- Cadmium Red
- Quinacridone Violet
- Dioxazine Purple
- Cobalt Blue
- Manganese Blue
- Cerulean Blue
- Raw Umber
- Ivory Black
- Viridian (PG18 Vert émeraude): moderately saturated, weakly tinting, granular, transparent and moderately staining blue green
- Bleu outremer français DS ou WN
- Terre de sienne naturelle: Traditionally a mid valued, moderately dull earth yellow, slightly granulating, nonstaining and semiopaque to semitransparent. This earth color varies substantially across manufacturers; some paints are a pale yellow trivially different from yellow ochre (PY43), while others are a grayish brown. Daniel Smith monte amiata natural sienna is a warm mid valued yellow brown, my favorite single pigment example of the raw sienna color, with a slight tendency to darken in masstone.
- Holbein Peacock blue (PBr17) : Phthalocyanine cyan PB17 is a lightfast, semitransparent, staining, dark valued, intense green blue pigment, available from only 2 pigment manufacturers worldwide (one of them in China). In watercolors, PB17 undergoes a moderately largedrying shift, lightening by 20% and losing saturation. The best mixing complements for phthalo cyan are cadmium scarlet (PR108) or quinacridone maroon (PR206). Holbein peacock blue, now discontinued, was the only commercial source for this pigment in watercolors; however it is still available as Holbein Irodori "Antique Turquoise". (Note that the Irodori formulations are described as "delicate hues" that "granulate freely" and are "more opaque".) PB17 is a very pretty blue turquoise color, inert wet in wet, with a bright undertone. Slightly less lightfast than the other phthalocyanines, it is just as transparent and slightly more chromatic; however, the Holbein formulation had a slightly lower tinting strength than most phthalo blues. Its bright cyan color is quite close to the artist's "primary" cyan atcolor point 9 on the color wheel. (preferred for greater value range, mixing strength and lightfastness is a green shade of phthalo blue (PB15:3) for this hue).
Primatek Amazonite: Thick consistency out of the tube, gummy consistency, very fine (powdery) granulation; saturated blue green with no trace of whiteness, transparent in tints
Bloodstone Genuine - Stiff consistency out of the tube, very gummy vehicle; very fine and finely granulating texture wet in wet; blackish (iron oxide) color with a hint of pink in tints.
Burnt Tiger's Eye Genuine - Medium consistency out of the tube, gummy vehicle; coarse granulation wet in wet similar to hematite; dull brown similar to burnt umber
Piemontite Genuine $$$ - Medium consistency out of the tube, gummy vehicle; slight granulating texture; very dark saturated red, almost a red violet, with interesting duotone mixture with near black granulation wet in wet; the Daniel Smith online image is fairly accurate.
Minnesota Pipestone $ - Medium consistency out of the tube, normal vehicle; moderate granulating texture wet in wet; deep dull red similar to venetian red, but duller in tints
Turquoise – Kingman Green $$$$ - Medium consistency out of the tube, gummy vehicle; very fine (powdery) granulation that diffuses evenly wet in wet; saturated bluish to middle green with no trace of whiteness
Turquoise – Sleeping Beauty Blue$$$$ - Medium consistency out of the tube, gummy vehicle, very fine (powdery) granulation that diffuses evenly wet in wet; saturated greenish blue with no trace of whiteness, much greener than the Daniel Smith online image.
Vivianite – Blue Ochre $$$$$ - Creamy consistency out of the tube, very gummy vehicle; moderate pigment texture that is difficult to brush out smoothly; dark bluish gray with blackish granulation.
Winsor & Newton green gold is the yellowest of the azomethines and (with M. Graham) the most saturated, with a beautiful slight granulation in masstone or wet applications. The paint shifts slightly further toward green and becomes more chromatic in tints. Old Holland is slightly darker and lifts more readily. — "Green gold" copper azomethine is a delightful and extremely useful category of pigment for all genres, but for landscape and botanical painting especially. Copper azomethine has a high tinting strength in mixtures, and can produce beautifully transparent and brilliant yellow greens when mixed with a green phthalocyanine, moody and luxurious sap greens when mixed with iron blue, and a gorgeous range of botanical tans and ochres, and portrait flesh tones, when mixed with quinacridone magenta. Copper azomethine is useful as a glazing pigment to mute or warm other colors; it works very well to brighten and shift to yellow all green pigments, even the cobalts. And if you are an avocate of the split "primary" palette, then copper azomethine is the perfect lightfast, transparent "cool yellow" pigment to pair with its lightfast, transparent "warm yellow" twin, nickel azomethine yellow (PY150). (avoid Holbein Green Gold, impermanent).
DANIEL SMITH Granulating Watercolors:
Lunar Red Rock
Nickel titanate yellow
Rose of ultramarine
Manganese blue hue
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