The trick with phthalo pigments is they increase chroma when you mix, especially with white. This is against everything you might have learned but it's because the pigment particles are so small. When mixed they get some room to shine - kind of like dehydrated.
That's why I love phthalo turquoise (50/50 phtalo blue/green) with napthol red! It's a beautiful purple-y black that's dark but very expressive when lightened.
Florent- congratulations on your appearance in the PBS documentary on Da Vinci. I hope it is a springboard for your career. Keep the videos coming. They are very instructive and enjoyable. Cheers!
I just started art school and we are provided with a starter set of acrylics - primaries, titanium white and mars black. I was surprised we were given quinacridone magenta instead of a red, but after our first day of mixing pure red blue and yellow, I can see why! Also, your videos are always such a delight! Cheers and many thanks from Canada 🇨🇦
"Our color vocabulary is a mess!" I agree! Haha my color class also opened my eyes and gave me the freedom to mix colors when I would have bought them. Thanks to you i know what to try next and i learned more about some of my favorite tubes. Turquoise will never be blue😊
A very informative and helpful video, thanks! I'd like to throw in Unbleached Titanium as a nice, underdog pigment. Very utilitarian, not flashy. I use it almost as a "correctional" pigment, ha!
Gamblin makes a cheaper line of their colors --Gamblin 1970. I choose this line only for pthalo green and pthalo blue. It has some type of filler or extender in it that reduces the ferocious staining power until it matches that of other strongly tinting paints. It's a less intimidating way to start using Pthalo colors
Watching this again after a few years, I think what you've done with all your color work/teaching is you've made the old inadequate color theory and the CMY theory be at peace sort of.... Clearly your newer work is excellent...we needed to widen and clarify and you summed it all up. Thanks. It also comes in handy to have the old complimentary color concepts in our minds. I don't have any problem having both in my head, but I can see where especially newer (but also some set in old ways) artists could get confused or pulled in two directions. You've put it all together very well for everyone (I've seen your recent work too)...it can make sense to any artist.
I think looking into different pigments and experimenting is really interesting, fun and as you say, can bring a new look to your work and I personally find it exciting. A good exercise I do is to make different versions of zorn like palettes. Using pigments I've not used before or not used much. There are some truly beautiful, unique and useful pigments that I almost never hear or read about being used by others. I have recently been looking at transparent colours, some lovely reds and yellows. Eg cobalt yellow, rose madder, lead tin yellow, etc. Then there are all the genuine earth's, there's an endless variety of interesting tones and textures that are worth trying. I know some may say that all this is just a distraction from getting on with the actual painting. But for me I love working with oil paint for more than just the joy of creating paintings. I love pigments in and of themselves. That's why I love what we do. The depth of study and learning and discovery and history of painting and one's journey with it is a real joy to me. There's so much more to discover and enjoy. I love it. And I'm sure you know exactly what I mean.
I love mixing deep purples and dusky teals with the phthalos, and theres no better bright, knock your socks off green for me than phthalo green yellow shade mixed with a bright, cool yellow. And a touch of PG7 mixed with PG17 makes a gorgeous jade that I find indispensable for painting succulents!
Wow, love these colours, and your explanations, I often have used a limited palette of viridian, magenta and yellow ochre... But now going to check these pigments out!! Thanks so much Florent
As a watercolorist, every single one of these pigments is on my palette. And in watercolor, a couple of the mentioned pigments have an additional property of granulation, adding texture to our artwork. Great list of very lightfast pigments.
I've actually started setting aside brushes specifically to use with my phtalo paints because even the tiniest remnants of them would corrupt my colors sometimes and it frustrated the hell out of me 😅
I was expecting a handful of “convenience colors”. Glad that was not the case. I already found and love pyrrole red to use as a staple red. Phthalo blue green shade is my alternate to ultramarine and a little goes a long way for sure. I shy away from premix greens so far but the green does look fantastic for the dark water effects.
Great Video! Actually PR254 has one advantage over Cadmium Red - it mixes cleaner (more chromatic) cool pinks (although it is warmer in mass tone). Btw, in case you need to decide between the two Quinacridones: The more violet version of PV19 is the most lighfast of all the Quinacridones. So although in tints it is slightly less chromatic and cooler than e.g. PR122 it is a great choice to fill that crucial spot on one's palette. If I were to add anything to this selection it would be some of the quite chromatic earth reds (PR101/102 Venetian Reds, Mars Reds, Terra di Pozzuoli etc), which are affordable, completely lighfast and so convenient for portraiture.
PR254 is also known as Ferrari Red and had been used for many years to create their signature red.... beautiful color and can by opaque of transparent/semi-transparent...
I love your suggestions, I use all of these and find that Quinacrodone Rose makes the most vivid pinks ever when mixed with Titanium White, that and Cobalt Teal are staples for Florida colors which is what I do the most of. Cobalt Teal is great for many things.
Quinacrodone Rose / Magenta (PR122) and Cobalt Teal/Turquoise mix the brightest purples.... And Quinacrodone Rose / Magenta (PR122) with a Primary Yellow can also create beautiful clear oranges and reds. Truely magnificent primary colors as illustrated very nicely by Andrew Tischler in his COLOUR MIXING SOLUTIONS in oils - Create 3D Effects + What's on my Palette!
