I have a deep blue sky and a bright yellow sunset setting over a nature scene, but when painting in the yellow sunset and fading it to the blue sky I end up with a lot of bold greens that are noticeably out of place.

How do you fade colors without getting the combined color? I'd like to fade a yellow to a blue without getting green in the middle. I assume the concept would apply to any two colors, though.

This may not be the best example image, but here you see very bold blues, and very bold yellows without mixing into a bold forest green anywhere in the sky. enter image description here

  • I can't think of a transition like you describe it without the mixed colour. So, maybe there's a third colour involved? What if the yellow first fades to orange or red before you get to the blue sky? You best check the reference image to see what to do. – Ji Ugug Apr 27 '16 at 18:07
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    A sunset sky usually transitions from yellow sun to blue sky by going the other way around the color wheel - from yellow to orange to muted red to very muted purple to muted indigo to blue. For example, fade from blue paint to orange or red paint, then fade to yellow paint. – Robin L. May 24 '17 at 10:24

There are green areas in the photo, although they are not bold.

Maybe your solution would be not to fade but to juxtapose bold colors.

  • Yet, if you want to fade, painting by layers will have a cleaner mix than painting in impasto (glaze a very thin blue over the yellow). Also you could use dots of each color next to each other for a vibrant optical blending (like impressionism or pointillism).

  • Otherwise, first fade the colors toward grey before fading.

    One of the ways to desaturate the colors is going into non complementary biases, like fade from a blue-green (cyan, phtalo, Prussian), into a blue-red (ultramarine, cobalt), fade that to a yellow-red (azo, cadmium) then a yellow-green (lemon yellow, Aureolin). The intermediary color will be greenish but muted.

  • Another way is to use ochres and earth tones (transitioning with a Venetian or yellow ochre, or muting the green color with green-earth or another greenish brown paint), and yet another way is to use opposite colors to mute the intermediary color (i.e. mute the green with a glaze of red).

However, I think the best way to achieve a clean contrast with high colors is to mix as little as possible.

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In reality you cannot. Sunsets are perceived in Light (RGB) where one can fade complimentary colors. If done in paint or ink you wind up with a tertiary color which is typically muddy. This is the difference between subtractive color versus additive color. Is to answer your question, "No it can't be done properly" and it has plagued artists for centuries. One of the ways to cheat is to allow the one color to dry, paint the complimentary color and fade into it and add a white wash over it to create a sense of luminance and to soften the mud. First rule of color theory is 'don't fade complimentary colors". Good luck

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  • You mean 'don't transition complimentary colours'? I've never heard of that being a first rule, where did you pick that up? – Joachim Apr 15 at 23:44
  • I assume this is bathed in sarcasm. I picked it up in 7th grade art class fading watercolors. I am a professional graphic designer, color tech now, and I see people, 'professionals', attempting it all the time. "Why does my purple to yellow fade look so weird?".... – matt-man Apr 17 at 15:23
  • and I would suggest for anyone, go to your best local museum and see how the greats did it. – matt-man Apr 17 at 15:24
  • I completely agree with your last comment: visiting museums is usually the best way to learn things! But no, I wasn't being sarcastic: the difficulty of fading one colour to another shouldn't depend on whether it's complimentary or not. True, fading darker to lighter similar hues is easier, but fading red to blue is as hard as fading red to green. – Joachim Apr 17 at 15:35

Really you're better off doing the main background, which is blue (top), then yellow (top), and black (middle bottom), and blue again on the bottom. Make the yellow bold when you put the first coat on, then let it dry. Once it’s dry, or at least partially, you can go back and add detail. That’s when you go over the blue again on some parts, and lightly add white to your blue and blend it into the yellow.

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