I use DS Burnt Sienna in my travel palettes, I just love the pink rosiness I get for urban sketching. DS Trans Red Oxide is beautiful, makes darker grays than DS BS and flows more and I used it for awhile in my travel palettes, but went back to Burnt Sienna because it bullied DS Ultramarine and was harder to make even greys. But I still have it on my studio palette and love it in landscapes. I'm currently out of Burnt Umber and think I'll try the DS Trans Brown Oxide next because of the wonderful granulation. Thanks so much for making these videos, it's so helpful to learn about the options we have!
i can definitely see how DS trans red oxide could bully ultramarine, it tends to bully my other colours as well. you’re very welcome! im glad the video was useful! 😆🥳🥰
I hadn't thought of calling Trans Red Oxide a bully - but yes, that's a good description. It's dramatic and exciting - and the trade off is subtle mixing. Thanks, Paint In Hiding, for the thoughtful video.
As a child I used to play with the clay in the ground, where Iron is rich in the soil. from a hill. That rich red clay was real natural clay. The layers showed yellow, red, and greens in the cut of a hill. I made pots with it & dried them in the sun. When I got my 1st set of oils at 15 back in 1970, I saw the Burnt Sienna was exactly the color of that clay. It made sense since its real Red Iron Oxide that makes the hue. That is PBR7. The Yellow Ochre is PY43 and the same color of the yellow clay. PY43 is the real Natural yellow Iron Oxide. The other natural iron oxide is PR102. The synthetic iron oxides PY42 & PR101 were created to replace the natural iron oxides that can be more transparent. Although many PR101's are very opaque. A few natural iron oxides can be more transparent like PR102. Have you ever seen a piece of iron rusting? That is your Real Burnt Sienna color. They can heat iron oxides to get that burnt rust color and that's usually how they get it. I'm still teaching watercolor for it became my favorite medium.
ohh thank you so much for the in depth info. that is really cool that synthetic versions are made to mimic nature. oh that's very fascinating! how long have you been teaching watercolour? btw, thank you for watching and commenting, i really appreciate it 🥰
@@PaintinHiding I'm still teaching watercolor privately one on one but started around 2014. I've drawn all my life and started oils at 15. So long ago. The well known Artist Susan Harrison-Tustain from New Zealand taught me watercolor and told me I was ready to teach so I started teaching, Other than her I'm self taught. Susan has some older video's on TH-cam showing her work. I've read a lot of watercolor books and watched DVD's but I love Susan's work the most. I saw her get $7000.00 for a small 9X12 unframed unfinished painting! But she is pretty famous and very excellent. She gets a lot for her paintings, both oils and watercolor.
@@Renilou2 that’s amazing! you have such a rich background. it’s an honour to be able to speak to you like this! ❤️ and im grateful for experts like yourself that roam youtube videos and give us lots of information. 🥰
Such an interesting video. I knew I wanted these oxides on my palette some time ago and actually bought the raw oxides from Kremer to mull myself along with Prussian blue, which 8 later discovered is quite hard to mull and can change colour too. But the oxides as powders look lovely only I am advised now not to mull at all for health reasons. So they have remained packed away safely for nearly three years, and I still want them on my palette, but not the DS ones as I just cannot justify them even though I really love the way they look. May have to look at Roman Szmal instead and hope they are beautiful too with those lovely dark times. I plan on using them with a little lunar black anyway…. I really appreciated your comparison, and knowing how the two sets compare to each other. The transparent oxides are just beautiful.
thanks for the video ^_^ the transparent colors have insane granulation, they are absolutely gorgeous 😍 Definitely on my list when I'll need to replace an earth color. They also make a great limited palette, I often use something similar for vintage illustration style with brown ink ^_^
yes! im so glad the granulation is coming through thr screen. i wasn’t sure if it would be apparent enough. ohhh i’ve never thought about using brown ink! do u have any you’d recommend? 🥰
@@PaintinHidingIt is visible, I loved the result ^_^ About inks, acrylic ink or india ink works well if you want it to dry waterproof so you can go over it with watercolor. My current favorite is Liquitex acrylic ink In transparent burnt sienna, I use a looot of it 😅. Indian Ink works just as well. If you prefer it in pen form there are many options. I have used copic multiliner, pigma micron, pitt, uni pin..all are fine really. I used to use pens for convenience but these days I prefer dip pens. Brown ink and transparent earth watercolor triad is a favorite style of mine
@@PaintinHiding you are very welcome, I am new to it as well ^_^ I was skeptical about using it because I didn't want it to look glossy like acrylic but it doesn't interfere with watercolor at all so far
oooh! i don't have any of those and am absolutely in love now! i would happily replace my current earthy reds with transparent red oxide. and while i'm not much of a yellow person that is stunning also. i'm putting all three on my future wish list, thanks for doing this video! oh next question: do the roman szmal versions compare well or is DS the way to go?? i think you maybe already did a video, i'll go dig around :) ETA: yeah, nope on the RS - it's gotta be DS for the win!
