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Which REDS Should I Buy?
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- เผยแพร่เมื่อ 13 ม.ค. 2021
- Finding it hard to get the reds you want in your painting? Aisling and Dermot help you to choose the best pigments to add to your palette so you can get the reds you want every time.
You can always mix the magenta with Burnt sienna to get a alizarin . 😉
Cool! With all the supply-chain challenges these days, we might all have to get creative with our pigments
Nice quick run down 👍
Love the historic backgrounds you speak about in these videos. I am a new fan!❤
Welcome aboard! The history is often my favourite part. Some wild stories about how we have extracted colours from nature! ❤️💙💛
Pyrrole red seems more opaque than cad. red in watercolour. It is so opaque that I can't use it for much it tends to stand out because it reflects differently. I use it for the petals of poppies, cars and clothing and that is it. Quinacridone mag. is a very, very powerful pigment and it is staining so is tricky to use. A tiny tube will last you years unless you really love it, I use it for some roses. I don't think I have ever had to refill my pallet with it, it goes even further than Prussian blue. Venetian red is totally opaque it is just for terracotta, pots and roofs. My goto is aliz. crimson but it does fade quickly if used for washes and glazes I use a UV protecting fixative which helps.
perylene maroon/crimson is also a very good lightfast alternative to alizarin and quite different to quinacridones in many ways
Ty !just found your channel lots of great info ! I use Rose Madder one of my fav. Colours ❤
Really nice video! and straight to the point, also loved the paint mixing with white! that gives a great idea about the essence of the pigment. Thanks a lot guys!!! Best regards from Argentina!
Pyrrol red is the red used for Ferrari cars. Good enough for me!
Thank you, this was so useful as an introduction to all types of reds.
So glad you found it helpful!
Thank you for mentioning that you have never seen genuine alizerin crimson fade. With all this talk about it being fugitive, it has gotten me concerned for my finished paintings which contain it. I 100% agree that none of the AC alternatives come close to the magic of the genuine. That is why I have often found myself coming back to it despite all the talk about it being fugative. And the fact that it has been used extensively for more than a century made me think that all the talk might be somewhat exaggerated. Like you said, oil is different from watercolor.
Very helpful, thank you! I've found picking the right reds tricky so now I feel more informed and confident :)
You're so welcome! Picking out colours can be so daunting. Hopefully you have a nice collection of pigments now :)
Thank you
Great video! Very educational, and I really liked the mixing scenes!
Thank you! I love mixing paints 🎨
Thank you, So good
PR 254 Winsor Red ... very much like PR254 Da Vinci Red. Tops all reds in my book! Don't like orange in my red... or pink! Thank 😊 you for sharing this!
Really great breakdown of reds! Love the historical context you added. For the reference Aliz. Crimson's fading doesn't usually happen over painter's lifetime, but it absolutely happens over longer periods of time.
It fades very rapidly in watercolour, less than 6 months in a sunny spot. It seems OK when it is thick, but washes and glazes lose the pink fast and become more dull.
Omg..... it's like I would have to buy 1 of each color
If you are just starting to develop your palette I would not get all of these! Try out 1 or two to start. Like Cad red and Alizarin to start and then you can expand as you learn how to handle them.
...good stuff..just discovered your channel #subscribed 👍🏾❤️
Thank you very much! I am
Just beginning and it all is very confusing!
Hang in there! It will get easier and more satisfying. Every painting you do is incredibly educational. You got this.
I am going to make some saturation charts for a color class. I enjoyed a bit of color history. Seeing the tinting process with the different reds is helpful for my assignment. The video was clear and informative. Fun Fact: The golden gate bridge is painted with vermilion, which makes sense, once I learned the history behind red. Thank you for the video.
That is SO cool Monique! We take for granted out access to incredible colours today. I am sure many historical masters would have been overjoyed to borrow one of our palettes!
Hope your colour charts go well :) Happy Painting
reds are a thorn in my side. My go to mixing red has 'good light fastness' and like Alizarin, people call it fugitive, Quin Magenta, PR 122 (there are red and violet variants of the same pigment but Magenta is the most useful to me). That was the ASTMs findings, Blue Wool tests show a higher light fastness. Unfortunately I wonder if tinting strength in an issue like a lot of the quins, a high concentration of pigment is needed and manufacturers try to avoid it because of needing more pigment then other colors.
So here I sit, wanting to try a new line of supper matte formulated acrylic paint and the best 'cool' red they offer is Cadmium red deep. I am wondering if there is a purple that can be mix with the Cadmium Red Deep that can 'cool' the color down even more? I don't own Dioxazin violet or any other purple :\ I may have to pick one up and try it.
thank you for this!! sometimes the insanely wide range of colors can make it really hard to pick and choose colors for certain artworks
You're so welcome! So daunting when you are the paint store staring a hundreds of tubes- where do you start! Glad this was helpful for you :)
It’s so informative thanks 🙏
Glad it was helpful!
