I’m a huge fan of their coarse transparent earths, particularly stil de grain. A great base layer for underpainting or imprimatura since it adds a little tooth, or as a textural glaze, kind of like how some watercolors will have a neat granulation effect.
Thank you so much for the lightfastness update! Also, a specific video on their earth colors would be super helpful, too. The work you're doing on this channel is invaluable, thanks again!
Fantastic video! I love these earth tones, I use stil de grain and italian ocher lemon. Their grit is really lets you feel the earth :) also, they tint beautifully.
Thank you so very much for your video and amazing channel. I am currently using Winsor and Newton Cadmium Orange. How does Williamsburg differ in your opinion?
Hi, and thanks for your kind words. The Williamsburg Cadmium Orange is a little yellower in hue than W&N Artist Cadmium Orange and looks a bit brighter in lightness as well. The Williamsburg has a little bit different feel with the palette knife as well. Both are good tinters.
@@thepaintlist Thank you so much for your prompt reply, Melissa. Your answer was perfect because I am looking for something that is a true orange (as on the color wheel). Is there a brand that you love the most for that? I am not happy with the consistency of the W and N.
@@TimothyJohnLukeSmithPSA Ooh, that is a good question. It depends on whether red-oranges or yellow-oranges are what you're looking for. We found that the hues of the cadmium oranges sort themselves into clusters or groups-- some red orange ones and some yellow-orange ones. I actually love cadmium orange so much I paint with at least four of them. With the cadmiums I like a broad range of high chromas and a wide range of consistencies. (For example in the red-oranges, I use both Old Holland for a very stiff paint or Rublev for an almost liquid paint- they are similar red-oranges but they vary in their viscosity). Also I've read that our eyes are really sensitive to differences in those wavelengths, and I find myself very picky about getting the rainbow balanced through the progression of oranges (the progression from red to yellow has to have the right series of notes, which is hard to get, sort of like a musical arpeggio). Pictures are so imperfect on a screen but perhaps one can get a sense of some of the hue differences from this review on Cadmium Oranges: www.paintlist.com/review/6.
@@thepaintlist Thank you so much for sharing your experience and expertise with me. I am going to read that wonderful article you sent me! I am a portrait painter and Cadmium Orange is an important color on my palette. I am so happy you created this channel and I share your videos on my Facebook page (4.8K Followers). What you are doing is so important.
Thank you this great video!!! So worth the watch!!! A question about Cadmiums. They are banned in most of the courses available in Sweden due to toxicity. Is there something that the Cadmium part brings to the table, so to speak, to warrant its use despite it being toxic? The same with the lead white variants available. I mostly used pigments that mimic the hue but without it being a Cadmium. What am I missing by not using a real Cadmium, if anything?
Thanks for the kind words! Glad you enjoyed the video! So, yes, there is quite a bit that cadmiums bring and it does seem wise to use them carefully. Personally I tend to think in terms of specific colors/various cadmium pigments (PR108, PO20, and PY35) rather than grouping cadmiums as a whole. As far as their necessity, it is a subjective question that will depend on each individual painter's painting practice. In brief, it comes down to lightfastness and opacity in those areas of the color wheel. In terms of individual colors, there are some areas where Pyrrole reds (PR254, PR255) can do an ok job of imitating a cadmium red (PR108), but there is a loss of opacity with the Pyrroles. The two pigments (PR108 and PR254) have slightly different mixing behaviors as well. However, it has been extremely difficult to find replacements for Cadmium Orange (PO20)- the high chroma, its mixing behavior, its lightfastness and its opacity are stellar. Cadmium yellows (various PY35s) are valued for opacity, lightfastness, mixing, and high chroma. Several accomplished painters have identified the need for cadmiums in order to reach the highest chroma areas of the gamut in oil paint. As for lead white, that is a bit different. We are not toxicologists so please consult some other sources, but it seems to us that there are different levels of toxicity, and lead white is more serious. However it can form a stronger paint film that can last- George O'Hanlon of Natural Pigments has a lot of resources on this (as well as on cadmiums). Lead white is a more transparent white than Titanium, and it is also warmer. Lead doesn't tend to "spin" the hue of a mix as strongly as Titanium does. Basically none of the white pigments on the market are ideal and all have their benefits and drawbacks.
Thanks, this comment made me curious-- and so I got mine out to try with smoothness in mind. I can be a little less sensitive to grit (for example, I like the French and Italian earths for different things). So, I would say they do have a gritty grey-- the French Ardoise Gray, which has grit to it, but the N8, N6, N4, N2 set struck me as pretty smooth. So that is fascinating to hear they were grittier than what you would use. Also I noticed these grays aren't on Williamsburg's chart of textures, so I would be curious how they classify them as well. Though they feel much smoother than the French and Italian earths-- that we can say! :D I would be interested to hear your recommendations for your favorite smooth earth tones because we do have people asking for the least gritty earths from time to time. Thank you for the comment!
Be sure to check out our article over on Paint List for more resources: www.paintlist.com/review/18. Have you tried Williamsburg?
I’m a huge fan of their coarse transparent earths, particularly stil de grain. A great base layer for underpainting or imprimatura since it adds a little tooth, or as a textural glaze, kind of like how some watercolors will have a neat granulation effect.