I'm sure it's gone over in a lot more detail in other videos, but a good way of thinking of colours (especially primaries when mixing) is considering the stongest secondary within the pigment. Cobalt teal doesn't dull and darken greens because it is a green-leaning blue, where ultramarine leans toward violet. The violet in ultramarine mixes with the yellow to create a dark brown within the final green. Due to violet and yellow being complementary, it will always get quite dark as together they prevent a lot more light from bouncing back to our eye. This is the same reason why ultra and burnt sienna (an orange-leaning brown) mix to create a deep (warm, but cooler if glazed with the blue the final layer) black. Experimenting with glazing will provide a more comprehensive understanding of retractive colour. (writing this as much for myself as for anyone reading)
Hey thanks so much for all the work you put into your videos! I personally adore cobalt turquoise! It mixes into the most astonishing colours that all seem to have some ethereal quality. I’ve never truly understood quinacridones, I have tried them, but meh. I do however like pthalos because of how vibrant a light blue or green you can achieve when mixing with whites so it makes for a great uniting colour in nocturne paintings. I love what you do! Keep it up!
Well, we're on the same page... A few of my faves too! And yes the colors are coming through VERY TRUE on your improved format. One thing I'd recommend to painters is to do an ongoing pigmient study. I was fortunate to have had college post graduate work in chemistry, organic chemistry, and anatomy for med school. When I got hurt and had to return to my art, these things helped alot. What I did was I took 3×5 cards and a clear recipe box, and made a section for PR, PO, PY, PG, PB, PV, PBr, PBk, PW etc...one card per pigment. I NEVER buy a paint without knowing the pigment. So many are either fugitive, interact adversly with each other (sulfides and coppers and leads etc), or are not what their name says....the only way to really get control is to learn them. Another thing I did was write down where I got each one (maybe Old Holland had a pure version of this pigment, and Rembrandt had a pure version of that). It is only in this way that you can only have to look at the materials icon once for each check. PG50 is my favorite, but I was, naturally, pleased when the quinacridones and pyrroles came out, ending our fugutive alizarin crimson problem. I also like some old pigments, and am not afraid of lead at all. Lead white and other toxic pigments are fine if handled well. I'm a bit geeky about pigments and archival materials and practices. Two of the side points one learns looking up the pigments for each paint color are 1) try to find single pigment colors and 2) observe combinations even the finer oil paint producers use to either make or stabilize a color. You may find out that tube of paint you love so much is actually just a great pigment with another great pigment added in which you can mix on your own palette. This saves money and enables one to buy better, more pure, and longer lasting tubes. www.artiscreation.com/Color_index_names.html#.XWQylZ8pAex I hope this helps someone. You're one of the only UA-cam artists I watch. You're doing a great job.
I have not even started yet with oils, but in watercolour my favourite pigment is hands down PO48. I started painting when PO49 (Quinacrinone gold) had already been discontinued, but Daniel Smith does a beautiful Quin Gold with PO48+PY150. I LOVE it so much. It vanishes so quickly from my palette that I should buy it in bulk (because among other things PO48 is also going out of production).
Great video. I’ve added Naples yellow to my pallete and find it very useful for portraits. Am considering cobalt teal for landscapes. Have seen it used for sky’s with great effect.
You'll love it. Phthalo turquoise with white can also give the same shade (or a mixture of pg7 + pb15 + pw6). But cobalt teal is more buttery and opaque.
I like Phalo green for mixing blacks because it's so powerful and I have found because it's so strong you can also just buy a student grade version of the paint.
I've been using Quinacridones in Watercolor and acrylic since I started painting. Most of the time I pair Cobalt Teal with Quinacridone violet, especially when I paint with watercolor. It mixes a very beautiful purple grey that is great to put shadows on white objects. Also Transparent Pyrrol Orange (PO71) is a very useful orange to have. I don't want to use a lot of the cadmiums because I got a cadmium allergy a few years ago and try to replace all of them with alternatives.
Hello Florent, you are a very good teacher and you did some outstanding jobs by creating your videos. There is a simple way to improve your work further: Do without music. Best regards
Had a tube of permanent carmine and never knew what it was. Until discover some months ago it was an essencial. Well... not did anything with it till now. One essencial i like is NR9. For me, is so far the best red. Besides the smell it has. Oh! The smell...!
