Colour Harmony Through the Use of a Limited Palette

Since the three primary colours can be mixed to create all other colours, it is theoretically possible to paint using a palette consisting of only three colours. This is the fundamental principle behind the concept of the limited palette.

When working with a limited palette in practice, the best starting point is to study the colour range of the subject and observe its darkest tones. This provides a solid basis for selecting the most suitable colour combinations for the limited palette.

It is helpful to think of the red hue as representing the warmest tone in the subject, the blue hue as the coolest, and the yellow hue as the lightest. This approach makes it easier to choose an effective colour combination for a limited palette.

“When planning a painting, I begin with the three colours blue, yellow, and red, usually in that order and across as wide a range of hues as possible.” (Soan, 2022, p. 18)

A common misconception about the limited palette is that it always consists of the same set of colours—for example, six basic colours representing warm and cool versions of each primary colour (see Colour Temperature). In practice, however, the subject itself often determines the choice of colours. A dominant colour within the subject may influence, or even dictate, the palette used. For example, Yellow Ochre may serve as the “yellow”, while Alizarin Crimson, or even a brown pigment, may represent the “red”, and violet may function as the “blue”. Green is particularly common in landscape painting, meaning that the colour choices in a limited palette often focus on blues and yellows to create the most suitable range of green mixtures.

2.3.1 How Is Colour Temperature Used with a Limited Palette?

The warmth of red and the coolness of blue can be used to create a sense of depth and distance within a painting. A limited palette allows artists to take advantage of this effect by using cooler colours in the background and warmer colours in the foreground.

“With a palette based on the three colours red, yellow, and blue, it is often a matter of mixing more blue into the background and more red or yellow into the foreground.” (Soan, 2022, p. 38)

2.3.2 Anders Zorn and the Limited Palette

Anders Zorn was a Swedish painter who is frequently associated with the use of a highly limited palette.

“In Anders Zorn’s case, there is a widespread belief that he favoured a limited palette consisting of only four colours—Lead White, Yellow Ochre, Vermilion, and Ivory Black—often referred to as the Zorn Palette. This common perception can partly be traced back to Zorn himself, as there is documentation showing that he recommended a similar limited selection of pigments to his students at the Artists’ Association School in Stockholm.” (Jansson, 2023, p. 37)

Zorn used these colours extensively in his oil paintings, particularly for flesh tones and modelling. In reality, however, he worked with a much broader range of pigments, including Cobalt Blue and modern synthetic greens and yellows that were already available during the late nineteenth century.

Zorn’s palette – photos from my visit to Zorn Museum, summer 2025.

3. Conclusion

3.1 Summary

Painting with a limited palette means using as few colours as possible while still achieving a wide range of colour mixtures and colour harmony within a painting. The primary advantages of using a limited palette are achieving colour harmony, simplifying the decision-making process, and gaining greater control over how colours interact throughout a painting.

Johannes Itten developed his theory of colour harmony during the 1920s by creating a twelve-part colour wheel based on the three primary colours—red, blue, and yellow.

By starting with the primary colours of red, blue, and yellow, it is possible to mix a broad range of colours, providing a strong foundation for a limited palette. Another important characteristic of every colour in a limited palette is its colour temperature, as this influences how colours mix and interact with one another.

When working with a limited palette in practice, it is advisable to begin by studying the colour range of the subject and selecting colours based on the three primary hues—blue, yellow, and red.

However, a limited palette does not always require the same fixed selection of colours. Instead, the choice is often determined by the colour range of the subject. For example, Yellow Ochre may be a more suitable substitute for yellow, Alizarin Crimson for red, and violet for blue.

Anders Zorn is an artist who is closely associated with the use of a highly limited palette and is best known for the so-called Zorn Palette.

3.2. Reflection.

As an illustrator, artist, and surface pattern designer, I wanted to write about a topic closely related to my own field of practice. I therefore chose to explore colour harmony through the use of a limited palette, a subject that I have wanted to investigate and learn more about for a long time.

I found the topic extremely interesting and, based on what I learned, I experimented by creating my own basic limited palette. Following Hazel Soan’s recommendations, I selected a palette consisting of a warm yellow (Indian Yellow), a cool yellow (Aureolin), a warm red (Cadmium Red), a cool red (Permanent Rose, rather than Ruby Red), a warm blue (Ultramarine Blue), and a cool blue (Prussian Blue).

As part of Hazel Soan’s online course, I painted a study of oranges to explore the practical application of a limited palette.

The painting was far from perfect, which is often the case when painting while following an online lesson. Nevertheless, the process was both enjoyable and highly informative. As in her book, Hazel explained why she selected those particular three colours—yellow, red, and blue—for the subject and demonstrated how she experimented with different colour mixtures created from her basic palette.

One of the most valuable insights I gained was that, in practice, working with a limited palette is not as restrictive as it may first appear. Rather than relying on a fixed set of colours, the artist usually studies the subject first and selects a small number of colours that best suit the painting. As discussed earlier in this report, the “red” in a palette can, for example, be represented by a brown pigment instead of a conventional red.
For my painting of the oranges, I used only three colours and felt that they produced a harmonious result. I also found that having fewer colours to choose from allowed me to concentrate more on the subject and the composition. Once I had selected the three colours needed for the painting, I did not feel that I needed any additional pigments. Had I worked from my usual palette, I would have used considerably more colours.

I feel that I could have written much more about this subject, and I remain eager to continue exploring the use of limited palettes in my future work with watercolour, oil, gouache, and surface pattern design.

4. References

Soan, H. (2022). Hazel Soan´s Art of the Limited Palette. London: B.T.Batsford Ltd.

Itten, J. (2003). The Elements of Color. New York: John Wiley & Sons, Inc.

Bergström, B. (2022). Att välja färg. Lund: Studentlitteratur AB.

Jansson, E (2023). Zorn´s Studio- The artists materials and techniques. Mora: Zornmuseet.