Use the phthalo greens to mix yellow greens: blue greens should either be mixed with a yellow and blue paint phthalo cyan, phthalo blue, cerulean blue, or ultramarine blue or by dulling phthalo green BS with one of its many scarlet or red mixing complements. (The same difference appears in the synthetic organic yellows, for example between hansa yellow light, with a chroma of 90, and hansa yellow, with a chroma of 99 or 100.) It forms dye complexes with most metals in the periodic table, notably copper. (3) The third major group is the metal yellows, which include green gold (copper azomethine yellow, PY117 or PY129), nickel azomethine yellow (PG10 or PY150), and nickel dioxine yellow (PY153). A very confusing fact about greens is that the mixtures are more intense (saturated) than we expect. There are still many physical differences among paints in the same hue category lightness, transparency, tinting strength, staining and pigment texture. Although there are more blue pigments than green, both hues are divided by the contrast between cobalt pigments, which are semitransparent, generally mid valued, rather coarsely textured and weakly tinting (and become semiopaque and whitish in the titanate variations), and the phthalocyanines, which are transparent, dark valued, very finely divided and strongly tinting. And it's true. Turns out you'd be right. This sensitivity of hue to illuminant color is related to the general problem of metamerism, and the fact that metamers (or light induced color changes) are more likely in the area of yellow greens to deep yellows. Another approach is to use a bright or "neon" green, such as Daniel Smith's phthalo yellow green or Rowney's vivid green, and paint in all greens with that paint to start, then let the greens completely dry. Pigment Green 7 (another Phthalocyanine Green) is a bluish – green whereas PG36 varies from a mid-green to a yellow-green. Many artists underutilize the warm mixing potential of sap green. Like hansa yellow, it was very often used in convenience green paints, and produces mellow, transparent and pleasingly dark yellow green mixtures. the dotted lines show the approximate location of the "balanced" hue within each section. The two standard illuminants used to study these effects are: (1) daylight at one hour before sunset, which produces a deep yellow or orange light (CIE illuminant A); and (2) daylight at noon, which produces a bluish and intensely bright light (CIE illuminant D65). The mixture of a green and yellow largely conserves a distinct peak of "green" reflectance, which supports a saturated green color; it also elevates the "red" reflectance while darkening any "blue" reflectance, which in combination increase the chroma and shift the hue sharply toward yellow. 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