| Author |
Message |
 
Suzy
| | Posted on Saturday, January 14, 2006 - 8:33 pm: |  |
I understand what you're all saying about that funky greenish cast that yellows get. What i di really like however is the way DS Green Gold charges into DS quin.Gold. Its yummy |
Robert
| | Posted on Saturday, January 14, 2006 - 5:50 pm: | |
Me tooo--That's why I hate most tube yellows, esp New Gamboge--that jaundicy green undertone. Uggghh. That's why Maimeriblu Indian Yellow attracts me--no green undertone. Cadmium Yellow Pale doesn't have that greenish undertone either so it's my main yellow, but it seems almost every color meant to replace cadmium does. I use the new Prismacolor raw sienna because it completely lacks a green undertone. Very nice tan--flesh tone. I have a physical revulsion against that sicky green so many yellow paints have as an undertone. |
John Preston
| | Posted on Saturday, January 14, 2006 - 4:36 pm: | |
Robert,
I have an irrational response to what might be called process yellow; Any high chroma yellow, especially with a slight green bias. I go around the house peeling off labels and removing dustjackets from books and turning magazines over.
And yet that class of pigments is so useful for mixing. Go figure. |
Robert
| | Posted on Friday, January 13, 2006 - 5:45 pm: | |
Do any of the rest of you have wierd associations with certain hues that irrationally prevent you from using these hues (which are perfectly good for anyone else)? Well, Quinacridone Red is like that for me. I added it to my palette a couple of years ago (Maimeriblu Tiazano Red --which is quinacridone red PR 209) and painted some wonderful autumn trees using it. However, I got to looking at it and had a very artifical pinkish undertone that resembled--no, no--it can't be--My ex-wife's lipstick and nail polish!!!!! I immediately removed it from my palette, but everytime I see it I think of somje shade by Clinique. However, I'm sure for the rest of the art world, it's a wonderful color. |
Anonymous Painter
| | Posted on Friday, January 13, 2006 - 12:04 am: | |
I use W/N, and my complete palette holds quite a wide range of reds (in part because I don't have any orange on my palette): Permanent alizarin crimson, permanent rose, cadmium red, quinacridone red (PR 209), and Indian red (usually when I'm using cerulean blue).
The quinacridone red is not too warm, not too cool, just right -- gives good purples and also good oranges. Actually, I use the old Transparent yellow (PY 97) for a bright orange with this red; not sure what the new W/N Transparent yellow (PY 150) will do. The quin. red produces decent purples even with FUM (French Ultra. Blue). |
Robert
| | Posted on Thursday, January 12, 2006 - 6:04 pm: | |
BTW Maimeriblu's philosophy is "only lightfast pigments will be used, period." |
Robert
| | Posted on Thursday, January 12, 2006 - 6:03 pm: | |
Maimeriblu Indian Yellow is on my palette too. I use it to mix with pthalo green as a basis for most greens and to brush into darks for bounced light. It also makes wonderful apricot tinged skies. As I remarked earlier, Maimeriblu Rose Lake is the closest thing to hot pink that is lightfast. |
Suzy
| | Posted on Thursday, January 12, 2006 - 4:31 pm: | |
Thanks for the info. i will keep it off my fine art palette but still use it my commercial pallettes for repro work!
WN had a huge advertizment in Artist magazine a few months back singing the glories of their new Opera Rose and it solution to the lightfast problem. I guess they lied!
What do you all recommend as the most brilliant hot pink that is lightfast?
Also, Have ya'll tried the Indian Yellow by Mameriblu? Its unmatched by anything I've ever used. Please don't tell me its not lightfast. My wild pallette couldn't take another deletion!!!
BTW, Im at the Atlanta Gift mart right now selling my work wholesale. Amazing crowds...
Suz |
Robert
| | Posted on Thursday, January 12, 2006 - 9:50 am: | |
More re. Opera--
Ever curious, I checked on the dye used in Opera--Triarylcarbonium Rhodamine B. Here is what a reputable website said about it:
Triarylcarbonium...Some shades are mildly fluorescing and are still used for their brilliance, especially as unlaked basic dyes (for example the rhodamine B, BV10, used in Holbein's opera). Their lightfastness ranges from poor to worthless and no paint containing these pigments or any unlaked basic dye should be used in professional quality artworks. (Some paint companies, such as Schmincke and Holbein, offer these pigments in paints labeled "brilliant" that are intended for printing or photoreproduction work — that is, artwork that does not have to last very long.) |
marie
| | Posted on Wednesday, January 11, 2006 - 10:16 pm: | |
My favorite substitutes for alizarin are:
* Daniel Smith Carmine (benzimidazolone carmine), which gives me a similar effect to alizarin
or
* Perylene Maroon (usually W&N), which is much darker and less saturated than alizarin.