Always interesting to compaire preferences of pigment - and brands because its such a joy to find the pigments that make your heart sing - I would have loved to hear what brands you prefer
The quinacridones are very popular in watercolor since they’re so transparent and strong. I’ve heard of people using cobalt teal to paint lichen on trees
It was only alizarin when I started. Quindacrinone is all new to me- I had no idea, it's so similar to alizarin, that you can get these bright crimisons out of it! Also do you have a video on what pigments or colors are colorfast and which ones are more likely to fade in the light or over time? I don't want to spend a ton on tubes of paint that some short enough time later has faded? And more 'archival' materials and techniques (grounds, formulas for those costly paints) to keep them from showing effects of time, light humidity (to prevent cracking, fading etc.)? Thank you for your amazing videos. :)
Yes, these all are wonderful pigments! I would really like to use the Pyrrole Red (as I am convinced it would stay long term on my palette), but it's a little hard to get it here. Anyway, chrome yellow, or as I first came to know it, Ochre Yellow is irreplaceable. I cannot imagine painting portraits without it, of course I use cadmium yellow too, but the chroma and workability of this warm pigment is extraordinary! Although PV19 (I use in substitution of PR177 - Anthraquinone Red - or better known as Permanent Alizarin Crimson) is great too, and as the Viridian Hue in the Winton oil is same as the Phtahlao Green (PG7) - all are exceptional to tone the other down. I produce Teal usually by mixing Phthalo Blue with Phthalo Green, or Permanent Green (which also is a mixture with PG7) but I rarely need it, as even in cheep paints (with extenders - calcium carbonate) the Turquoise Blue is a massively potent color! Great colors, although in portraiture you really have to pay attention to tone them down and at all times never loose sight of tone as well!
Hallo Florent! I am a hairdresser and the videos of you help me a lot of in my daily work. If you have a possibility make one App in Google Play store with your colour wheel that we kan easily reach it if we are outside of home, because the poster I have at home. 💗
cobalt teal or turquoise (PG50 Cobalt Titanate Green Spinel ) Dull Olive green to bright mid green, comes in Blue shade & Yellow shade versions. Med. staining with average tinting strength... beautiful color and one of my favorites...
I normally work with watercolors but I've dipped my toes into oil these past few months. I was gifted a small color selection of oils from my grandmother-in-law, who is a professional painter, and it's been quite an experience working with what she would call a "normal" oil color selection; many of the pigments she gifted me are pigments I know of, but don't normally use in my main watercolor palette. I finally broke down and got a few tubes of colors that I am used to working with them in watercolor- most of which were the pigments you talked about in this video. It's been interesting trying them in a new medium, and how similar (and not) they can behave. I am enjoying myself even more now bringing some of these more common-to-me-colors into my oil work! I absolutely love pv19 and the magenta version glows just as much as it does in watercolor; it's lovely! Pg50 has also been wonderful to work with in oils, it has a home in both my oil and watercolor palettes now. I know phthalos are a very much you either love them or hate them (in the watercolor world at least) but I have enjoyed them in both mediums as well!
Genesis heat set paints do an assortment of amazing colors generally used for painting vinyl dolls as they have a setting agent they include all the colors you've mentioned but can also be used on any other knd of support, because I paint dolls too I have them all
I absolutely love Quin Rose as a lightfast, and more versatile alternative, to Alizarin Crimson and Pyrrole Red as a non-toxic and cheaper version of Cadmium Red. I want to try Cobalt Teal or a Light Turquoise, but I had no idea how to manage it, so I currently use Cerulean Blue Hue as my lighter, green biased blue. Of course it isn't Cyan, but it mixes lovely sky blues and vibrant greens. I also have Phthalo Green, but I rarely ever use it due to not really knowing what to do with it. I will have to give some more consideration to Cobalt Teal and Phthalo Green.
Interesting pigment choices. I'd use PY41 instead of PBr24, it's a nicer kind of Naples Yellow. Instead of PG-7, I prefer PG-18. Also PV55 looks much nicer in my eyes then PV19.
Rembrandt Viridian? That specific brand is the genuine PG18, not PG7 or PG17. Very nice, but dries quickly (in fact, I sometimes use it in a mix as a pseudo-siccative).
Quin. Magenta PR122 is more chromatic (and usefull imo) then the violet darker kind of PV19 (sometimes called Quin. Violet). The Red and saturated version of PV19 (sometimes called Quin. Rose) is great tho.
Really interesting tips! Thank you! My favourite pigments are different: iron oxide red PR101 (indian, venetian, english red) and chromium oxide green PG17. Mixing them gives awesome earth tones and foliage greens for landscape painting.
I also love cobalt teal. I'm surprised cobalt teal is not considered one of the most basic pigments. It gives you a huge mixing range, because it contains both a lot of green and blue wavelengths. Moreover there is no way to get cyan tones nearly as intense and bright at the same time with any other pigments. On top of this, it's the perfect mixing complementary to red, because it's the visual complementary at the same time and when mixed with red, the mix hardly darkens and this nice middle gray is generated.
I put a like only for the title of the video. I'm intrugued by pigments. I'm writing this while watching it. I love quinadricone magenta it's a no-yellow red and cobalt teal is a cyan, you choose two real primary colors :) Is chrome yellow lightfast? Isn't the one used by Van Gogh that turned black? A nice suggestion that I never used. Pyrrole is the more saturated red that exists, I love it to use in some things like flowers or red lips. Never used phtalo green, only the blue, not a great fun of it tbh but incredible powerful and tinting. I use sometimes cadmium oxide green as a opaque green pigment to kill the excessive orangeness of skin or doing shadows. Two nice pigment quite rare are bizmuth yellow (you can find it in France as "lefranc yellow", it's quite rare) it's similar as cadmium lemon, it's incredible bright, a TON of tinting power like a "phtalo yellow" and really, really opaque. The second one is perylene black (also this in the lefranc list of paint, lefranc is really underrated tbh), it's a really greenish black (when mixed with white) it's perfect to paint moonlight, really a rare situation but still.
use all of the paints you named....however, I love Chinese red, there is something about it that my hand always reaches for. The colours also remind me of the colours found in a printer...think about it. those few colours make up an entire colour picture by pushing a button.:)
Hi, love the colours you had introduced. Would it be possible to mix these wonderful color from limited palette or is this something you would recommend to simply get from already mixed to use tube? Also, could you demonstrate how to paint a vase of flowers, Dutch master style, just like the one in the museum, basically need your insight as to how to mix the color given that it is “all over the place” - thank you!