hehe im glad you’ve discovered new colours you may potentially like 😁 i think i’ve only done RS vs DS comparison for the yellow and i’d say Daniel smith is the way to go. and the red and brown i dont have from roman szmal sadly. 😅
The “weird granulation” you refer to is actually “flocculation”. It is a slightly different characteristic than granulation. Within the “Oxide” family it is very evident, and usually goes hand in hand with granulation.
thank you so much for confirming it’s flocculation! it’s been so difficult for me to distinguish between the two but i’m slowly learning so thank you so much for taking the time to comment 🥰
D Smith now makes a light raw sienna, very comparable to W&N's, which I like. So now you can get that light, earthy golden tone and not have it turn to rock in your palette.
Dear Paint in hiding, I am wondering if your raw sienna Pbr7 would work mix with a cobalt or light cobalt for a sky? So that the mix is grey rather than green? I have heard that this pigment is a warm colour to mix for the warmth in clouds to give them a glow. The Pbr7's that I have, still make a greeny grey as they are a bit too yellow. I have tried a lot of versions, including burnt siennas that are weakened to tea consistency. Am I looking for a unicorn? Thanks for your comparison. In kindred spirit, Eliza Dulwich Hill, Sydney Australia xx Sat 9th of April, 2022 ;11:53am bed office, getting up now to write my novel for Camp Nano Have a wonderful, safer, happier, healthier, productive and calm day !
hi eliza, im assuming you meant cobalt blue PB28 right? let me try some mixes later and i’ll let u know. as for burnt sienna, which ones have you tried? usually earth colours are more thirsty than other colours so it’s good to prewet your earth colours first. let them soak for 5-10min and they should give you a more pigmented colour instead of diluted tea.
@@PaintinHiding Yes, Paint in Hiding Pb28 (with or without PW6.) I think I tried every Pbr7 in White nights, Da Vinci and two Daniel Smiths that I own. I can't recall what the names are, as I put the tubes away without labelling my tests... I like the very light end of any Pbr7. (tea ) It isn't a matter of rewetting them, I just like them really diluted and light for cloud glow. I prefer the least amount of granulation. I know cobalts granulate, but I have found one that doesn't so much, and it is a handmade one with some white in it. I think I only tested 4 artist ones in total. I haven't yet tried my handmade purchases, I suppose I could buy a dot card from Daniel Smith...here in Australia they are about 13 dollars AUD for the 66 colours... which to us is about the price of a small tube of Daniel Smith. So, I have value for money from small quarter pans off Hazel, "Watercolor hoarder" in Singapore, off Etsy, as it is the most economical. Every time I go to buy a dot card, I think that is a tube instead! It would make a great video, as it is quite tricky! Thanks for your time, work and videos.
@@michemman I just posted a pic to my Community tab. Short answer to your question is, yes, i would have to say the raw sienna still creates green greys. I’m so sorry that wasn’t the answer you wanted to hear. 😅😭 I tried french ochre from RS as well as that one is somewhat of an orange raw sienna but it still made green greys.
Hmmm, I wonder if the weird texture of the puddles at the bottom is what we would call "flocculation" rather than granulating? Nobody seems to know the difference between those two words, even Handprint LOL. I'm surprised I like the Raw Sienna hue much better than the Transparent Yellow Oxide.
@@alisonb3850 that's very interesting! Alison, would you happen to have some clear examples to show us for visual reference? it'd be great to finally see the difference between these two words.
Flocculation is clumping, granulation is visible particles. If it clumps together and doesn’t go on evenly, it’s flocculation. I would send you a link to something that I did online that shows flocculation, but I can’t. Flocculation also seems like it moves with water, it’s not only visible but it is usually riding with water and clumping. Most granulating pigments I have do not ride with water. They’re not staining, but they just go on. Wait, you can find that kinda with watercolor genuine smalt (cobalt blue glass) or some hematite watercolors. They’ll granulate but sometimes they pick up and move with water and clump together. EDIT: Yes, it is.