I also like permanent/quinacridone rose (either W&N or Daniel Smith) and M. Graham Cadmium Red Light for other reds. |
Robert
| | Posted on Wednesday, January 11, 2006 - 6:15 pm: | |
The only hot hot pink on the market that is lightfast is, to my knowledge, Maimeriblu Rose Lake (a PV 19 variant -quinacridone). But of course it lacks the extra pizzaz of that electric fugitive dye added to opera and to Dr. martin's |
Robert
| | Posted on Wednesday, January 11, 2006 - 6:11 pm: | |
Hi Suzy--
My understanding is the Dr. martin's are not lightfast. opera and Dr. martin's and several of he Holbein electric bright watercolors are recommended for artistic layup work for reproducable art. For long term original art -- long term meaning over 50 years--such colors are not lightfast. That is my understanding. |
Suzy
| | Posted on Wednesday, January 11, 2006 - 5:52 pm: | |
Oh rats! You know how I love Opera! I am not a chemical genius so I'll ask you this one...If I use something like the Dr Martin inks to get my radical pink I so crave, is that any more lightfast???
(I've actually never had any Opera fade on me, even in the sunny wndow of my studio after 3 years but Im just waiting for that fateful day! Ouch!) |
Robert
| | Posted on Wednesday, January 11, 2006 - 3:28 pm: | |
Adding to the post below--
The only other two paints to get the B rating among the myriad W/N watercolors are Aliz. Crimson and Rose madder genuine, both extremely fugitive. Since Opera Rose is in this company it would be clear that it is no more lightfast than the Holbein Opera.
Pervious post:
{Correction--
W/N Opera Rose is made of the same fugitive ingredients as Holbein's Opera. I checked the permanency/lightfastness rating on the W/N website and it is a B (the highest being AA). This is as low as W/N paints get rated.} |
Robert
| | Posted on Wednesday, January 11, 2006 - 12:07 pm: | |
VJO--Thanks,
The exact name of the paint is Daler-Rowney
"Alizarin Crimson Hue" and it is made of a quinacridone and pyrelene maroon.
PS I think Rowney is the person who first commercially marketed watercolor paints--England --late 1700's or early 1800's. |
Robert
| | Posted on Wednesday, January 11, 2006 - 11:57 am: | |
Correction--
W/N Opera Rose is made of the same fugitive ingredients as Holbein's Opera. I checked the permanency/lightfastness rating on the W/N website and it is a B (the highest being AA). This is as low as W/N paints get rated. |
Suzy
| | Posted on Tuesday, January 10, 2006 - 9:37 pm: | |
Anyone try the new Opera Rose by WN? Suppose to be a lightfast version of Holbiens Opera Pink |
VJo
| | Posted on Tuesday, January 10, 2006 - 9:35 pm: | |
Robert, you always have such good suggestions and information.
You are a treasure for this group. Thank you for sharing so many
ideas.....I'm going to give the Daler-Rowney AC a try as I quite like
their paints. |
Robert
| | Posted on Tuesday, January 10, 2006 - 8:56 pm: | |
Kristen--FYI Daler Rowney's permanent Aliz. Crims. utilizes perylene maroon as one of its ingredients. This gives it a very classic crimson, as opposed to pinkish, cast. |
Robert
| | Posted on Tuesday, January 10, 2006 - 8:49 pm: | |
a.) W/N Cadmium Scarlet (a bit to the orange of cad. red light and more transparent).My orange biased red.
b.)Rembrandt Permanent Red Violet PV19)--quinacridone violet) a sumptuous, intense bluish red: serves the purposes of Perm. rose and aliz crimson in my palette (Van Gogh version is almost as good). My violet biased red.
c) Maimeri Venetian Red (or W/N)--Same hue as Cad. Scarlet but muted--great grays with cerulean blue. Great maker of deep darks with Pthalo blue. Very opaque in masstone so one must use it sparingly in mixes. My earth red. |
Eugene
| | Posted on Tuesday, January 10, 2006 - 7:27 pm: | |
I use a lot of permanent rose. By adding a little yellow or orange you can get a hotter red similar to cad. red, but not opaque. |
Kristen
| | Posted on Tuesday, January 10, 2006 - 7:08 pm: | |
What pigments do you use for reds? I usually use Cadmium Red and Permanent Alizarin Crimson (I prefer plain 'ole Alizarin Crimson, but since it's not lightfast I now avoid it like the plague). Often, however, those colors (both W&N brand) don't really capture what I want. The Cadmium is too opaque, or the P.A.C. is too pinkish. |
