Earlier tonight I took some pictures referencing what I spoke about in my last (relatively cryptic) post. To recap, I tested out some differing brands of paints which have similar pigments, if not the same pigment. (They did have the same pigment code.) What I found, was kind of interesting.
My “new” paints were Winsor Orange (Red Shade): PO73, second from the left, compared with M. Graham’s Scarlet Pyrrol (also PO73); and Daniel Smith Permanent Yellow Deep: PY110, third from the left, compared with Holbein’s Isoindolinone Yellow Deep (also PY110).
I also tested out M. Graham’s Ultramarine Violet Deep, though that one…I’m going to have to think on. It’s naturally a very delicate color, especially when compared to Dioxazine Violet (which I didn’t include in these photos). It actually reminds me of amethyst.
I am thinking that Ultramarine Violet Deep may pair well with Payne’s Grey. Possibly the other blue-violets, too (Indanthrene?), and maybe Prussian Blue, but my (Winsor & Newton) French Ultramarine does overpower it, used full strength. Of course, though, French Ultramarine is more powerful than regular Ultramarine.
Below, see an image of the relevant test swatches:
It’s kind of faint here, but the Scarlet Pyrrol had a backrun which caused the paint to appear grainy. Winsor Orange Red Shade, however, although it seems a little less powerful in this treatment, is relatively very controlled in its dispersal. I have a close-up of the left two paints:
Hopefully, that’s a bit clearer. The top row is of each paint, wet-on-dry, whereas the bottom row is of each paint, wet-into-wet (I did accidentally touch the two squares). I mentioned quite a while ago that the Scarlet Pyrrol appeared “corroded” in my lightfastness testing, both above and below the strip to block out sunlight. In this test, the water on my brush ran back into the paint and pushed the pigment into what look like little rivulets of more intense red-orange color.
I didn’t obtain the Winsor Orange Red Shade until after the swatches I had made had been exposed to sunlight for four months, so I don’t know how it will fare in lightfastness testing. It does seem a little less intense than the M. Graham, though that could have been because I was using the M. Graham from a dried/rehydrated state and the Winsor & Newton color from a moist state. I also might just not have used enough of the W&N paint.
As for the Daniel Smith Permanent Yellow Deep, I’m very happy with it. It has better dispersal than the Holbein formulation (which just made a line at my last brush stroke), but then Holbein is specifically designed without dispersants. The Holbein is actually noticeably brighter, as well. At this point, I’m not entirely certain how to feel about that…a lot of serious watercolorists do use the more muted colors. (I’d…consider myself a hobbyist, at this point, with the potential for growth.)
I’ve just prepped an image of what PO73 + PY110 look like together, and it’s relatively pleasant! It’s just a little duller than Cotman Cadmium Orange Hue, but I found that the latter actually fades relatively quickly and significantly…which is something to keep in mind when painting florals.
Both orange squares to the right are mixes of PO73 + PY110, while the vertical and horizontal lines are Cotman Cadmium Orange Hue. I’ve altered the Exposure setting on this image to try and undo some of the low light conditions, but it feels pretty close.
I forgot to take “After” pictures of the lightfastness swatches I worked, I just realized; something I should likely record. (They were sitting in the window fading for four months, which showed me which paints not to use. Since then, I haven’t put them back up, pending photographs.)
I’m also seriously and sort of stupidly wondering if I do want to get a tube of Quinacridone Coral, now: I am going to try and get rid of my Grumbacher Deep Vermilion, which leaves a gap in the orange-leaning reds. (The majority of my reds lean violet, which is a pain when I want to paint something red-orange or any kind of warm orange color! [Violet-leaning reds typically don’t yield intense oranges.])
There is a hidden assumption here, for those of you who are new: I’m avoiding cadmium-based pigments (particularly, red, orange, and yellow). Hence, the hunt for safer alternatives. Pyrrol Orange is definitely one of those, as far as I can see, but it has a peach bias.
I’ve found that at this point, there are a number of colors I want to avoid using for serious work. The Grumbacher Deep Vermilion is one of those. I might use it out of its well just to avoid wasting it, but it’s terrible for wet-in-wet work, and it greys out a bit when exposed to direct sunlight.
And for regular blog followers and botany enthusiasts; I have more recent pictures of my succulents, but I’ll put them in another post. 🙂