Like chromium green oxide, yellow ochre is not a single shade, there is a range so saying it is "a mustard yellow" is inaccurate. Would that be French's yellow mustard, Gulden's spicy brown or Grey Poupon? They're all "a mustard yellow". I have yellow ochre in 3 different oils, 2 acrylics and a watercolor, no two are the same.

That said and leaving out non-pigmented vehicle components- 6 pounds dry white lead, 6 pounds white lead in oil, 1-1/4 pounds Harrison's French yellow ochre in oil, 1 ounce Venetian red, bright, in oil.

So no, it's not going to be too orangey but will be a touch warmer than just yellow ochre.

Once again it was compared to original equipment at the Navy Museum in DC.

When mixing to these old formulas you have to be careful what pigments you choose. You cannot use titanium white unless the formula calls for it, it is far too bright to replicate white lead. In watercolors you would use mixing white and acrylics zinc white and even then you have to compare to original paint because they are still brighter whites than white lead but not near as bad as titanium white. Named pigments like Harrison's French yellow ochre you have to do some research on what it was. For example the WWI dazzle color mauve was based on Windsor-Newton's oil pigment of that name, email to W-N found they still make it to the same formula and color spec but now only in watercolor. The blacks are fun too- Old Abe, bone, ivory & Mars blacks and lampblack.....only lampblack is true pure black the rest are from burnt organic material and will always show a hint of brown.