You can only mix the same shade as PBr24 with a limited palette. All other colors are way out of gamut, meaning they're too chromatic to be mixed from a limited palette. I'll probably do some still-life in the future, so maybe a vase like you suggested.
I am trying to build a set of oil colors from Windsor Newton I accidentally got plain Naples yellow. I wanted to mix with vermillion, coming down the list alphabetically they only have Venetian red. Isn't this what they want me to use? They say to use single pigmented colors and vermilion is synthesized from mercury... highly toxic.
You are doing a very good job and a service to aspiring artists. Small detail, when talking in front of the camera, learn to control your hands. At the presente they are a bit of a distraction. Keep up the good work
I think you made a little mistake Florent mentioning PBR24 (Chrome Antimony Titanate ) as chrome yellow as this term usually refers to Lead Chromate ( PY34 )
Interestingly, Quin Red/Rose/Violet (PV19) is used frequently in many brands’ version of a ‘primary’ red. PV19 is a funny color because it can range from a semi-cool, mid-value prismatic red, all the way to a deep red-violet. Dioxazine Purple/Violet (PV23) is definitely on par with the tinting strength of the Pthalo family - it’s pretty amazing! 😮
Yes, the names for pigments ARE very confused, and misleading... my mentor gave me a list of warm colors vs cool colors, and I was having a lot of trouble because the list was based on the type of paints he uses, and though many of the colors are ubiquitous with other brands, some do not translate to what they are called. I finally had to print out a color wheel that had split the color into warm vs cool, with no mention for pigment names, just color description, then make a value judgement on all of my branded tubes of paint!
Homer described the sky as 'bronze' in colour; which is understandable when you consider that copper ores/oxides can be anywhere from 'green' to 'blue', but confusing for translators.
Certainly our colour names are a mess but so are the pigment numbers...your fave pb29 comes in 30+ variations...so which ultramarine is in your paint tube ?...pbr 7 and or 101_ there are too many colours listed under these two numbers. Paint manufacturers are no help and perhaps favour the confusion so people will buy more paint. Differences between brands is no indication of any surety about what you get when you bring home your new tube . Will the real cadmium yellow please stand up ? If there was a uniformity then it would be too easy to compare different brands of the SAME colour and pigment number. Jim Francis ( gun zorro ) in wet canvas forum has shown a lot of comparisons between colours and brands.cheers
The trick with phthalo pigments is they increase chroma when you mix, especially with white. This is against everything you might have learned but it's because the pigment particles are so small. When mixed they get some room to shine - kind of like dehydrated.
The phthalo green with certain reds (all in some cases) makes a very lovely and useful range of blacks
Yes.
Yup! Phthalo Green Blue and Anthraquinone Red (alizarin crimson permanent) make a beautiful indigo-black
That's why I love phthalo turquoise (50/50 phtalo blue/green) with napthol red! It's a beautiful purple-y black that's dark but very expressive when lightened.
Florent- congratulations on your appearance in the PBS documentary on Da Vinci. I hope it is a springboard for your career. Keep the videos coming. They are very instructive and enjoyable. Cheers!
I just started art school and we are provided with a starter set of acrylics - primaries, titanium white and mars black. I was surprised we were given quinacridone magenta instead of a red, but after our first day of mixing pure red blue and yellow, I can see why!
Also, your videos are always such a delight! Cheers and many thanks from Canada 🇨🇦
"Our color vocabulary is a mess!" I agree! Haha my color class also opened my eyes and gave me the freedom to mix colors when I would have bought them. Thanks to you i know what to try next and i learned more about some of my favorite tubes. Turquoise will never be blue😊
A very informative and helpful video, thanks!
I'd like to throw in Unbleached Titanium as a nice, underdog pigment. Very utilitarian, not flashy. I use it almost as a "correctional" pigment, ha!
Gamblin makes a cheaper line of their colors --Gamblin 1970. I choose this line only for pthalo green and pthalo blue. It has some type of filler or extender in it that reduces the ferocious staining power until it matches that of other strongly tinting paints. It's a less intimidating way to start using Pthalo colors
I adore cobalt teal! It makes me happy!
Watching this again after a few years, I think what you've done with all your color work/teaching is you've made the old inadequate color theory and the CMY theory be at peace sort of....
Clearly your newer work is excellent...we needed to widen and clarify and you summed it all up. Thanks. It also comes in handy to have the old complimentary color concepts in our minds. I don't have any problem having both in my head, but I can see where especially newer (but also some set in old ways) artists could get confused or pulled in two directions. You've put it all together very well for everyone (I've seen your recent work too)...it can make sense to any artist.
