PR101 pigment comparison
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- เผยแพร่เมื่อ 5 ต.ค. 2024
- These PR101 colours are all from Daniel Smith Watercolor. See the scans at www.parkablogs...
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You are a good teacher. Not only do you draw well, but you also speak very well.
I love when you swatch colors. It teaches a lot. Bc I don’t have those colors but maybe one day I will because of these videos
I adoreeee the opaque PR101 grays, particularly the darker Indian red like colors with a cerulean or indanthrone. They separate so beautifully for really interesting washes 😍 I can understand how they may not be preferable when using them over ink drawings like you do, but they have totally stolen my heart in the last year or two.
This was great. Needed to know the difference between transparent red oxide and brown oxide got the info I needed and more! Thanks for posting
I don't think the reason there are so many variations in PR 101 is just down to the way they are heated up, I think it is due to impurities in the oxides from which they are manufactured and the source from which they come. Iron oxides are very commonly occurring and naturally have great variation in colour, in a way they are older kinds of pigments, even cave painters knew they came in different colour variants! You can see how they chose different colours. Modern pigments are almost wholly manufactured to achieve specific colours they are synthetic in nature, but oxides are treated rather than being chemically compounded. That is why some of them are very opaque, something not valued in watercolour painting. So the variants that are less transparent are desirable but also more difficult to mix with binders to get a nice paint, so they have some very different painting qualities. That can be true when the binder is oil too, use the wrong technique with them or mix them wrong and large portions of your painting can dry with very flat opaque areas and it can take a lot to make the surface of the painting seem even and have the same kind of luminosity or reflective quality. Basically oxides tend to be quite flat when dry, though I think they do great in skin tones, landscapes and animal subjects. But not in any large areas of wash or background. They can also be good for architectural subjects. A lot less helpful for anything colourful or light or floral. For these reasons, they are often harder to use and less loved, especially the more opaque ones, they are to reds what chromium oxides are to greens. You either love them or hate them, and often people really find it difficult to find a use for them. However they ARE very useful for some artist and can be mixed for instance with transparent whites to make the palest and most delicate of subtle reddish toned pastel like tones.
Hi, I like this comparison very much. I have both Lunar Red Rock, and Transparent brown oxide. Whilst lunar red rock is quite opaque, it will fade out to a beautiful pale slightly pinkish red that is quite beautiful. Think sunset, sunrise and even washed out in portraiture for skin tones.TBO is just a staple for my transparent palette. Thanks Teoh!. Claudia
Comparisons are always so helpful. Thank you!
I love using my Transparent Red Oxide after watching this video and purchasing it a couple years ago. Thanks!!
Thanks Teoh, for sharing all the types of 101! It's really interesting how many varieties can be made with one pigment. Transparent Red Oxide is a beautiful color, I love how your mix with Ultramarine blue looks like a fiery sunset. I don't use TRO much with UMB because it does try to take over, I prefer DS Burnt Sienna, but TRO is a great paint, it really moves in water. I love reading all the comments from viewers about how they use their paints, it's always a helpful discussion.
Strange that some pigents like this and certain Quinacridones don't get colons on their variant forms unlike Phthalo.
Though PR101 makes a splendid brick red/mahogany color.
Update: Ooh, that Transparent Red Oxide and Transparent Brown Oxide!
Yes, as you probably noted, pigments made from aluminum silicate carrying some combination of iron-mangan-nickel-chrome-oxides, get the PR101:1 label.
Thank you for explaining how one color number could have so many variations. I never understood that, and have never before heard anyone describe how temperature affects the final color. I learn so much from you!
Nice comparison. What a versatile pigment. 👍
That explains why painting looks so difficult at times... There are so many variations in reactions from one color paint to another. That is interesting to know.
I have a huge tube of WN Burnt Sienna (Pr101) but I was interested in Ds transparant red oxide because i saw other youtubers loving it. Good to know that my WN version is so similar. In my palette I use a full pan filled both with WN Burnt Sienna and a Van Gogh Burnt Sienna (PBr7), I just couldn't choose between the 2 i love them both. ^_^
My Lunar Red Rock granulates differently. I has more of the lunar like granulation pattern.
Agree, I think the Lunar Red Rock and Indian Red are very different in how they look and perform as least for me. Indian Red paints out darker and is finer, and Lunar Red Rock has very intense granulation and seems more like a red clay color. You can't always see the difference in swatches.
Helpful information Teoh , thank you for this study . My favorite red / blue mix is Ultra Marine with Scarlet Lake , it makes a lovely barn red 🙋🏻♀️ .
My Italian Venetian Red is also mainly a binder. This is a huge problem of many DS tubes.
It’s something weird to say but I love how you put color on paper 😅
Awesome comparison, thanks! 😊
I used to use PR101 version of burnt sieanna, but now I have move on to PBr7 version of burnt umber... however I have decided to move away from brown altogether, so once I finish up my burnt umber, I'm switching over to pyrrole orange r.s (PO73). however if I decide to go back to earth tone, I'm getting the PR101 version of burnt umber aka transparent brown oxide.
My favorite was Transparent red oxide
As I'm sure you realize, at some level? these paints are not made with "the same pigment", exactly. I don't know how many PR101 pigments there are, but it wouldn't surprise me if it's thousands. We often treat the Color Index Generic Name, like PR101, as if it was "a pigment". That is only true if a class of pigments have only one manufacturer and they are only making one pigment. It's better to understand generic names as classes of pigments that have some chemical family relationship. What PR101 says is that the pigment is synthetically made, and that the main coloring substance is Fe2O3, also known as anhydrous iron(III)oxide. This is the red iron oxide, which is an extremely stable compound and lend these pigments their high degree of permanence. Main coloring substance, not the only one.