I immediately knew paint list was created by a woman the first time I stumbled across the website. You go girl ✨👏🏽👏🏽👏🏽👏🏽👏🏽
Great video. Love the people at golden and the williamsburg oils.❤
Would love to see a breakdown of those medium and coarse colors. I have a couple of them and they're so much fun to paint with.
Thank you so much for the lightfastness update! Also, a specific video on their earth colors would be super helpful, too. The work you're doing on this channel is invaluable, thanks again!
Brilliant content, really enjoying these!! Well done 👏🏻
Thank you so much!
Loved this, keep them coming !
Fantastic video! I love these earth tones, I use stil de grain and italian ocher lemon. Their grit is really lets you feel the earth :) also, they tint beautifully.
Great video !
Thank you so very much for your video and amazing channel. I am currently using Winsor and Newton Cadmium Orange. How does Williamsburg differ in your opinion?
Hi, and thanks for your kind words. The Williamsburg Cadmium Orange is a little yellower in hue than W&N Artist Cadmium Orange and looks a bit brighter in lightness as well. The Williamsburg has a little bit different feel with the palette knife as well. Both are good tinters.
@@thepaintlist Thank you so much for your prompt reply, Melissa. Your answer was perfect because I am looking for something that is a true orange (as on the color wheel). Is there a brand that you love the most for that? I am not happy with the consistency of the W and N.
@@TimothyJohnLukeSmithPSA Ooh, that is a good question. It depends on whether red-oranges or yellow-oranges are what you're looking for. We found that the hues of the cadmium oranges sort themselves into clusters or groups-- some red orange ones and some yellow-orange ones. I actually love cadmium orange so much I paint with at least four of them. With the cadmiums I like a broad range of high chromas and a wide range of consistencies. (For example in the red-oranges, I use both Old Holland for a very stiff paint or Rublev for an almost liquid paint- they are similar red-oranges but they vary in their viscosity). Also I've read that our eyes are really sensitive to differences in those wavelengths, and I find myself very picky about getting the rainbow balanced through the progression of oranges (the progression from red to yellow has to have the right series of notes, which is hard to get, sort of like a musical arpeggio). Pictures are so imperfect on a screen but perhaps one can get a sense of some of the hue differences from this review on Cadmium Oranges: www.paintlist.com/review/6.
@@thepaintlist Thank you so much for sharing your experience and expertise with me. I am going to read that wonderful article you sent me! I am a portrait painter and Cadmium Orange is an important color on my palette. I am so happy you created this channel and I share your videos on my Facebook page (4.8K Followers). What you are doing is so important.
Thank you this great video!!! So worth the watch!!!
A question about Cadmiums. They are banned in most of the courses available in Sweden due to toxicity. Is there something that the Cadmium part brings to the table, so to speak, to warrant its use despite it being toxic? The same with the lead white variants available.
I mostly used pigments that mimic the hue but without it being a Cadmium. What am I missing by not using a real Cadmium, if anything?
Thanks for the kind words! Glad you enjoyed the video!
So, yes, there is quite a bit that cadmiums bring and it does seem wise to use them carefully. Personally I tend to think in terms of specific colors/various cadmium pigments (PR108, PO20, and PY35) rather than grouping cadmiums as a whole. As far as their necessity, it is a subjective question that will depend on each individual painter's painting practice. In brief, it comes down to lightfastness and opacity in those areas of the color wheel. In terms of individual colors, there are some areas where Pyrrole reds (PR254, PR255) can do an ok job of imitating a cadmium red (PR108), but there is a loss of opacity with the Pyrroles. The two pigments (PR108 and PR254) have slightly different mixing behaviors as well.
However, it has been extremely difficult to find replacements for Cadmium Orange (PO20)- the high chroma, its mixing behavior, its lightfastness and its opacity are stellar. Cadmium yellows (various PY35s) are valued for opacity, lightfastness, mixing, and high chroma. Several accomplished painters have identified the need for cadmiums in order to reach the highest chroma areas of the gamut in oil paint.
As for lead white, that is a bit different. We are not toxicologists so please consult some other sources, but it seems to us that there are different levels of toxicity, and lead white is more serious. However it can form a stronger paint film that can last- George O'Hanlon of Natural Pigments has a lot of resources on this (as well as on cadmiums). Lead white is a more transparent white than Titanium, and it is also warmer. Lead doesn't tend to "spin" the hue of a mix as strongly as Titanium does. Basically none of the white pigments on the market are ideal and all have their benefits and drawbacks.
i used the neutral grey set once....hated the grittiness ....now they sit in the closet.
Thanks, this comment made me curious-- and so I got mine out to try with smoothness in mind. I can be a little less sensitive to grit (for example, I like the French and Italian earths for different things). So, I would say they do have a gritty grey-- the French Ardoise Gray, which has grit to it, but the N8, N6, N4, N2 set struck me as pretty smooth. So that is fascinating to hear they were grittier than what you would use. Also I noticed these grays aren't on Williamsburg's chart of textures, so I would be curious how they classify them as well. Though they feel much smoother than the French and Italian earths-- that we can say! :D I would be interested to hear your recommendations for your favorite smooth earth tones because we do have people asking for the least gritty earths from time to time. Thank you for the comment!