| Author | Message | ||
  Linda |
I've light-tested Prussian by Winsor & Newton and found it turned green in just a few days in the sunlight. (Even cosmetics are more lightfast - surprise!) Have taken it off my palette forever! and how I loved the blue it made coming out of the tube. Ultramarine, over and over again, ultramarine. Indispensible (seemingly). Concerned about its acid intolerance - I consider air pollution the acid that will interact with it most over time, and apply it just faintly heavier than my subtle senses say. | ||
Zoe |
Don't know if you object to the full manganese but I really like this one best of those I tried http://www.aswexpress.com/discount-art-supplies/online/30/art-supplies/4 Haven't tried the Smith's - but I do have a wishlist going again :) | ||
Kukana |
OK folks,I have found a "Manganese Hue" that I kinda like. Its Daniel Smith. I am very happy with it so far. | ||
jdaneman |
I mostly use Cobalt blue, but it can be dull. I like Phthalo because it makes great neutrals with Alizarin and green. But if I only had one? Yeah, manganese blue. That was the most heavenly, greenish blue ever and it's a shame it's not able to be made in a clean way. | ||
Zoe |
Dragging up old topics because I can't start a new one. My favourite would be Manganese - but I agree with Kukana why limit oneself to one blue when I can have choices. | ||
jj |
I also agree with Kukana - "life's too short"! And I like all the blues mentioned so far, but I probably use ultramarine the most | ||
jandrle |
Prussian I just use it the most. It isn't my favorite as a stand alone but mixes the most vibrant colors. | ||
Dake |
My choice of blue would be W&N French Ultramarine. For both violets and grays it's always relaible and rich in granulation. It enables a very broard range of tones from the deepest moody darks, almost black when mixed with burnt sienna or Burnt Umber to subtle grays of the same combinations. It makes a great natural foliage range of greens for traditional landscapes when mixed with raw umber, indian yellow, cad yellow or raw sienna. It's popularity for dark violets stands alone when mixed with permanent alizarin or PA/burnt sienna combinations. It also is less staining than the cobalts which suits a traditional style. | ||
Robert |
After doing some test painting I want to change my blue from Pthalo to a specific Ultramarine. Grumbacher Finest makes 2 Ultramarines--French and Plain Ultramarine. The plain Ultramarine (which used to be called Permanent Blue--W/N makes it --Ultramarine Green shade but it's not as nice) has the hue of Cobalt but the depth and intensity of Ultramarine. After concluding this I checked Handprint, and McElvoy says the same--if you only have one blue, get a green shade of ultramarine. | ||
Robert |
Pthalo Blue Red shade (PB 15:1)--I can get dark darks and maneuver it toward the red or the green. Same hue as Prussian, essentially. | ||
John Preston |
I'm gonna go with Prussian. Usually do, most of the time. It can be mixed toward the violets I need better than Ultramarine or Cobalt can be mixed toward the greens I need for my subjects. But I'm with Kukana, why do it? | ||
Kukana |
Cobalt Blue. Its neutral, its transparent. I wouldn't limited myself though. Life is to short to dray that line. But if I had to only take one blue with me on a trip, It would be cobalt | ||
jj |
If you had just one blue on your palette, which one would you choose and why? |