@@keepyourshoesathedoor Thanks! Do the Daniel Smith hematites do that? I keep looking at real smalt from Prodigal Sons but haven't ordered it yet. When you say granulating pigments don't ride with water - you mean float on top and bleed far, fireworks? Because I find I always get better granulation when I intentionally let pigment move over wet paper. Do you have a blog? Just curious where you posted your flocculation example.
i’ve been lagging on my replies as well actually. my vids go up at midnight my time and i used to be able to stay up and reply a little. nowadays i fall asleep before the comments roll in 🤣
Yay you did the comparison of all three! Thank you!!!!
you’re welcome 🥰
I use DS Burnt Sienna in my travel palettes, I just love the pink rosiness I get for urban sketching. DS Trans Red Oxide is beautiful, makes darker grays than DS BS and flows more and I used it for awhile in my travel palettes, but went back to Burnt Sienna because it bullied DS Ultramarine and was harder to make even greys. But I still have it on my studio palette and love it in landscapes. I'm currently out of Burnt Umber and think I'll try the DS Trans Brown Oxide next because of the wonderful granulation. Thanks so much for making these videos, it's so helpful to learn about the options we have!
i can definitely see how DS trans red oxide could bully ultramarine, it tends to bully my other colours as well. you’re very welcome! im glad the video was useful! 😆🥳🥰
I love how you write. It’s amusing and fun to read. Do you blog?
I hadn't thought of calling Trans Red Oxide a bully - but yes, that's a good description. It's dramatic and exciting - and the trade off is subtle mixing. Thanks, Paint In Hiding, for the thoughtful video.
It’s so nice to see your channel grow! ❤️
thank you so much April! 😆🥰 growing slowly but steadily. 😁🥰
so helpful! Thank you 😊💖that brown oxide is gorgeous!!!
you’re welcome :) im glad u found it useful. thank you for watching and commenting! 😆🥰
As a child I used to play with the clay in the ground, where Iron is rich in the soil. from a hill. That rich red clay was real natural clay. The layers showed yellow, red, and greens in the cut of a hill. I made pots with it & dried them in the sun. When I got my 1st set of oils at 15 back in 1970, I saw the Burnt Sienna was exactly the color of that clay. It made sense since its real Red Iron Oxide that makes the hue. That is PBR7. The Yellow Ochre is PY43 and the same color of the yellow clay. PY43 is the real Natural yellow Iron Oxide. The other natural iron oxide is PR102. The synthetic iron oxides PY42 & PR101 were created to replace the natural iron oxides that can be more transparent. Although many PR101's are very opaque. A few natural iron oxides can be more transparent like PR102. Have you ever seen a piece of iron rusting? That is your Real Burnt Sienna color. They can heat iron oxides to get that burnt rust color and that's usually how they get it. I'm still teaching watercolor for it became my favorite medium.
ohh thank you so much for the in depth info. that is really cool that synthetic versions are made to mimic nature. oh that's very fascinating! how long have you been teaching watercolour? btw, thank you for watching and commenting, i really appreciate it 🥰
@@PaintinHiding I'm still teaching watercolor privately one on one but started around 2014. I've drawn all my life and started oils at 15. So long ago. The well known Artist Susan Harrison-Tustain from New Zealand taught me watercolor and told me I was ready to teach so I started teaching, Other than her I'm self taught. Susan has some older video's on TH-cam showing her work. I've read a lot of watercolor books and watched DVD's but I love Susan's work the most. I saw her get $7000.00 for a small 9X12 unframed unfinished painting! But she is pretty famous and very excellent. She gets a lot for her paintings, both oils and watercolor.
@@Renilou2 that’s amazing! you have such a rich background. it’s an honour to be able to speak to you like this! ❤️ and im grateful for experts like yourself that roam youtube videos and give us lots of information. 🥰
@@PaintinHiding Awe you are welcome, you are doing amazing work! Keep it up!
