Thank you Stivi for this comprehensive stroll through one of my favourite pigments, there are a few good non granulating cool blues but not so many warmer blues with real depth, I like the Delft blue and the Michael Harding versions here, I have Roman Szmal and the old version of the White Nights, (the new version of White Nights looks to be a bit cooler to me). You have inspired me to try some new mixes.
You're always welcome! This is also a staple on my palette. Delft Blue, both in gouache and watercolor forms, have been my reliable deep blue inks for calligraphy writing. For painting, Michael Harding's Indanthrone Blue has been delightful to work with. Richly-pigmented and wonderfully expressive in terms of performance. I am glad you found the mixes inspiring! As always, thank you for being here!
This was a great presentation of my favorite blue pigment. My first PB60 was Daniel Smith, but it doesn’t compare to the MGraham and Michael Harding versions. I find they retain a brightness in the drying shift that Daniel Smith does not. Thanks for another beautiful video, Stivi😘
You're always welcome! I am glad and grateful to hear that you enjoyed the video! You worded it perfectly. The true beauty of PB60 is revealed after drying and not many are able to retain the richness and luminosity of the pigment. Michael Harding's PB60 has been my go-to one since 2023. Thank you for being here!
Daniel Smith is my favorite, hue wise, but I enjoy PB60 in almost every brand I've tried. I didn't know Schmincke had two versions and the Dark Blue feels quite unique!
Winsor and newtons version is gorgeous but Daniel smiths version is so unique as well! i heard someone comment on how purple leaning it was but it's still beautiful in a different way 🥰
100% agree! Each possesses unique PB60 beauty. Among all these versions, Daniel Smith's and Schmincke's Dark Blue appear to be violet-leaning. Both have this dark denim appearance. 🥰
@@clairevalentine9220 I have PB80 from Della Magna Watercolors for that! It's reminiscent of PB60 but it is purple-leaning. Here's the link to it, ruclips.net/user/shortsxHAk7NrCfwM?feature=share
@@stiviwonders I know very little yet about pigments but the Delft blue and DS already looked more purple to me than the other ones. Would you say that's correct?
@@solaveritas2 All of the PB60s featured are intense blue pigments. So deep and they are really just leaning towards the darkest version the pigment. Among all these, Daniel Smith's Indanthrone Blue and Schmincke Horadam's Dark Blue appear to be violet-leaning.
PB60 is one of my favorites because ultramarine doesn't always have the tonal range I crave. I also like that if you have this pigment and ultramarine, you have a granulating and a non-granulating warm blue on your palette. PB60 is beautiful on its own AND excels as a mixer.
100% with you on this! Indanthrone Blue, Genuine Lapis Lazuli, and Ultramarine Blue are my constant blue pigments. They are true stunners and terrific mixers at the same time.
What is your favorite non-granulating Ultramarine? I’m thinking of Sennelier ,M graham or Roman Szmal Ultramarine intense. I don’t like the Schmincke Ultramarine finest since it looks a bit dull and is too expensive.
@@parleymanderson7527 Personally, there's really no good alternative. The popular choices out there could render flat and they are cost-intensive. The best for me is Fra Angelico Blue from Della Magna Watercolors. It's Genuine Ultramarine and because the particles are so fine, the granulation is so elegant. Delicate granulation that is almost negligible. Not overwhelmingly all over the place. Afghan Lazurite Premium from The Prodigal Son's Pigments is also an excellent choice. Both exude richness and sophisticated yet dainty levels of granulation.
@@selkieofthesea2664 Maybe others would like that approach but I generally don't use Phthalos. It's a matter of personal preference. There are other pigments that have more vibrancy and richness for this purpose. Or PB80 from Della Magna Watercolors, for example. Or Indigo.
I don't have Indantrhone blue, but the color always reminds me of ballpoint ink. Plus the color combines the brilliance of ultramarine and the depth of Prussian blue.
It's the inky visual that gives PB60 that hypnotic, mesmerizing profile. The appearance is all-too familiar, reminiscent of an everyday basic pen, but with the luminosity, depth, and drama that one can expect from well-formulated watercolors.
The M Graham is truly gorgeous. I have the Sennelier, beautiful color but if you let the tube sit for too long you should stir it up since it can be a bit sticky ( it’s the same for other Sennelier paints)
M. Graham's PB60 is indeed beautiful. It may actually be a good option for winter-themed paintings. That's an interesting information about Sennelier. I've been using Sennelier for ages and this is news to me. Normally, I keep a good stock of the Sennelier tubes that I use regularly and I never had to resort to stirring up. These paints would be sitting on the shelf for years because a little bit goes a long way with Sennelier. Perhaps it has to do with location or time of the year? I appreciate the tip, thank you, and will remember it for when something similar with what you're describing happens.