I think looking into different pigments and experimenting is really interesting, fun and as you say, can bring a new look to your work and I personally find it exciting. A good exercise I do is to make different versions of zorn like palettes. Using pigments I've not used before or not used much. There are some truly beautiful, unique and useful pigments that I almost never hear or read about being used by others. I have recently been looking at transparent colours, some lovely reds and yellows. Eg cobalt yellow, rose madder, lead tin yellow, etc. Then there are all the genuine earth's, there's an endless variety of interesting tones and textures that are worth trying. I know some may say that all this is just a distraction from getting on with the actual painting. But for me I love working with oil paint for more than just the joy of creating paintings. I love pigments in and of themselves. That's why I love what we do. The depth of study and learning and discovery and history of painting and one's journey with it is a real joy to me. There's so much more to discover and enjoy. I love it. And I'm sure you know exactly what I mean.
Ha! Those colors are all on my must have available list, even for watercolor painting.
I love mixing deep purples and dusky teals with the phthalos, and theres no better bright, knock your socks off green for me than phthalo green yellow shade mixed with a bright, cool yellow. And a touch of PG7 mixed with PG17 makes a gorgeous jade that I find indispensable for painting succulents!
Wow, love these colours, and your explanations, I often have used a limited palette of viridian, magenta and yellow ochre... But now going to check these pigments out!! Thanks so much Florent
As a watercolorist, every single one of these pigments is on my palette. And in watercolor, a couple of the mentioned pigments have an additional property of granulation, adding texture to our artwork. Great list of very lightfast pigments.
I've actually started setting aside brushes specifically to use with my phtalo paints because even the tiniest remnants of them would corrupt my colors sometimes and it frustrated the hell out of me 😅
I was expecting a handful of “convenience colors”. Glad that was not the case. I already found and love pyrrole red to use as a staple red. Phthalo blue green shade is my alternate to ultramarine and a little goes a long way for sure. I shy away from premix greens so far but the green does look fantastic for the dark water effects.
Great Video!
Actually PR254 has one advantage over Cadmium Red - it mixes cleaner (more chromatic) cool pinks (although it is warmer in mass tone).
Btw, in case you need to decide between the two Quinacridones:
The more violet version of PV19 is the most lighfast of all the Quinacridones. So although in tints it is slightly less chromatic and cooler than e.g. PR122 it is a great choice to fill that crucial spot on one's palette.
If I were to add anything to this selection it would be some of the quite chromatic earth reds (PR101/102 Venetian Reds, Mars Reds, Terra di Pozzuoli etc), which are affordable, completely lighfast and so convenient for portraiture.
PR254 is also known as Ferrari Red and had been used for many years to create their signature red.... beautiful color and can by opaque of transparent/semi-transparent...
@@hmichael228 Agreed, and it also has very good light and excellent weather fastness.
I love my Trans. Red Oxide. It's such a beautiful colour and mixes a nice black with Ult. Blue.
@@hmichael228 Also known as Pyrrole Red
I love your suggestions, I use all of these and find that Quinacrodone Rose makes the most vivid pinks ever when mixed with Titanium White, that and Cobalt Teal are staples for Florida colors which is what I do the most of. Cobalt Teal is great for many things.
Quinacrodone Rose / Magenta (PR122) and Cobalt Teal/Turquoise mix the brightest purples.... And Quinacrodone Rose / Magenta (PR122) with a Primary Yellow can also create beautiful clear oranges and reds. Truely magnificent primary colors as illustrated very nicely by Andrew Tischler in his COLOUR MIXING SOLUTIONS in oils - Create 3D Effects + What's on my Palette!
These are all some of my favorite pigment and colors to use wile painting
I'm sure it's gone over in a lot more detail in other videos, but a good way of thinking of colours (especially primaries when mixing) is considering the stongest secondary within the pigment.
Cobalt teal doesn't dull and darken greens because it is a green-leaning blue, where ultramarine leans toward violet. The violet in ultramarine mixes with the yellow to create a dark brown within the final green. Due to violet and yellow being complementary, it will always get quite dark as together they prevent a lot more light from bouncing back to our eye.
This is the same reason why ultra and burnt sienna (an orange-leaning brown) mix to create a deep (warm, but cooler if glazed with the blue the final layer) black. Experimenting with glazing will provide a more comprehensive understanding of retractive colour.
(writing this as much for myself as for anyone reading)
I'm allready using 3 from 5 😀
You are my favorite teacher, sow passione and love in your tutorials. Thank you ❤
Hey thanks so much for all the work you put into your videos! I personally adore cobalt turquoise! It mixes into the most astonishing colours that all seem to have some ethereal quality. I’ve never truly understood quinacridones, I have tried them, but meh. I do however like pthalos because of how vibrant a light blue or green you can achieve when mixing with whites so it makes for a great uniting colour in nocturne paintings. I love what you do! Keep it up!
That's a nice list of pigments, what kind of bright yellow would you add to that? if any
Many thanks Florent-great video! I love how you mixed with white to show how they tinted. Look forward to your course!
I've always preferred pyrole red for some reason. I feel like the opacity is stronger, and it has an underlying rose tint.
cadmium red in oils is definately more opaque than pyrole.
I want to thank you for your wonderful insights in your appearance in the documentary of "deciphering Da Vinci!!!