@@Renilou2 thank you Renee 🥰❤️
This is exactly the comparison that I was seeking, thank you.
my pleasure :) thank you for taking the time to comment ❤️
Such an interesting video. I knew I wanted these oxides on my palette some time ago and actually bought the raw oxides from Kremer to mull myself along with Prussian blue, which 8 later discovered is quite hard to mull and can change colour too. But the oxides as powders look lovely only I am advised now not to mull at all for health reasons. So they have remained packed away safely for nearly three years, and I still want them on my palette, but not the DS ones as I just cannot justify them even though I really love the way they look. May have to look at Roman Szmal instead and hope they are beautiful too with those lovely dark times. I plan on using them with a little lunar black anyway…. I really appreciated your comparison, and knowing how the two sets compare to each other. The transparent oxides are just beautiful.
thank you Lindy 🥰 wait what?! are they dangerous to mull? i didnt even know that! 😱
Put on proper PPE. A N95 could protect you enough and wear some gloves. You should still try it. Goggles too. Pretend you’re in a lab.👍
Thank you. Great comparison of the colors I have question about.
thanks for the video ^_^ the transparent colors have insane granulation, they are absolutely gorgeous 😍 Definitely on my list when I'll need to replace an earth color. They also make a great limited palette, I often use something similar for vintage illustration style with brown ink ^_^
yes! im so glad the granulation is coming through thr screen. i wasn’t sure if it would be apparent enough. ohhh i’ve never thought about using brown ink! do u have any you’d recommend? 🥰
@@PaintinHidingIt is visible, I loved the result ^_^ About inks, acrylic ink or india ink works well if you want it to dry waterproof so you can go over it with watercolor. My current favorite is Liquitex acrylic ink In transparent burnt sienna, I use a looot of it 😅. Indian Ink works just as well. If you prefer it in pen form there are many options. I have used copic multiliner, pigma micron, pitt, uni pin..all are fine really. I used to use pens for convenience but these days I prefer dip pens. Brown ink and transparent earth watercolor triad is a favorite style of mine
@@magentaindigoart oooooh so many options! i’ve never thought of acrylic ink before. i’ll need to look into that, thank you so much! 😆🥰
@@PaintinHiding you are very welcome, I am new to it as well ^_^ I was skeptical about using it because I didn't want it to look glossy like acrylic but it doesn't interfere with watercolor at all so far
@@magentaindigoart i’ll definitely need to try it out with watercolour. thank you! 🥰
Thank you for doing this video! I am setting up a couple of new palettes including one with earth tones. This information will be super helpful.
glad u found it helpful :)
oooh! i don't have any of those and am absolutely in love now! i would happily replace my current earthy reds with transparent red oxide. and while i'm not much of a yellow person that is stunning also. i'm putting all three on my future wish list, thanks for doing this video! oh next question: do the roman szmal versions compare well or is DS the way to go?? i think you maybe already did a video, i'll go dig around :) ETA: yeah, nope on the RS - it's gotta be DS for the win!
hehe im glad you’ve discovered new colours you may potentially like 😁 i think i’ve only done RS vs DS comparison for the yellow and i’d say Daniel smith is the way to go. and the red and brown i dont have from roman szmal sadly. 😅
The “weird granulation” you refer to is actually “flocculation”. It is a slightly different characteristic than granulation. Within the “Oxide” family it is very evident, and usually goes hand in hand with granulation.
thank you so much for confirming it’s flocculation! it’s been so difficult for me to distinguish between the two but i’m slowly learning so thank you so much for taking the time to comment 🥰
*more beautiful colors to add to my kit*
One color you might want to try for a very transparent cooler brown is Sennelier’s Transparent Brown. It’s on every palette I use.
if ur looking st earth tones, i also have a vid on the enviro friendly trio
they all look beautiful! I need to stop buying earth colors XD
haha~ sorry for enabling ;P btw, do you have any fave earth colours to recommend? i'm not looking for anything in particular, just interested :)
@@PaintinHiding I would say it'd be DS Indian Red or Lunar Red Rock. I just love that hue and granulation!
@@dannychen1064 ahh the more violet-y granulating earths. 😆
D Smith now makes a light raw sienna, very comparable to W&N's, which I like. So now you can get that light, earthy golden tone and not have it turn to rock in your palette.
oohh! thank you steve! i’ll need to check that out! 😆
Dear Paint in hiding,
I am wondering if your raw sienna Pbr7 would work mix with a cobalt or light cobalt for a sky?
So that the mix is grey rather than green?
I have heard that this pigment is a warm colour to mix for the warmth in clouds to give them a glow.
