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Artist with a science degree. Creative expression from Xanthe Wyse. Art & creative expression by New Zealand artist Xanthe Wyse. Original paintings.

Original paintings, fine art prints & free art tips.

Xanthe specialises in painting with acrylics, usually onto canvas. She also enjoys hobby photography and writing books.

I like to use a custom palette for each painting.There are thousands of ways pigments can be combined.Using a limited pa...
31/10/2026

I like to use a custom palette for each painting.

There are thousands of ways pigments can be combined.

Using a limited palette can be a way of achieving harmony in a painting.

I wanted to compare two quinacridone family pigments from my pigmented acrylics.

Made a triangle with 3 pigments. Didn't use white in this instance. Colours were deep, rich and transparent, suitable for glazes.

Testing out some ideas, inspired by some colours I observed in nature.

A near black was obtained by mixing all three pigments together. Tried out some "random" mixes of different proportions.

One palette was brighter overall than the other. Of course, I could use them together.

31/10/2026

Tried some limited palette combos I don't think I have tried before.

Inspired by some colours I saw when out for a walk.

I like to use a different palette for each painting. I have been recording my exploring ideas in a more systematic way.

Lately, testing out limited palettes with 3 pigments. A yellow, a blue and comparing a quinacridone magenta and a quinacridone red-violet.

Into a mini visual diary, mixing colours in between, using a triangle. Mixed together for a black. Different proportions with "random" mixes.

These were transparent pigments with no white added. Resulting in deep, rich & complex colours suitable for glazes.

Added some leftovers to the hexagon colour study.

Thinking of having a crack at a painting using one of these palettes plus a few other pigments.

Some phone pics of the same tree, from a walk on a Spring day. Yes, traditionally "autumn" colours in Spring.Took these ...
31/10/2026

Some phone pics of the same tree, from a walk on a Spring day. Yes, traditionally "autumn" colours in Spring.

Took these to illustrate a few points. Colours depend on lighting conditions. Selecting a palette.

The leaves were more or less the same colours but there appeared to be a difference with leaves in shade vs backlit leaves. More towards yellow in sun. More towards violet in shade.

The dominant colours I see are red & magenta. Some call magenta red-purple or red-violet. I also see touches of other colours like golden green.

Now, if I were choosing a palette, there are several approaches. If I were to use only high-chroma single-pigment paints, I would likely choose quinacridone magenta. A darker version, not premixed with white. Quinacridone magenta is darker than screen magenta.

I have marked out some of the hues I see:

M = magenta
R1 = red
R2 = warm red
O = orange
Y = yellow

These are all available as pigments. However, one thing to be wary of is that orange and red pigments can mix browns, which are not dominant here.

If I wanted to use as few pigments as possible for all colours, I would likely choose a magenta and a yellow. Mix the reds and oranges. Also choose a blue for sky and mixed in for shadows & hints of green. Would also need white.

So at a bare minimum, I would choose magenta, yellow, blue & white. I would need to check my references but would likely choose a violet-blue like ultramarine blue.

Of course, there is nothing to stop one using pops of red and/or orange as well but brown is not a dominant colour here. So would use any red or orange pigments with caution. Likely not even needed.

Finished swatching my single-pigment, high-chroma heavy-bodied acrylics.Still have earthy & mixtures to go.My paint coll...
30/10/2026

Finished swatching my single-pigment, high-chroma heavy-bodied acrylics.

Still have earthy & mixtures to go.

My paint collection has a few dozen colours.

If I were starting out, I would prioritise high-chroma single-pigment colours. Not convience mixtures. Reading the paint tubes with artist-grade paints gives useful information, such as a list of pigments.

Practically every colour can be mixed from half a dozen colours.

Have been adding to a colour study. The hexagon colour study is from all high-chroma pigments, plus a touch of black and/or white. Have been adding to it with leftovers.

Blacks can actually be mixed from colours but there is a hint of black pigment, as I used black in the reference charts.

Used CMY/RGB hue spacing in the hexagon colour study, which has evolved over time.

Some greens mixed from one yellow on the white mixing plate, using leftovers.

I don't like to waste paint, so I only put out what I need and try to use it.