Well, we're on the same page... A few of my faves too! And yes the colors are coming through VERY TRUE on your improved format. One thing I'd recommend to painters is to do an ongoing pigmient study. I was fortunate to have had college post graduate work in chemistry, organic chemistry, and anatomy for med school. When I got hurt and had to return to my art, these things helped alot.
What I did was I took 3×5 cards and a clear recipe box, and made a section for PR, PO, PY, PG, PB, PV, PBr, PBk, PW etc...one card per pigment. I NEVER buy a paint without knowing the pigment. So many are either fugitive, interact adversly with each other (sulfides and coppers and leads etc), or are not what their name says....the only way to really get control is to learn them. Another thing I did was write down where I got each one (maybe Old Holland had a pure version of this pigment, and Rembrandt had a pure version of that). It is only in this way that you can only have to look at the materials icon once for each check.
PG50 is my favorite, but I was, naturally, pleased when the quinacridones and pyrroles came out, ending our fugutive alizarin crimson problem.
I also like some old pigments, and am not afraid of lead at all. Lead white and other toxic pigments are fine if handled well. I'm a bit geeky about pigments and archival materials and practices.
Two of the side points one learns looking up the pigments for each paint color are 1) try to find single pigment colors and 2) observe combinations even the finer oil paint producers use to either make or stabilize a color. You may find out that tube of paint you love so much is actually just a great pigment with another great pigment added in which you can mix on your own palette. This saves money and enables one to buy better, more pure, and longer lasting tubes.
www.artiscreation.com/Color_index_names.html#.XWQylZ8pAex
I hope this helps someone.
You're one of the only UA-cam artists I watch. You're doing a great job.
Simple Artist with a beautiful heart😏🙏🇳🇵.
I have not even started yet with oils, but in watercolour my favourite pigment is hands down PO48. I started painting when PO49 (Quinacrinone gold) had already been discontinued, but Daniel Smith does a beautiful Quin Gold with PO48+PY150. I LOVE it so much. It vanishes so quickly from my palette that I should buy it in bulk (because among other things PO48 is also going out of production).
Merci beaucoup, cela m'a vraiment aidé et j'ai peint la mer avec un bateau avec ces couleurs et c'est vraiment magnifique.❤🎉
Great video. I’ve added Naples yellow to my pallete and find it very useful for portraits. Am considering cobalt teal for landscapes. Have seen it used for sky’s with great effect.
You'll love it. Phthalo turquoise with white can also give the same shade (or a mixture of pg7 + pb15 + pw6). But cobalt teal is more buttery and opaque.
These are all on my permanent palette love them. I use thalo turquoise between them. It's an amazing green for portraits
I like Phalo green for mixing blacks because it's so powerful and I have found because it's so strong you can also just buy a student grade version of the paint.
This was a great idea for a video! It was really helpful that you showed the use of the colors in your paintings.
Great, I already use all of these colors!
I found that when i have thalo blue (green shade) on my palette, i wont need much pg 7. So i switched my pg7 for chromium oxide green.
I've been using Quinacridones in Watercolor and acrylic since I started painting. Most of the time I pair Cobalt Teal with Quinacridone violet, especially when I paint with watercolor. It mixes a very beautiful purple grey that is great to put shadows on white objects. Also Transparent Pyrrol Orange (PO71) is a very useful orange to have. I don't want to use a lot of the cadmiums because I got a cadmium allergy a few years ago and try to replace all of them with alternatives.
Hello Florent, you are a very good teacher and you did some outstanding jobs by creating your videos. There is a simple way to improve your work further: Do without music. Best regards
love to see u.and the way u explained so easy to understand really u a great artist.thanks alot
Had a tube of permanent carmine and never knew what it was. Until discover some months ago it was an essencial.
Well... not did anything with it till now.
One essencial i like is NR9.
For me, is so far the best red.
Besides the smell it has. Oh! The smell...!
Always interesting to compaire preferences of pigment - and brands because its such a joy to find the pigments that make your heart sing -
I would have loved to hear what brands you prefer
For flower painting, having PV19 is a must.
The quinacridones are very popular in watercolor since they’re so transparent and strong.
I’ve heard of people using cobalt teal to paint lichen on trees
Thank you for this information. You have added to my knowledge.
If I paint night a big storm with a pirate boat do you think we look nice to use quinacridone magenta,phthalo green blue shade with phthalo turquoise?
You can make a very similar turquoise with cerulean blue and viridian green
It was only alizarin when I started. Quindacrinone is all new to me- I had no idea, it's so similar to alizarin, that you can get these bright crimisons out of it!
Also do you have a video on what pigments or colors are colorfast and which ones are more likely to fade in the light or over time? I don't want to spend a ton on tubes of paint that some short enough time later has faded? And more 'archival' materials and techniques (grounds, formulas for those costly paints) to keep them from showing effects of time, light humidity (to prevent cracking, fading etc.)?
