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Help to mix a Copper colour.

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Paul (Dixie) Dean

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I’m in the process of doing a pencil sketch of an old man beating out a copper pan . The setting will be his workshop with him sat on a stool holding the pan and hammering it into shape. Whilst doing the initial sketch, I thought it would make a good watercolour. My problem would be is how to achieve a realistic copper colour  using watercolour paint. What are the base colours etc that will provide a passable colour . I intend to three pot in the scene. Any advice would be very welcome thank you in advance
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Linda Wilson

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I would start with burnt sienna or red oxide and experiment with it.  You will need other colours for the reflections, highlights and shadows, white and perhaps Payne’s grey for a start.

Alan Morris

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I’m not really a watercolour painter, but if I was mixing copper colour in oils I would work around Burnt Sienna with perhaps a little Cadmium Red. For lighter tones I would try adding  bit of Cadmium yellow or Orange.  I don’t know if this would work in watercolour though.
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Paul (Dixie) Dean

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Thanks Linda, I’m on the same track as you but thought I’d as others before delving in. Alan I’m sure your colours would work in watercolour , I shall experiment and feedback . I’ve probably mixed near to a copper colour before without thinking about it , it was when faced with a copper coloured pan that I though oh and started to doubt my idea of the mix. Thank you both it going to be fun trying out the mixes.

Kathryn Huxter

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Hi, If you want to go a little different, you could try Schminke Aqua bronze. It's a metal pigment powder which you just add a little water to so it becomes like a watercolour paint. Very easy to use and it's probably as close to bronze as you will get ☺️. 
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Robert Jones, NAPA

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Agree with Burnt Sienna - copper contains a good deal of yellow, though (it's basically an orange) so a touch of Raw Sienna would help, with darker colours for the shadows (eg violet, or Ultramarine - not black or Payne's Grey).  You might also have a play with Venetian Red - can be alarmingly powerful, if it's properly made, and viridian if there's verdigris; a touch of viridian is often very useful for darkening Burnt Sienna, and produces interesting mixes with Venetian Red.  I think I'd tend to stick to transparent colours, though - and Venetian Red is normally opaque. Still - have a bit of fun with a scrap of paper and various mixes for an hour or two - try a bit of crimson in one of the mixes as well: more than half the fun of painting is just sitting down and playing with mixes, because there's no pressure to achieve a result.
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Paul (Dixie) Dean

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Thank you both for your advice, I agree that to sit down an mix paints is  quite rewarding  and a good learning session. I’m looking forwards to experimenting.