@@stiviwonders Maybe my tubes are just really old. Who knows how long they stay in the store. All of my Sennelier paints have some amount if binder separation. Most non-granulating colors just get a bit sticky . However, my Cerulean separated completely . I saw a yt artist having problem so maybe don’t buy that particular color.
@@parleymanderson7527 You could be right. Maybe that is the case. Some pigments have heavier particles than others so it is possible that separation may happen especially if they've been unused for a while. Or have been stored for an extended period of time. I noticed this to be true in the case of PrimaTek watercolors from Daniel Smith. Recently, I did a video on Cerulean Blue that included Sennelier. For some reason, their take on this color is a PB28 instead of the traditional PB35 or PB36 that's associated with Cerulean Blue. Anyway, I don't mean to digress, but I didn't incur any separation issue with the tube that I have. Thank you for bringing this to my attention. It's very helpful for me to know that this is an occurrence and hopefully others reading your comment will find this information useful as well.
My first PB60 was Daniel Smith and I never really loved it... I wanted to but it was too warm. M. Grahams is on my palettes these days and its one of their stand outs. MG PB60, as well as their Ultramarine blue and Cerulean. MG has some great blue paint. I know its odd to say a Ultramarine stands out but MGs really does, its the best ultramarine I have ever used. PB 60 with a touch of PG7 and you get a great moody turquoise. (Think Schmincke sells that mix as Prussian green) MGs PG 18 Viridian is also a standout MG color. Pretty close hue wise to the Prussian green mix but you get some interesting separation with PG18.
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Thank you Stivi for this comprehensive stroll through one of my favourite pigments, there are a few good non granulating cool blues but not so many warmer blues with real depth, I like the Delft blue and the Michael Harding versions here, I have Roman Szmal and the old version of the White Nights, (the new version of White Nights looks to be a bit cooler to me). You have inspired me to try some new mixes.
You're always welcome! This is also a staple on my palette. Delft Blue, both in gouache and watercolor forms, have been my reliable deep blue inks for calligraphy writing. For painting, Michael Harding's Indanthrone Blue has been delightful to work with. Richly-pigmented and wonderfully expressive in terms of performance. I am glad you found the mixes inspiring! As always, thank you for being here!
This was a great presentation of my favorite blue pigment. My first PB60 was Daniel Smith, but it doesn’t compare to the MGraham and Michael Harding versions. I find they retain a brightness in the drying shift that Daniel Smith does not. Thanks for another beautiful video, Stivi😘
You're always welcome! I am glad and grateful to hear that you enjoyed the video! You worded it perfectly. The true beauty of PB60 is revealed after drying and not many are able to retain the richness and luminosity of the pigment. Michael Harding's PB60 has been my go-to one since 2023. Thank you for being here!
Thank you so beautifully presented 😊
That's delightful to hear, thank you!
so stunning, I love it ☺☺☺
Thank you! This pigment is a staple on my palette. It's so expressive and enchanting at the same time!
Daniel Smith is my favorite, hue wise, but I enjoy PB60 in almost every brand I've tried. I didn't know Schmincke had two versions and the Dark Blue feels quite unique!
Schmincke's Dark Blue one shares a close resemblance with Daniel Smith's Indanthrone Blue. Both have this dark denim appearance.
Pb60 is a wonderful blue for midnight, especially the one from Daniel Smith.
I agree! The mid-tones on the darker side are also excellent for post-blue hour magic.
Your videos are a visual treat. They also help with deciding if I should or shouldn't buy a color. Thank You so much!
That's heartwarming to hear, thank you! I am glad to know that the video is helpful.
Winsor and newtons version is gorgeous but Daniel smiths version is so unique as well! i heard someone comment on how purple leaning it was but it's still beautiful in a different way 🥰
100% agree! Each possesses unique PB60 beauty. Among all these versions, Daniel Smith's and Schmincke's Dark Blue appear to be violet-leaning. Both have this dark denim appearance. 🥰
Beautiful pigment. Love the Delft Blue & the Daniel Smith version ❤
It truly is a stunning one! PB60 is one of my favorite pigments. Thank you for being here! ❤
I like violet-biased pb60 as well!
@@clairevalentine9220 I have PB80 from Della Magna Watercolors for that! It's reminiscent of PB60 but it is purple-leaning. Here's the link to it, ruclips.net/user/shortsxHAk7NrCfwM?feature=share
@@stiviwonders I know very little yet about pigments but the Delft blue and DS already looked more purple to me than the other ones. Would you say that's correct?
@@solaveritas2 All of the PB60s featured are intense blue pigments. So deep and they are really just leaning towards the darkest version the pigment. Among all these, Daniel Smith's Indanthrone Blue and Schmincke Horadam's Dark Blue appear to be violet-leaning.
