Category: color index name

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Hey, Carol, what am I supposed to buy for this workshop?

Years ago, I took a figure workshop from a well-known American figure painter. On receiving his supply list, I noted several pigments that are not normally on my palette. Two were transparent earth colors; one was Naples yellow; one was cadmium green. I duly bought them, took the workshop, and came home having never touched them. The transparent earths were occasionally useful for glazing, but that $20 tube of cadmium green sat in my cabinet until it thickened and died.
I never want to do that to anyone. (Not that I’m totally immune to it; my oldest students will remember my infatuation with Payne’s Grey back in the day.)
Here are my paint supply lists for both local plein air painting (in Rochester) and workshop painting in Maine this summer:
·         Watercolor
·         Pastels
·         Oils
I expect that experienced painters already have a palette they like and tools they’re comfortable with. If you have questions about why I have something included, just ask; you may already have something that can substitute.
Nevertheless, there are certain paints I recommend at the expense of others. For example, it never makes sense to buy alizarin crimson. The real thing (PR83) is extremely fugitive,*
so many manufacturers have decided to make “hue” formulations that mimic it. Many of these are either also fugitive and or so high-stain that they tend to bleed up through drying paint. Yet alizarin crimson is a staple in the paintboxes of so-called traditionalists.
How much more sensible it is to buy straight up quinacridone magenta (PR122) and mix it to the color you want when you need it!
Another example is Naples yellow, which was originally made of yellow antimony (PY 41) and is one of the oldest of pigments. Unfortunately, it’s also extremely toxic. There are a million proximates on the market—so called “convenience mixes”—because that dense, chalky yellow is extremely useful in landscape painting. But why carry a convenience mix when you can make up something equally as useful from yellow ochre and white, which both have a million other uses on the palette? (Yes, I know some of you watercolorists take great pride in never using white, but when you use a Naples yellow you’re using white whether or not you admit it.)
On the other hand, there arepigments that make reasonable substitutions. For example, I want oil painters to have a high-stain greenish blue, but phthalo blue cyan (PB15:3) will just do as well as Prussian blue (PB 27) if that’s what you have.
Recently I wrote about hues and the Color Index system. Handprint has a more detailed explanation here. For the sake of efficient painting, I urge you to avoid hues and convenience mixes. Single pigment paints are most efficient in the field.
And if you haven’t signed up for my Rochester classes or Maine workshops, what on earth are you waiting for? August and September are sold out for my workshop at Lakewatch Manor in Rockland, ME… and the other sessions are selling fast.  Join us in June, July and October, but please hurry! Check here for more information.

*”Fugitive” just means the pigment fades over time, and real alizarin crimson—an extract of the madder plant—is among the most fugitive pigments of all.
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To each their own, within limits of course…

Look, Ma! No red! The red tones are made of quinacridone violet and  cadmium orange. (Finger Lakes marshes in autumn, 14X18, oil on canvasboard)

JG writes: What red do you like for plein air painting? Are there any substitutes for cadmium red that work as well but are cheaper?
Dear JG: I have pigments I like that others will find incomprehensible. That’s not just a question of personal taste; it is also a matter of where you live and the colors of the rocks, the soil, the foliage and the light.
I stopped using cadmium red many years ago because I could never use it up before the tubes hardened. It seems like a pricey paint to use as a modulator for greens. Where I live, there are few naturally-occurring true reds, even in the headiest autumn days, and cadmium red always seemed to obtrude unnecessarily. For a time I substituted naphthol red. It’s cheaper, tends to harden in the tube less quickly, and is less chalky when mixed with white. However, it tends (like cadmium red) to make muddy violets.
A few years ago, I stopped using red completely, and now I mix a combination of quinacridone violet and cadmium orange as an approximate substitute for red in the landscape. (I still use cadmium red for figure painting.) That gives me the weight of cadmium red, but it’s slightly less glaring, and the quinacridone violet permits me to mix to the blue-violet side without muddiness.
And while we’re on the subject, there are no greens in this painting, either.  (Catskill waterfall, 11X14, oil on canvas)
CB writes: I bought a paint labeled “Cerulean Blue Hue” that was a lot cheaper than the Cerulean Blue. What’s the difference?
Dear CB: A paint that is called a “hue,” such as “cadmium red hue,” is made of a blend of less-expensive pigments. There is nothing inherently wrong with these pigments, but they don’t behave the same as the more expensive ones, and you should at least know what you’re buying.
Every tube of paint made by a reputable manufacturer has a Color Index Name in really tiny type. This—rather than the seductive and often romanticized paint name—is what you should pay attention to. It’s a simple code, and no chemistry knowledge is necessary.
The vast majority of paints start with the letter P, which means it’s a pigment. Following that is a letter that indicates the basic hue family: R for red, O for orange, Y for yellow, G for green, B for blue, V for violet, Br for brown, W for white, Bk for black. Then there’s a number referring to the specific pigment itself. This is the best chart I know for paint pigments; it was designed for watercolor, but the pigment characteristics are the same through all media.
Generally speaking, there’s little to be gained by buying a hue mimicking a more expensive pigment. If you are comfortable painting with Cerulean Blue’s proximate, then it behooves you to learn what’s in it and mix it yourself, since you always have the greatest flexibility by working with pure pigments (rather than mixes) out of the tube.
If you’re interested in joining me for a fantastic time in mid-Coast Maine this summer, check here for more information.