Iron oxides can become very complicated, there are lots of them. And PR101 can also contain mangan-, nickel- and chrome-oxides. Finally, for better or desired pigment properties, the oxides can be carried on clay particles or some other mineral. So as you see, the great variation in properties, which is probably inspired by similar natural pigments, PR102, is hardly strange.
Hello! Thank you! This was the perfect video for me, I was thinking about buying a granulating earth color from DS but I have a burnt sienna I want to finish before buying Transparent Red Oxide because they are very similar in hue like you said in your video. Would you say the Brown Oxide is as granulating? Also did you used French Ultramarine or normal Ultrmarine for your mixes?
Transparent Red Oxide and Brown Oxide are sort of like the more granulating versions of Burnt Sienna and Burnt Umber. That's French Ultramarine.
Nobody on yt does anything like you do.
The too much binder in some of those tubes might just be mild binder separation. I'd probably use a toothpick to stir the insides or give the tube a slight massaging. Also, i hear that storing tubes horizontally helps
'too much binder' i thought daniel smith was supposed to be premium. they charge enough here for it to be premium.
Jon Mahashintina: I agree! I couldn’t believe how awful those colors looked/behaved on the swatches; it was very surprising!
All artist's watercolor brands sometimes have colors that separate, at least I've had that issue at one time or another with DS, Winsor & Newton, Old Holland, Mission Gold, Sennelier and M Graham. It happens more often with heavier pigments like cobalts, but I had it happen once with phthalo blue. Changes in temperature, altitude and air pressure can exacerbate separation in my experience. If you don't want it to ever happen with a brand then purchase student quality paints that have more filler that make all their pigments act in a similar manner.
Sometimes the pigment and binder separates in the tube and the binder sits at the top when you open a new tube, so when you squeeze out the new paint it often has more binder to pigment ratio. An easy solution is to just squeeze it into a pan and then mix the binder and the pigment back together and it should work as usual. Also Daniel Smith paints are AMAZING and well worth their price, even if sometime the binder and pigments separate from time to time. Especially when they are *not* the _only_ brand to have that issue with tubes.
Transparent red oxide has replaced WN Burnt Sienna in m palette. it's a slightly more lively color and I like it in mixes with Ultramarine blue: they're my new go-to neutral.
That's interesting. The chemical formula of PR101 is Fe2O3, which is: ordinary rust!
I'm a big fan of Lunar Red Rock.
And all of them are iron rust :))) To mention, also worth trying to mix it with modern Indian Yellow (PY150, also known as Nickel Azo) or Izoindolione Yellow (PY110) for gorgeous deep golden semi-tone, with slight signs of crumbling, granulated dark component.
I recently came across that "too much binder" issue with a Daniel Smith tube. What can you do to correct it -- I felt like I should squeeze a whole lot out and mix it or something. Any recommendations?
You should mix it and see how the colour looks on paper. If it still looks vibrant, it's just the binder separating and you can mix it. Perhaps use a paper clip that can unfold and is long enough
According to a talk I went to at Daniel Smith, John Cogley says you can just pour it off. But I feel that often leaves the end of the tube quite stiff, so I usually mix it back into the tube. Jane Blundell recommends you shake the tube thoroughly until the binder is mixed throughout, and I do that when I have the patience :).
The binder separation (in my experience) usually seems to happen more frequently when the tube has been in various temperatures and pressure (i.e. flown on a plane) and in my experience happens to all brands occasionally (even brands which use honey). I live in Seattle and have never had it happen in the many tubes I've purchased and used at my local DS, but do when I buy mail order. It's rarely how they package it, although some batches from artist brands can be odd (I think M Graham had an issue with Cobalt Violet for example although I imagine it was still usable). The good news is that the paint is always usable either by pouring off the excess gum arabic, or if it stiffens (an Issue I often had with old Winson & Newton tubes) it can be rehydrated in a pan with water and a drop of glycerin. I paint mostly landscapes so I always find a way to make good paint work for me even if it isn't what I expected. Hope this helps, a long winded way to say I usually mix it in the Teoh way.
@@everartokelli Thank you for such a thorough reply. I very much appreciate you taking the time to share your information. Usually the tubes seem so full when purchased, that I didn't even consider shaking them. Will give that a go, as well as Teoh's tip to use an unbent paper clip.
Really liked that video. I had a lot of questions about these colors. I might get myself one or two because for portraits I think they would be useful. There are some earth colors with some violet shades like caput mortum and violet oxide that are not made by Daniel Smith. Would you consider testing those? I think Sennelier makes caput mortum and Da Vinci makes violet oxide.
Not sure when I will get to those colours
...hello, hi happy new art year!!! caput mortum or another name is mars violet is basically a darker Indian red that leans toward violet/blue...also a PR101
Which one of these colors is closest to caput mortem in terms of granulation, color separation and hue?
Would have been interesting if you had compared Burnt Umber with the Transparent Brown Oxide
Hey Teoh, your reviews are amazing! I would love to see a HUAWEI MatePad Pro review. Their new pencil has 4k pressure levels and tilt. The screen looks beautiful.
Cool
Me looking at my lunar red rock and Indian red: 🤨🤔 why do they look alike?!
Gonna take me forever to use them up
:)