Can't agree more i don't think we can find a video that educational like this
It's been suggested that Rembrandt permanent madder deep is a match to alizarin crimson.
I will pick up a tube and try it out and do some comparison swatches. Thank you for the suggestion!
@@ourstudioseries7490
Jason Walcott once compared Rembrandt's PMD (PR264) to AC (PR83) and he could not see any difference
between them. Mark Carder once used W&N PAC (PR177) as his red, but now uses his own PR264, which he
calls Pyrrole Rubine. Blue Ridge also have a PR264, which they call Pyrol Ruby Red.
I just subscribed to your channel, Thanks for the yellow and red colour talk, but many Thanks for inteduction of Hsin the Chinese painters, he is awesome.
Have you just started your channel, I've been looking and don't see very much. I'm looking for a talk on the colour black.
You are very welcome! He really is amazing so glad you are enjoying his paintings. We have plans for more content coming soon -Great suggestion for future video thank you!
That is a helpful video. the thing with toxins is that people are doing a lot of plein air now. so people do have concerns about throwing away their watercolour water, when there are big warnings danger to aquatic life on the tubes.
Of course- watercolour painters would dispose of their paint water and palette- but hopefully not in a lake or on the ground! If sunscreen is damaging to aquatic life/reefs than you can bet paint water would be horrible :(
I always mix up the names for Vermilion and Viridian.
Vermillion was a beautiful rich red and sounds like million! 😉
Great video nice vibe please keep up
Thank you so much!
The perylene red mixtures can be pretty close to Alizarin. A lot of companies use PR177 as a substitute for Alizarin, and I agree with you about that...but perhaps check out the permanent madder deep from Rembrandt. The color is pretty darn close...I do wish it were a Harding or Old Holland for quality... Rembrandt oils always seem so thin in pigment density to me by comparison.
I agree with you on these paint makers. The only Rembrand colors I use is Transparent Red Oxide, and Transparent Brown Oxide, and for exactly the reason you mention the lack of density of pigment in the mix helps make a more transparent color and cleaner looking color. The Red is great for mixing natural greens. I do use Winsor Newton, Williamsburg, Michael Harding and one Holbien color for the most part. I like specific colors by different makers. The Holbein color I use is their Veridian Hue. It is an easily controlable Thalo green type of color. That said, it is not a color I use a lot of, but a great color to mix with Transparent Red Oxide for toning a canvas when doing landscapes. Very easy to shift between warm and coor and makes an excellent dark (black i one wants) for greens as in a close heavy foliage tree.
Yes and the perylenes are very steadfast too! I will see if I can find permanent madder deep from Rembrandt to try out. Thank you for your suggestion!
I would suggest you check out different brands of Permanent Alizarin. Personally I have been using Gamblin or Winsor Newton, but Gamblin being the darker out of the tube. It is nearly the same value as actual Alizaring Crimson, which is not only fugitive. After a few years it will crack baly is not used with some other color, which often makes it lighter if you wish to keep the color as a deep red. Richard Schmid spoke of a painting of his where the Alizarin in one of his paintings craked and turned blackish after only a couple of years. See his book Alla Prima.
Thank you for your insight! Will check out Richard Schmid’s Alla Prima- and will try out a tube of Gamblin Permanent Alizarin. Still waiting to see any degradation of Alizarin on my own paintings- but would be nice to get that darker value with an alternative. So will definitely try it out. 🙏
@@ourstudioseries7490 I've had other professional artist tell me about regular Alizarin fading away after 8-10 years where you almost cannot see it anymore. The other problem is using it straight (no mix) it will crack in a very short amount of time, much like straight Ivory Black will if nothing added and put on thick as to be opaque. Schmid mentions the black in his first book on painting landscape (out of print now). I think you will find the Gamblin Alizarin dark enough and if not at a small amount of Thalo green or Holbein's Veridian hue. With right amount you will still have a very dark red that is also vibrant. These two colors also make a very dark black as well. I have been painting for a living for 50 years now an stayed away from the original Alizaring and other problematic and fugitive colors. I lean to a rather limited palette and taught this in workshops over my years painting.
@@johncox3083 I've seen that too. An artist friend of mine has done fading charts with PR83 (Alizarin) for Old Holland, Vasari, and Michael Harding's...all same dates etc...every single one of them fade. He did a straight line of it out of the tube, at a normal layer thickness, and mixed with white, both ways it faded and after only a few years. It's so unfortunate, Alizarin has the "umami" quality for want of a better word. Lately, I've personally been using a mixture of Permanent Rose with terre vert (Old Holland) and a touch of trans ox yellow. It works beautifully for now.