Thank you for your amazing videos. :)
Yes, these all are wonderful pigments! I would really like to use the Pyrrole Red (as I am convinced it would stay long term on my palette), but it's a little hard to get it here. Anyway, chrome yellow, or as I first came to know it, Ochre Yellow is irreplaceable. I cannot imagine painting portraits without it, of course I use cadmium yellow too, but the chroma and workability of this warm pigment is extraordinary! Although PV19 (I use in substitution of PR177 - Anthraquinone Red - or better known as Permanent Alizarin Crimson) is great too, and as the Viridian Hue in the Winton oil is same as the Phtahlao Green (PG7) - all are exceptional to tone the other down. I produce Teal usually by mixing Phthalo Blue with Phthalo Green, or Permanent Green (which also is a mixture with PG7) but I rarely need it, as even in cheep paints (with extenders - calcium carbonate) the Turquoise Blue is a massively potent color! Great colors, although in portraiture you really have to pay attention to tone them down and at all times never loose sight of tone as well!
Hallo Florent! I am a hairdresser and the videos of you help me a lot of in my daily work. If you have a possibility make one App in Google Play store with your colour wheel that we kan easily reach it if we are outside of home, because the poster I have at home. 💗
cobalt teal or turquoise (PG50 Cobalt Titanate Green Spinel ) Dull Olive green to bright mid green,
comes in Blue shade & Yellow shade versions.
Med. staining with average tinting strength... beautiful color and one of my favorites...
Is the identification of colors with PVxx some kind of standard identification of colors? Where can I find more information on it?
I normally work with watercolors but I've dipped my toes into oil these past few months. I was gifted a small color selection of oils from my grandmother-in-law, who is a professional painter, and it's been quite an experience working with what she would call a "normal" oil color selection; many of the pigments she gifted me are pigments I know of, but don't normally use in my main watercolor palette. I finally broke down and got a few tubes of colors that I am used to working with them in watercolor- most of which were the pigments you talked about in this video. It's been interesting trying them in a new medium, and how similar (and not) they can behave. I am enjoying myself even more now bringing some of these more common-to-me-colors into my oil work! I absolutely love pv19 and the magenta version glows just as much as it does in watercolor; it's lovely! Pg50 has also been wonderful to work with in oils, it has a home in both my oil and watercolor palettes now. I know phthalos are a very much you either love them or hate them (in the watercolor world at least) but I have enjoyed them in both mediums as well!
Genesis heat set paints do an assortment of amazing colors generally used for painting vinyl dolls as they have a setting agent they include all the colors you've mentioned but can also be used on any other knd of support, because I paint dolls too I have them all
How does pthalo green compare with veridian green? They look almost identical.
I absolutely love Quin Rose as a lightfast, and more versatile alternative, to Alizarin Crimson and Pyrrole Red as a non-toxic and cheaper version of Cadmium Red. I want to try Cobalt Teal or a Light Turquoise, but I had no idea how to manage it, so I currently use Cerulean Blue Hue as my lighter, green biased blue. Of course it isn't Cyan, but it mixes lovely sky blues and vibrant greens. I also have Phthalo Green, but I rarely ever use it due to not really knowing what to do with it. I will have to give some more consideration to Cobalt Teal and Phthalo Green.
The greatest masterpieces where once only pigments on a palette.
That's right, the simplest thing + hard work make wonders.
@@FlorentFargesarts Hard work is the key for sure
Interesting pigment choices. I'd use PY41 instead of PBr24, it's a nicer kind of Naples Yellow. Instead of PG-7, I prefer PG-18. Also PV55 looks much nicer in my eyes then PV19.
I agree on the PY41, but some people don't want that and around..
This was very useful. Thank you.
you're such a cute person. Been watching you for a couple of years, great videos
I love you 😘
Rembrandt Viridian? That specific brand is the genuine PG18, not PG7 or PG17. Very nice, but dries quickly (in fact, I sometimes use it in a mix as a pseudo-siccative).
Thank you so much for sharing your knowledge with us!! ♡
Quin. Magenta PR122 is more chromatic (and usefull imo) then the violet darker kind of PV19 (sometimes called Quin. Violet). The Red and saturated version of PV19 (sometimes called Quin. Rose) is great tho.
Really interesting tips! Thank you!
My favourite pigments are different: iron oxide red PR101 (indian, venetian, english red) and chromium oxide green PG17. Mixing them gives awesome earth tones and foliage greens for landscape painting.
wow, that was really nerd stuff, but i liked it! very good, thanks
I also love cobalt teal. I'm surprised cobalt teal is not considered one of the most basic pigments. It gives you a huge mixing range, because it contains both a lot of green and blue wavelengths. Moreover there is no way to get cyan tones nearly as intense and bright at the same time with any other pigments. On top of this, it's the perfect mixing complementary to red, because it's the visual complementary at the same time and when mixed with red, the mix hardly darkens and this nice middle gray is generated.
Ehhh...primary cyan?
this is the kind of stuff that excite me :D
What is the last piece of music in this video? I love it.
I put a like only for the title of the video. I'm intrugued by pigments.
I'm writing this while watching it.
I love quinadricone magenta it's a no-yellow red and cobalt teal is a cyan, you choose two real primary colors :)
Is chrome yellow lightfast? Isn't the one used by Van Gogh that turned black? A nice suggestion that I never used.
Pyrrole is the more saturated red that exists, I love it to use in some things like flowers or red lips.
Never used phtalo green, only the blue, not a great fun of it tbh but incredible powerful and tinting. I use sometimes cadmium oxide green as a opaque green pigment to kill the excessive orangeness of skin or doing shadows.
