, Watercolor |
| Payne’s Gray | mengsel | 7/10 | semi-transparent, granulating | good | Oil, Watercolor |
Dark and greenish. Strong, but gentler in a mixture than phthalo.
A bluish gray. Convenience over control; mixing your own gives livelier shadows.
Now do it with your own paints
This page assumes two tubes. The mixer works from everything on your palette at once, and from a color you pick out of your own photo.