@@katetopps4706 Did your friend test Permanent Alizarin? There is a big difference in regular Alizarin and Permanent Alizarin. The Permanent is made with synthetic man made pigment PR177 Anthraquinone (that's a mouthful) Permanent Rose is also a synthetic PV19. I would be curious how those stand up against fading. Both Gamblin Alizarin Permanent and Winsor Newton Permanet Alizarin are the same pigments,the PR177. I have been trying to get less toxic in my studio, particularly now that we have cold weather and the studio is more closed up. I am replacing Cadmium colors with cadmium free ones by Winsor Newton and Utrecht. But thats another topic. I woulf be very interested how these synthetic reds fair in fade tests. So far I have not noticed any fading to paintings (florals mostly) with a lot of Permanent Alizarin. One last note. It was mentioned that Richard Schmid talked about cracking with Ivory Black and yes it will crack unless in a mixture of a stable color, but on the very rare time I would use straight Ivory Black I will mix in a little W/N Liguin or W/N Liguin Impasto. Not a lot and so far I have seen no cracking. I did a value study only using Ivory black (no white or other colors to get grays) This can be done by thin scumbled color on linen and building to a full black. Casey Baugh did a beautiful piece like this, and I tried it after seeing his piece. Very cool finished. Almost looks like a charcoal from a short distance, like hanging on a wall. I did use some W/N Impasto as the values got darker. I can be contacted through my website johncoxpaintings.com
@@johncox3083 I don't believe so, at least not on the same piece of canvas that I saw. But the synthetics, ie Quin family colors are well known and tested for being lightfast. I'm not as familiar with the other synthetics, though if you go on Blick's website and click on the paint color you're interested in it takes you to that color's own page and that has a link for pigment info with a fairly decent amount of info about the pigments in the tube. I do trust the Golden company (ie: Williamsburg) and they have a decent article showing their tests between their genuine alizarin crimson and their version of permanent Alizarin side by side...if I remember correctly, they use anthraquinone red. Funny though, I called up Vasari to ask about colors that might be a good option as a replacement for Alizarin, and the lady tried convincing me that theirs was lightfast 🤦🏼♀️ ayyy. Fact remains, Alizarin crimson (PR83) is never going to be lightfast. How are you liking the cad free cads? I'm all for not using them! Bismuth Vanadate Yellow (Williamsburg) is a very good alternative for cad yellow light.
im a red head lol.
Which warm cadium red do you prefer?
Light
Or
Medium
?
Ugh that is a hard one. I would say I use cad red light the most with portraits. But Cad red unmixed is one of our favourites!
I would have to say Cad Red Medium wins this one. I can't imagine my palette without it.
Perylene Red PR149 is nice
Another video using Quinacridone as an alternative for Alizarin Crimson:
th-cam.com/video/_AVaLxY8TE0/w-d-xo.html
You talked about adding cadmium red light to your palette to get a lighter tint of the cadmium red. But wouldn't it be sufficient to just add cadmium yellow to lighten it up a bit to get cadmium red light? Would make sense since the cadmium red light is more on the orange side. Sorry if this is a stupid question... Just want to make sure that I'm not missing something.
I've been working without a cadmium red but decided to add it to my palette so any help is appreciated.
NO this is not a stupid question! It's a GREAT question.
The main reason to add cadmium red light is because it retains its chromatic vibrancy more when adding white. I use it when I need to get a rosy skin tone that has a lot of white in it. White tends to increase the tonal value (the lightness) but it also tends to reduce the chroma of a pigment (greys it out). If you add cad yellow to lighten, it might lighten it, but it will also shift the red deeper into orange. Do an experiment- add a little white to your cad red and cad red light and watch how to the white mutes the cad red much more than the cad red light.
There are a few pigments that are prone to greying out when white is added. Cobalt blue is another example.
Let us know how it goes :) Happy painting.
@@ourstudioseries7490 Many thanks for you comprehensive answer. Now I understand the use of cadmium red light.
Would it be right to say that you can mix cadmium red with cadmium yellow/orange to make a high chroma warm red/orange? Or is it better to not mix the cad red altogether? If the latter is the case, it would indeed be better to have cadmium red light on my palette.
To be clear; I'm just going to use it for the darker values, since I think my pyrol red mixed with a little cad orange/yellow is sufficient for light Rosy skin tones. What I need is a dark value, high chroma warm red, so I think cadmium red would be nice to have on my palette. Maybe I'll just buy a small tube of cadmium red light with it to see what works better for me.
Anyways, thanks again for your answer and for making these videos. Helps a lot!
@@ManuelvanderZijl Absolutely, you can mix cad red and cad yellow/orange and retain that high chroma warmth! The real distinction happens when you add white. The yellow will not affect the chroma of cad red as much, or at all! I highly recommend cad red light for portraits. It seems to be what I reach for it the most out of all the reds on my palette. You seem to have a very good handle on your pigments so I would go for it!
You are most welcome, and thank you for your great questions :) Good luck and happy painting.
What is "BRIGHT RED"?
Hi Alex- I believe Winsor & Newton market Pyrrole Red as “Bright Red”
...good stuff..just discovered your channel #subscribed 👍🏾❤️