The Pbr7's that I have, still make a greeny grey as they are a bit too yellow. I have tried a lot of versions, including burnt siennas that are weakened to tea consistency. Am I looking for a unicorn?
Thanks for your comparison.
In kindred spirit,
Eliza
Dulwich Hill, Sydney Australia
xx
Sat 9th of April, 2022 ;11:53am
bed office,
getting up now to write my novel for Camp Nano
Have a wonderful, safer, happier, healthier, productive and calm day !
hi eliza, im assuming you meant cobalt blue PB28 right? let me try some mixes later and i’ll let u know. as for burnt sienna, which ones have you tried? usually earth colours are more thirsty than other colours so it’s good to prewet your earth colours first. let them soak for 5-10min and they should give you a more pigmented colour instead of diluted tea.
@@PaintinHiding Yes, Paint in Hiding
Pb28 (with or without PW6.)
I think I tried every Pbr7 in White nights, Da Vinci and two Daniel Smiths that I own.
I can't recall what the names are, as I put the tubes away without labelling my tests...
I like the very light end of any Pbr7. (tea )
It isn't a matter of rewetting them, I just like them really diluted and light for cloud glow.
I prefer the least amount of granulation.
I know cobalts granulate, but I have found one that doesn't so much, and it is a handmade one with some white in it.
I think I only tested 4 artist ones in total. I haven't yet tried my handmade purchases,
I suppose I could buy a dot card from Daniel Smith...here in Australia they are about 13 dollars AUD for the 66 colours... which to us is about the price of a small tube of Daniel Smith. So, I have value for money from small quarter pans off Hazel, "Watercolor hoarder" in Singapore, off Etsy, as it is the most economical. Every time I go to buy a dot card, I think that is a tube instead!
It would make a great video, as it is quite tricky!
Thanks for your time, work and videos.
@@michemman I just posted a pic to my Community tab. Short answer to your question is, yes, i would have to say the raw sienna still creates green greys. I’m so sorry that wasn’t the answer you wanted to hear. 😅😭 I tried french ochre from RS as well as that one is somewhat of an orange raw sienna but it still made green greys.
@@PaintinHiding Yeah tricky, right? Have fun and thanks for testing it for me. I appreciate it. :)
Eliza...
xx
@@michemman if i come across a mix that creates neutralised greys, i’ll be sure to let you know. happy painting! 🥰
Hmmm, I wonder if the weird texture of the puddles at the bottom is what we would call "flocculation" rather than granulating? Nobody seems to know the difference between those two words, even Handprint LOL. I'm surprised I like the Raw Sienna hue much better than the Transparent Yellow Oxide.
hahaha~ if handprint doesn’t know the difference, then i doubt anyone would. LOL!! 🤣🤣🤣🤣
@@alisonb3850 that's very interesting! Alison, would you happen to have some clear examples to show us for visual reference? it'd be great to finally see the difference between these two words.
Flocculation is clumping, granulation is visible particles. If it clumps together and doesn’t go on evenly, it’s flocculation. I would send you a link to something that I did online that shows flocculation, but I can’t.
Flocculation also seems like it moves with water, it’s not only visible but it is usually riding with water and clumping. Most granulating pigments I have do not ride with water. They’re not staining, but they just go on.
Wait, you can find that kinda with watercolor genuine smalt (cobalt blue glass) or some hematite watercolors. They’ll granulate but sometimes they pick up and move with water and clump together.
EDIT: Yes, it is.
@@keepyourshoesathedoor Thanks! Do the Daniel Smith hematites do that? I keep looking at real smalt from Prodigal Sons but haven't ordered it yet.
When you say granulating pigments don't ride with water - you mean float on top and bleed far, fireworks? Because I find I always get better granulation when I intentionally let pigment move over wet paper.
Do you have a blog? Just curious where you posted your flocculation example.
Preciosas ❤
thank you!
Not first to comment. I’m really lagging behind in my commenting duties 😂😂
i’ve been lagging on my replies as well actually. my vids go up at midnight my time and i used to be able to stay up and reply a little. nowadays i fall asleep before the comments roll in 🤣
@@PaintinHiding midnight! Wow!
@@PaintinHiding That’s odd, I usually fall asleep right after I wake up in the morning.
@@awatercolourist i sometimes do that too~ hence the many alarms on my phone 🤣
@@PaintinHiding I just put mine on snooze every time I wake up.