Two nice pigment quite rare are bizmuth yellow (you can find it in France as "lefranc yellow", it's quite rare) it's similar as cadmium lemon, it's incredible bright, a TON of tinting power like a "phtalo yellow" and really, really opaque.
The second one is perylene black (also this in the lefranc list of paint, lefranc is really underrated tbh), it's a really greenish black (when mixed with white) it's perfect to paint moonlight, really a rare situation but still.
cobalt yellow PY42 (Aureolin) turn brownish with time... very unpleasant color...
@@hmichael228 Yeah they say that you can use PY151 or PPY154 as lightfast substitute of aureolin but it's really hard to find them.
The turning black has to do with what other pigments touch it... Homework for you ☺️
Thank`s a lot for your information
Quinacridone magenta? Its IT like aluzarin craplac just not transparent? Im using aluzarin c
Thanks a lot! I will...
use all of the paints you named....however, I love Chinese red, there is something about it that my hand always reaches for. The colours also remind me of the colours found in a printer...think about it. those few colours make up an entire colour picture by pushing a button.:)
Honestly I think people sleep on unbleached titanium it works well for skin tones.
Hi, love the colours you had introduced. Would it be possible to mix these wonderful color from limited palette or is this something you would recommend to simply get from already mixed to use tube?
Also, could you demonstrate how to paint a vase of flowers, Dutch master style, just like the one in the museum, basically need your insight as to how to mix the color given that it is “all over the place” - thank you!
You can only mix the same shade as PBr24 with a limited palette. All other colors are way out of gamut, meaning they're too chromatic to be mixed from a limited palette. I'll probably do some still-life in the future, so maybe a vase like you suggested.
This is so useful.. thank you so much
Thanks for the great painting videos.
Naples Yellow is PY41, yo. PBr24 is Chrome Tin Yellow, and Chrome Yellow is PY34.
Hi! I'm starting to watch ur videos! Hugs frö Rio de Janeiro city!
André Vic
Great inspiration, thank you!
Lemon yellow is one you’ve missed. I think I’m saying it right but I could be wrong. It’s a beautiful color.
Great video! Thanks so much!
Excellent video! Thank you! 💜👍
I am trying to build a set of oil colors from Windsor Newton I accidentally got plain Naples yellow. I wanted to mix with vermillion, coming down the list alphabetically they only have Venetian red. Isn't this what they want me to use? They say to use single pigmented colors and vermilion is synthesized from mercury... highly toxic.
Genuine vermillion made with mercury isn't readily available anymore. In most cases, it will be a Hue that approximates the colour.
What are the best primaries?
What brand are these paints?
How about standard pigment I wanna see too
lovely video!!! thanks a lot
You are doing a very good job and a service to aspiring artists. Small detail, when talking in front of the camera, learn to control your hands. At the presente they are a bit of a distraction. Keep up the good work
He loves acting. He loves drama.
I think you made a little mistake Florent mentioning PBR24 (Chrome Antimony Titanate ) as chrome yellow as this term usually refers to Lead Chromate ( PY34 )
I like and use these 👍
Oh! I don’t know why but teal makes me shudder but I love turquoise
Interestingly, Quin Red/Rose/Violet (PV19) is used frequently in many brands’ version of a ‘primary’ red.
PV19 is a funny color because it can range from a semi-cool, mid-value prismatic red, all the way to a deep red-violet.
Dioxazine Purple/Violet (PV23) is definitely on par with the tinting strength of the Pthalo family - it’s pretty amazing! 😮
There’s three versions of pv19 , a pink , red and a purple version.
Yes, the names for pigments ARE very confused, and misleading... my mentor gave me a list of warm colors vs cool colors, and I was having a lot of trouble because the list was based on the type of paints he uses, and though many of the colors are ubiquitous with other brands, some do not translate to what they are called. I finally had to print out a color wheel that had split the color into warm vs cool, with no mention for pigment names, just color description, then make a value judgement on all of my branded tubes of paint!
Welcome to india
I struggled with finding these exact pigments so I had to go for the closest ones to it... :(
I loved the video!
The quality of this video is like colour porn!
I would like to try that yellow. it's so pretty.
hey, great video, but you should do some time stamps, for everybody who is not interested in some pigments. THANKS
Thanks, I just did.
Scientifically fascinating. Pigments available now would have been mind boggling 500 years ago. How does the brain compute new colours?
Homer described the sky as 'bronze' in colour; which is understandable when you consider that copper ores/oxides can be anywhere from 'green' to 'blue', but confusing for translators.
Certainly our colour names are a mess but so are the pigment numbers...your fave pb29 comes in 30+ variations...so which ultramarine is in your paint tube ?...pbr 7 and or 101_ there are too many colours listed under these two numbers. Paint manufacturers are no help and perhaps favour the confusion so people will buy more paint. Differences between brands is no indication of any surety about what you get when you bring home your new tube . Will the real cadmium yellow please stand up ? If there was a uniformity then it would be too easy to compare different brands of the SAME colour and pigment number. Jim Francis ( gun zorro ) in wet canvas forum has shown a lot of comparisons between colours and brands.cheers