I have 2 blank hexagon canvas. Thinking of doing a few more colour studies. Perhaps using more traditional RYB hue spacing.

30/10/2026

Making some updated colour charts from my pigmented acrylic paints. Used some leftovers onto a colour study.

Also mixed several different greens from one yellow, using leftovers.

The yellow was cadmium yellow light.

Can get different greens from mixing with black, blue, turquoise and green pigments.

"Rust & Feathers" now lives above my desk where I paint. I think is a good example of "autumn" colours. Warm, rich, mute...
29/10/2026

"Rust & Feathers" now lives above my desk where I paint. I think is a good example of "autumn" colours. Warm, rich, muted. Not muted in a greyed way. Muted in a red-brown way. Like a bit of rust in most colours.

Was a fun colour study, as I chose to restrict myself to some nearly empty tubes of paint another artist gave me. Some pigments I use, some I was less familiar.

Have been making an updated colour reference. Each square block has paint straight out of the tube, thinned with water, mixed with white, mixed with black.

Slapping any leftovers onto a hexgan-shaped colour study. Mixed from high-chroma colours. Muted colours can be mixed from high-chroma colours but not vice versa.

I have observed though, that many high chroma colours are transparent & lack the substance that more opaque colours have. Opacity generally comes from larger particle sizes. Transparent colours are great for glazes though.

29/10/2026

A little demo using similar pigments which are used in the CMYK printing process.

Except I used pigmented acrylic inks applied with a brush.

Used off-white paper, so brighter paper would be needed for more vibrant results.

CMY in transparent layers doesn't mix a true black, hence, black (K for key) is used.

The "cyan" is just phthalocyanine blue, green shade.

Magenta and yellow mix red and orange but they are not high chroma. I use red pigment when I want a "true" red. Likewise, violet & green pigments are available.

Updating my reference charts of my pigmented artist-grade acrylic paints. Swatching on paper & canvas board.I use swatch...
29/10/2026

Updating my reference charts of my pigmented artist-grade acrylic paints. Swatching on paper & canvas board.

I use swatches to help choose my custom palettes.

My most intense pigments. They can appear quite dark out of the tube, so the full chroma isn't revealed until the pigment is dispersed, such as mixing with white.

All of these 8 pigments, shown also mixed with white or black, are "organic". Not meaning "green" but rather to do with the chemistry. Their names, "pyrrole", "quinacridone", "phthalo(cyanine)", "dioxazine" are references to their chemical structure.

I have a rusty analytical chemistry degree, so I find this stuff interesting.

It's the chemical structure which is why these pigments are so intense. They absorb some wavelengths of light, which is why they appear various colours.

If I had to choose my most used from these, it would be the pyrrole red, quinacridone magenta and phthalocyanine blue (green shade).

Technically, red can be mixed from magenta & yellow but I find it isn't as vibrant as I would like.

29/10/2026

Swatching my artist-grade paints for a side-by-side comparison. Swatches help me to choose custom palettes for my paintings.

This set on paper & canvas board is my high chroma, single pigment paints. Still do add more. Have swatched straight out of the tube, thinned with water, mixed with white, mixed with black.

The ones swatched so far include:
- pyrrole red
-quinacrindone red- magenta
-dioxazine purple/violet
-phthalo(cyanine) blue (red shade & green shade)
-phthalo(cyanine) green (blue shade & yellow shade).

Despite some looking similar, they give different results when mixed with other pigments.

As far as I could see, the one labelled "primary magenta" is just "quinacridone red" rebranded.

The long names are a reference to the chemical structure. All of this lot are "organic" pigments, as opposed to "inorganic".

Adding leftovers to a colour study abstract.

A tiny bit can overpower a mixture, which is why some artists don't like to use them. Full chroma is not revealed until the pigment is dispersed eg mixing with white. This is different to how many other pigments behave.

Most of these pigments are transparent, suitable for glazing.

It is not necessary to have all of these if starting out.

Quinadrione magenta and phthalo blue ink are typically used in CMYK printing.

26/10/2026

The exhibition is over but some of my original art featured in this showreel. The screen with the tahake, honeycomb, swan. Art is still available to purchase. (New Zealand only). Contact me.

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Taupo

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