PB60 is one of my favorites because ultramarine doesn't always have the tonal range I crave. I also like that if you have this pigment and ultramarine, you have a granulating and a non-granulating warm blue on your palette. PB60 is beautiful on its own AND excels as a mixer.
100% with you on this! Indanthrone Blue, Genuine Lapis Lazuli, and Ultramarine Blue are my constant blue pigments. They are true stunners and terrific mixers at the same time.
What is your favorite non-granulating Ultramarine? I’m thinking of Sennelier ,M graham or Roman Szmal Ultramarine intense. I don’t like the Schmincke Ultramarine finest since it looks a bit dull and is too expensive.
@@parleymanderson7527 Personally, there's really no good alternative. The popular choices out there could render flat and they are cost-intensive. The best for me is Fra Angelico Blue from Della Magna Watercolors. It's Genuine Ultramarine and because the particles are so fine, the granulation is so elegant. Delicate granulation that is almost negligible. Not overwhelmingly all over the place. Afghan Lazurite Premium from The Prodigal Son's Pigments is also an excellent choice. Both exude richness and sophisticated yet dainty levels of granulation.
This has never been a favorite pigment, but the Delft and m graham are lovely! Thank you😊
I agree! Both pigments are indeed lovely. Thank you for being here.
The burnt sienna and perrindo maroon mixes at the end are stunning and look like vintage photographs.
Thank you! The mixes at the end are some of my favorite ones.
I've been wondering how some people paint deep dark blue night skies, PB60 seems to be the right one for this.
I agree! There are many ways to paint dramatic night skies and yes, PB60 is one of the pigments that could make that happen.
As an alternative, you can use PG15:3 or PG7 mixed with the VIOLET version of PV19 to get dark night skies.
@@selkieofthesea2664 Maybe others would like that approach but I generally don't use Phthalos. It's a matter of personal preference. There are other pigments that have more vibrancy and richness for this purpose. Or PB80 from Della Magna Watercolors, for example. Or Indigo.
I don't have Indantrhone blue, but the color always reminds me of ballpoint ink. Plus the color combines the brilliance of ultramarine and the depth of Prussian blue.
It's the inky visual that gives PB60 that hypnotic, mesmerizing profile. The appearance is all-too familiar, reminiscent of an everyday basic pen, but with the luminosity, depth, and drama that one can expect from well-formulated watercolors.
The M Graham is truly gorgeous. I have the Sennelier, beautiful color but if you let the tube sit for too long you should stir it up since it can be a bit sticky ( it’s the same for other Sennelier paints)
M. Graham's PB60 is indeed beautiful. It may actually be a good option for winter-themed paintings.
That's an interesting information about Sennelier. I've been using Sennelier for ages and this is news to me. Normally, I keep a good stock of the Sennelier tubes that I use regularly and I never had to resort to stirring up. These paints would be sitting on the shelf for years because a little bit goes a long way with Sennelier. Perhaps it has to do with location or time of the year? I appreciate the tip, thank you, and will remember it for when something similar with what you're describing happens.
@@stiviwonders Maybe my tubes are just really old. Who knows how long they stay in the store. All of my Sennelier paints have some amount if binder separation. Most non-granulating colors just get a bit sticky . However, my Cerulean separated completely . I saw a yt artist having problem so maybe don’t buy that particular color.
@@parleymanderson7527 You could be right. Maybe that is the case. Some pigments have heavier particles than others so it is possible that separation may happen especially if they've been unused for a while. Or have been stored for an extended period of time. I noticed this to be true in the case of PrimaTek watercolors from Daniel Smith. Recently, I did a video on Cerulean Blue that included Sennelier. For some reason, their take on this color is a PB28 instead of the traditional PB35 or PB36 that's associated with Cerulean Blue. Anyway, I don't mean to digress, but I didn't incur any separation issue with the tube that I have. Thank you for bringing this to my attention. It's very helpful for me to know that this is an occurrence and hopefully others reading your comment will find this information useful as well.
My first PB60 was Daniel Smith and I never really loved it... I wanted to but it was too warm. M. Grahams is on my palettes these days and its one of their stand outs. MG PB60, as well as their Ultramarine blue and Cerulean. MG has some great blue paint. I know its odd to say a Ultramarine stands out but MGs really does, its the best ultramarine I have ever used.
PB 60 with a touch of PG7 and you get a great moody turquoise. (Think Schmincke sells that mix as Prussian green) MGs PG 18 Viridian is also a standout MG color. Pretty close hue wise to the Prussian green mix but you get some interesting separation with PG18.
It is great that you've found watercolors that work for you.