I love my new oil palette. Reading and research gave me some ideas while I tried to keep an open mind and avoid the prejudices I’ve been taught. For instance, my current line-up does not include any cadmium colors although all of my teachers thought they were indispensable.
Titanium White – Neither warm nor cool, somewhere between Zinc and Lead white. R. suggested using Old Holland brand for this particular color because of the relative intensity of its tinting strength and now I can’t get along without it. The history notes from Dick Blick are interesting:
Titanium is the ninth most abundant element in the Earth’s crust, however mineral deposits that are economical to mine are less common. Titanium dioxide was first discovered in 1821, although it could not be mass produced until 1919. Widespread use of the pigment began in the 1940s. Since that time, it has become the most commonly used white pigment.
Permanent yellow light – Cooler than the cadmium yellows that it was intended to be a chemical replacement for, and much more versatile. This pigment mixed with Ivory black makes a beautiful range of still-life greens.
Quinacridone ruby (also sold as Old Holland magenta) – From the Dick Blick excerpt on this color:
Chemical Formula: C22H16N2O2
Properties: Quinacridone Magenta is a semi-transparent and powerful bluish red with an impressive mixing range. It makes an excellent glazing color and is one of the bluest of the Quinacridone colors. The pigment’s properties vary considerably, depending on how it is ground. Quinacridone pigments have relatively low tinting strength in general. For this reason, quinacridone colors are often expensive, because more pigment is required in the formulation.
Permanence: Quinacridone Magenta offers very good lightfastness in most media, but some have argued that it is less lightfast in watercolor form. Although Quinacridone Magenta received only a passing grade of “fair” under ASTM test protocols, other test results have rated the pigment very good to excellent. Transparent reddish violet pigments in general have more problems with lightfastness than any other range of colors. PR122 is often used as the Magenta of CMYK (four color) process printing because it offers a better tradeoff between tinting strength and lightfastness than other pigments in its class.
History:Quinacridone Magenta came from a red violet aniline dye that was first produced in 1858 by Natanson. It was called Magenta to commemorate a battle in Magenta, Italy. Over time, Magenta became the standard color name for a deep, violet red. Although quinacridone compounds became known in the late 19th century, methods of manufacturing so as to make them practical for use as commercial pigments did not begin until the 1950s. PR122 has become particularly popular in the formulation of Magenta for CMYK process printing.
Phthalo green blue – intense, mixes well, and is closest to the discontinued (and toxic) Verdigris.
Manganese blue – copper phthalocyanine. Very deep and slow drying, reliable and light-fast, tending toward green. This pigment was discovered by accident in 1935.
Ivory black – from charred bones these days, since ivory is protected. Blue-black with a hint of brown in mixtures, this color functions in my palette (with so many cool colors) as a warm mixture.
Raw Umber – A combination of Mars Black and Mars Orange, this dark pigment has strong warm undertone, great for warming the phthalo blues.
I’ve never had a more dependable selection of pigments, even for simple two-color mixes to produce a range of still-life colors. This random sample is permanent yellow light and q. rose, tinted with white at the bottom of the palette and toned with ivory black to the right.
Next on the easel is a set up of pink mallow and scarlet roses on a raw umber ground. Can’t wait!