Today, we'll see why saturation matters more than hue in realistic paintings.

Mastering chroma - or color intensity or "saturation" - is one of the biggest turning points in an artist’s development. And yet, it’s one of the least understood aspects of color theory.

Let’s fix that.

Chroma Control: The Key to Realistic Color

1. What is Chroma, Really?

Most painters are familiar with hue (red, blue, yellow) and value (light vs dark). Chroma, however, often gets skipped in early training.

Chroma refers to how intense or saturated a color is. Sometimes called saturation or hue purity, it is the degree of purity of a color compared to a neutral gray.

If you use a photo editing software, you might be familiar with the notion of saturation, which is almost identical, although a little bit different. Simply put, saturation describes the intensity of the color of an object emitting its own color, such as a computer screen for example, while chroma describes the intensity of the color of a real object compared to a neutral grey object placed under the same lighting.

2. Why Chroma is More Important than Hue

In realism, your subject almost never contains high-chroma colors—even things like lips, fruit, and cloth are usually much duller than we imagine. Our brain exaggerates the saturation of things we recognize, but the paint needs to be more reserved.

The Floor Planners, by Gustave Caillebotte

Here’s the truth: you can often be slightly off in hue and still have a believable result—as long as your value and chroma are right. But get the chroma wrong (especially if it’s too high), and the color will scream off the canvas, no matter how correct the hue is.

That’s why professional artists spend less time obsessing over mixing the perfect “color match” and more time asking:

Is this color too bright?
Should I mute it more?
How does it compare to the colors around it?

In portraits, for example, real skin is mostly low-chroma, even in the rosy cheeks. The moment you overdo the chroma, you lose realism. A bright red nose becomes clownish. An over-saturated highlight becomes chalky.

3. Mastering Chroma Control in Practice

To control chroma, you need a way to mute colors intentionally. Here are a few tricks used in classical painting:

Complementary Mixing: Mix a bit of the color’s complement to tone it down. Example: add a tiny amount of cyan to mute a red.
Neutral Greys: Use a premixed grey to soften a color without altering its hue too much.
Limited Palette: Start with a simple palette that leans naturally toward lower chroma (e.g., yellow ochre instead of cadmium yellow).

A helpful mindset: Think of chroma like sugar for painting. You don't want too much of it, just the right amount.

4. Relation Between Chroma, Hue and Value

It is important to understand how Chroma is affected by the two other dimensions of color: Value and Hue.

First, Hue. Chroma is not evenly distributed amongst hues : red, yellow, green, blue, they all have different chroma behaviors. Each hue has a specific peak value for chroma, a value at which it can reach the highest chroma.

A red tends to be more chromatic for average values, while a yellow will have its peak chroma value among the brightest values. A blue, on the other hand, will reach the maximum chroma for rather dark values. This means that the most chromatic red that can be created will not have the same value as the most chromatic yellow that can be found. Understanding this phenomenon is crucial for an artist: it explains why it is impossible to create a dark yellow as bright as a light yellow and why a light blue does not have the same intensity as a deep blue.

Let’s see how it depends on value next. Chroma is not evenly distributed on the value axis. As it becomes darker, it becomes closer to a neutral grey.

This means that the darker a color becomes, the less chromatic it becomes. Same thing, when you make a color lighter, its chroma decreases as the value approaches white. This is why it's important to understand where each color peaks as it helps understanding how to reach its full potential.

The main thing to remember is that Chroma isn’t absolute—it’s always relative. A red might look dull next to orange, but vibrant next to grey. That’s why good chroma control also means controlling the relationships between colors on your canvas.

Use dull colors to support the more saturated ones. Don’t aim for harmony by making everything vibrant. That kills the effect. Instead, build contrast through restraint.

Final Thought

Once you understand chroma, the color wheel becomes a tool—not a trap. You stop chasing “the perfect color” and start building a believable, nuanced world on your canvas.

You don’t need to paint brighter—you need to paint smarter. And chroma control is the key to making your colors feel real.