Winsor & Newton Colour Wheel

In acrylic? Watercolour ... or oil?  Varies a bit.  These days, these two colours can be almost interchangeable - traditionally, Raw Sienna is a transparent earth yellow, useful for glazes in oil, very useful as a base coat in acrylic and oil, maybe mixed with Burnt Sienna to make a warm orange.  Yellow Ochre is opaque, and varies between manufacturers from a brownish yellow to a quite rich colour, very useful for light touches in foliage and grasses, and good for Caucasian and Asian skin tones.  The late Wilfred Ball, a very distinguished British watercolourist whom few seem to have heard of these days, always included a drop of Yellow Ochre in his washes when painting summer pictures.<div> </div><div>The snag is that the traditional sources of these pigments aren't always available today, and substitutes have been found - ie, synthesized.  Even so, the basic qualities of the colours should remain - transparent Raw Sienna, opaque, and brighter, Yellow Ochre.  But it pays to look out for those that suit you best. </div><div> </div><div>In oil, other than for glazing, I don't use much Raw Sienna.  In acrylic, I depend on it heavily, for my initial colour-wash or imprimatura.  And in watercolour it's also excellent for producing subtle greens, with a range of blues.  I use Yellow Ochre in oil, and sometimes in watercolour - although I find it can be a little heavy; but that's probably because I'm just not that good yet at making use of it in w/colour.  And I don't often use in acrylic. </div><div> </div><div>It's interesting to note that in all the paints he produces, Michael Willcox (Willcox School of Colour) includes Yellow Ochre and Raw Sienna - whereas he only offers one earth red.... so, like me, he must believe the two yellows have qualities which are distinct to themselves and the one can't easily substitute for the other.  </div><div> </div><div>So .......  if it were me, I'd travel with Yellow Ochre in oil, and risk leaving the Raw Sienna at home; in acrylic, I'll have the Raw Sienna (provided you let me have another yellow); and in watercolour - oh dear.... if really forced to choose, I'd go for the Raw Sienna again, I think... but I'd much rather have both.  </div><div> </div><div>(Can I have both?  If I sneak one of the tubes in my trouser pocket?)</div>

In watercolour YO is opaque and doesn't have the same qualities for mixing etc as RS which is one of the great earth colours so in my palette only RS features. Robert - do be careful not to absent-mindedly squeeze that tube in your pocket - you really wouldn't want it to puncture and end up spewing pigment in the wrong places.

Michael, you make a good point.  And in saying so, I hope we can remove our latest spammer to obscurity .....

It's Raw Sienna for me every time.

I got a tube of Indian yellow recently and havent got round to using it on a painting. Of course I have played about with. It and it looks a good colour to add to my Yellow collection.this includes cad,lemon,Naples,quinacridonegold and raw sienna.h Has anyone used Indian yellow extensively as starting wash or used it in mixes or has It got some adverse properties which makes it one to avoid? Syd.....

I must be a great disapointment to all you very observant males.  I sort of muddle along with my paintbox using what ever turns me on at that moment.   Though I do like both Naples yellow and lemon yellow.  No special reason, just do ,, saying that lemon yellow is lovely for mixing fresh , light greens.. can I go now please?  

Indian Yellow, Syd: I use it quite a bit in oil, and now and then in watercolour - good for glazes in oil, and adding a warmth in w'colour: it's synthesized these days - used to be made in India, by feeding cows on mangoes and then deriving the pigment from the urine: it wasn't lightfast, and the cows didn't like it....  Banned on grounds of animal cruelty.  <div> </div><div>The synthesized paint is reliable, so far as I know - but it will depend, of course, on what the individual manufacturer uses to make it.</div><div> </div><div>And Naveed - burnt sienna plus raw sienna is a fantastic combination - although I've glazed with burnt sienna on its own. </div><div> </div><div>Sylvia/North Light: Behave.  </div>

That's interesting Alan. I often wondered why people use raw umber when I can get the colour using burnt umber and raw sienna but I can see the advantage in using as a mixing colour in the combinations you have described - will give it a go. For distant trees and mountains etc I use ultramarine and light red - but always W&N - just tried SAA light red and it is quite different and I can't get the same effects - SAA light red now consigned to Room 101.