Art Supplies

What happens when Burnt Umber Light is mixed with eight different colours? Burnt Umber Light is one of those earthy colours that might not seem particularly exciting on its own, but it can be incredibly useful when mixing. I wanted to see how it would interact with some of the brighter and stronger colours in my acrylic palette, so I mixed Golden Burnt Umber Light with eight different colours and created three different mix strengths for each combination. The results ranged f

What happens when Alizarin Crimson Hue is mixed with eight different colours? Alizarin Crimson Hue is a deep, rich red that can take on very different personalities depending on what you mix with it. I wanted to see just how much I could change this colour using some of the other paints in my palette. For this experiment, I mixed Golden Alizarin Crimson Hue with eight different colours and created three different mix strengths for each combination. These are my actual paint e

What happens when Quinacridone Magenta meets eight very different colours? Quinacridone Magenta is one of those acrylic colours that can completely change personality depending on what you mix with it. It can produce rich plums and purples, vibrant oranges, soft pinks, strong reds and surprisingly dark neutrals. I wanted to see exactly what would happen, so I mixed my Quinacridone Magenta with eight other colours from my palette and created three different mix strengths for e

What happens when you mix Golden Hansa Yellow Opaque with eight of the colours on my palette? I decided to find out. One of my favourite things about painting with acrylics is discovering what happens when two colours meet. You can look at a colour chart and have a pretty good idea of what a paint should do, but there is something completely different about putting the colours on your own palette and actually mixing them. So I decided to put one of my favourite Golden colours

There are some colours that seem to find their way into almost every painting, and for me, Payne’s Gray is one of them. It’s one of those wonderfully versatile colours that can do so much more than simply create a dark grey. I use it when I want depth, shadows and darker colour without the harshness that can sometimes come from using straight black. Dark Without Being Harsh One of my favourite things about Payne’s Gray is that it gives me a beautiful deep, cool dark without f

If you want to put some serious colour into your painting, Quinacridone Magenta is hard to beat. This is one of those colours that looks almost electric when it comes out of the tube. It’s bold, transparent and incredibly versatile—and a tiny amount can go a very long way. Bright Without Being Heavy Golden’s Quinacridone Magenta is a single-pigment, transparent colour made with PR122. Golden describes it as an excellent starting point for brilliant reds and pinks as well as f

If you’ve ever mixed a green and thought, “I want it to be REALLY green,” you need to know about Phthalo Green (Blue Shade). This is not a shy colour. It is bold, intense and incredibly powerful—and once you learn how to control it, it can create an amazing range of greens and beautiful dark mixtures. A Seriously Powerful Green Golden describes Phthalo Green as one of the strongest tinting pigments available. In its full-strength form it is semi-opaque, while it can become v

Phthalo Blue (Green Shade) is one of those colours that looks innocent enough sitting on the palette—but wow, does it have some power! It is an incredibly strong, versatile blue, and I love it for creating bright, clean colour and beautiful greens. Powerful Colour The first thing you need to know about Phthalo Blue is that a little goes a very long way. Golden describes its Green Shade version as a powerful, versatile blue with a greenish bias. It is transparent and has exce

There is probably no colour I use more than Titanium White. It may not be the most exciting colour on the palette, but it is one of the most important. For me, a good white needs to cover well, mix beautifully and give me the ability to make colours lighter without becoming difficult to control. That’s why Golden Titanium White has earned its place on my palette. The Workhorse of the Palette Titanium White is the colour I reach for constantly. I use it to lighten colours, cre

Some reds are deep and dramatic. Others are warm and earthy. And then there are reds that simply bring energy to a painting. For me, Golden Naphthol Red Light is that kind of red. Bright and Warm Naphthol Red Light is a wonderfully bright, orange-leaning red. Golden describes it as a very bright, orange-ish semi-transparent red and notes that it is a good alternative to Cadmium Red Light. That warmth makes it incredibly useful when I want a red that feels sunny, lively and en

Every colourful palette needs a few quiet colours. For me, Golden Burnt Umber Light is one of those quiet heroes. It isn't bright or flashy. It doesn't jump out of the painting. Instead, it quietly does all the useful things that a good earthy colour should do. Warm, Earthy and Versatile Golden describes Burnt Umber Light as the lighter of its two Burnt Umber colours, with good opacity and the ability to extend and tint toward a warm to neutral beige. That range is what makes

There is something wonderfully moody about Alizarin Crimson. It is deep, rich and romantic, and it can take a painting in a completely different direction depending on what you mix with it. The version I use from Golden is Alizarin Crimson Hue, which is a modern formulation inspired by the traditional colour. A Modern Take on a Classic Golden’s Alizarin Crimson Hue is designed as a modern version of historical Alizarin Crimson. Golden formulates it from a combination of quina

Yellow can be one of those colours that is surprisingly tricky to get right. Some yellows can feel too transparent, while others become chalky when mixed with white or used to lighten other colours. That’s why I’ve become a big fan of Golden Hansa Yellow Opaque. It has quickly become one of my go-to yellows when I want strong coverage, bright colour and versatility without losing that lively, vibrant quality I’m looking for in my paintings. Opaque Without Being Chalky The thi