You would probably need to buy a glass muller for an artists supply shop and grind the pigments yourself in a liquid base. Artists tend to use oils, IPA may evaporate too quickly to do this effectively.
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So, may be better to buy pre-dispersed pigments.
What medium do you use? I will assume oils or possibly acrylics; this will not apply to watercolors.
Red Ochre gets its color from iron oxide components. You probably do not have true Vermilion, which is toxic, but instead have a &#;hue&#; created from blending other pigments (formula depends on manufacturer). Avoid using true Alazarin Crimson, because it will gradually fade with exposure to light; but there are more durable hues and replacements (formula depends on manufacturer).
There is a tendency for many artists to paint nature using &#;too red&#; and too orange,&#; I&#;ve noted. Keep that in mind.
On scrap, try these experiments:
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1. Red Oxide (which may be called Venetian Red), mixed with a touch of blue-green color, and a touch of white. Depends what colors you have. If you happen to have Phthalo Blue (green shade), try it first. Otherwise, blend some blue and green and a smidgen of white, to get a blend that looks cyan. Then, mix a little of this into your Red Ochre. The result should be a duller rusty red.
2. If Yellow Ochre and &#;Vermillion&#; don&#;t work for you, then try using a more vivid yellow along with the &#;Vermillion.&#;
3. The Crimson is probably not useful for sunlit areas. But it might be more useful, blended with other colors, in shaded areas. This is because it is a slightly purplish-red.
4. I advise you to create a neutral gray reference card. Placing it next to your painting will help to avoid overly vivid and unnatural colors.
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