Orange (colour) paint straight from the tube. Paul Cézanne did not use orange pigment, but created his own oranges with touches of yellow, red and ochre against a blue background. Toulouse-Lautrec often used oranges in the skirts of dancers and gowns of Parisiennes in the cafes and clubs he portrayed. For him it was the colour of festivity and amusement. The post-impressionists went even further with orange. Paul Gauguin used oranges as backgrounds, for clothing and skin colour, to fill his pictures with light and exoticism. But no other painter used orange so often and dramatically as Vincent van Gogh. who had
Pigment chemicals also have their own reflection and absorption patterns, which can affect the final spectrum. For example, in pigment/binder mixtures, individual rays of light may not encounter pigment molecules and may be reflected unchanged. These stray rays of source light make the mixture appear to have a less saturated color. Pure pigment allows very little white light to escape, producing a highly saturated color, while a small quantity of pigment mixed with a lot of white binder will appear unsaturated and pale due to incident white light escaping unchanged. Naturally occurring pigments such as ochres and iron oxides have been