its none of my business but I believe this is the first video i've watched from you and my first thought was "this person has such a sweet voice and accent!". wow not very often we get to see such long experiments when it comes to watercolours. This is very valuable thank you
Thank you so much, especially about the 'talking' thing. I'm still getting used to doing voice-overs, so that's good to hear! 😊 Glad it was helpfull as well!!
I am quite literally in the very middle of swatching all my supplies and doing exactly what you did, so I know how much work this is. But it’s great to do, right? Because then you can sort out whatever is not lightfast and say with confidence to anyone purchasing your work that you use lightfast materials. Thank you SO MUCH for sharing this in a video on RUclips. 😊 What a lot of work not just to do the tests, but also to compile everything into a video!
Thank you so much for your comment! This was indeed a ridiculous amount of work. 😄 Worth it in the end, though, even if the results were not quite as I’d hoped. The search continues for certain lightfast colours, and I will most definitely take your suggestions into consideration. Thanks for those. 👍 W&N is readily available over here, that helps as well. Goodluck with your swatching/testing-journey!
Your speech is just fine. I only thought you had an accent for my American ears. I have trouble hearing but I understood you perfectly. Thanks for the lightfast info. It’s always helpful information.
It must be just the way it looks on camera because the Van Gogh Prussian Blue didn't look like it faded at all whereas the Schmincke was noticeably different. I appreciate all the effort you put into doing these! Filming the making of the swatches, the year later filming, and then going through and putting those bits together and editing them...........
Thanks for commenting! That Van Gogh Prussian blue was way darker and more vibrant to begin with, that might also have something to do with it? I stared and stared at my swatches a lot(!) but the result does not always show up well on camera, alas. It was quite a bit of effort, but at least now I know what I've got, right? And all the footage already helped me re-identify some stuff, so worht it. ☺️
I've heard that UV spray doesn't really work, but I've never tried it. We have to remember: paint lightfastness is best preserved under museum conditions...low light (or managed lighting for certain time periods, I think?) and mounted under what is called "museum glass" that is made w/UV resistance in the glass. I think it's very pricey. All we can do to preserve our paintings is arm ourselves w/knowledge of best practices, and recommending to our customers, if we're selling or if it's going to hang in a gallery, that they don't hang any art work in sun or even bright light, and then we have to kiss 💋 it goodbye, right? I'm getting ready to get some of my art printed and I understand that the ink colors used in printing are more lightfast than almost any of the paint we use. That's good news! 😁
Thank you for your comment!! You're totally right about the lighting conditions, of course! It's certainly a trade-of for the ease of using watercolours and the beauty of the medium in and of itself. Most oil paints and acrylics are far less likely to fade, at least my own test show me this. I'm going to test some UV protective measures, for sure, see if they work (and I have plenty of non-lightfast paints to test with, lol). But I'm also still going to try and collectc a basic (biggish) palette that's as lightfast as I can get it. PS. Not good at saying goodbye to my work myself, definitely prefer the printing version. 😄
I believe it's the other way, printing inks will generally LESS lightfast than artists grade paints. You can see it in any bilboard or magazine cover that were out in the sun for 1-2+ years. Meanwhile classic pigments like ultramarine blue, phtallos, siennas, umbers, ochres, cadmiums, cobalts, quinacrodones, etc will all outlast that, i think nowadays in pro paint only opera rose and alizarin crimson are still being sold despite being fugitive.
The UV protection glass doesn't work 100 percent either because sunlight and lighting have other rays coming through. Plus the UV glass has a tint to it that compromises the original colors used also.
Thank you for a great video and all the work you put into testing these paints. I had to laugh about mystery pans because I've forgotten to mark a few myself. 🤣 I love Prussian and Indanthrone blues, but neither held up very well. :( PV19 was in quite a few of your failed mixes, which surprises me and now has me wanting to test all mine. PR83 and PR177 were expected. Thanks again as I thoroughly enjoyed this. 🙏
Thanks for watching! Honestly, my mystery paints are a little out of control, and apparently I felt the need to add even more, lol. I'm afraid my pigment knowledge continues to be very lacking. 😬 Always impressed by people who are very at home with all the numbers!! Glad you enjoyed the video. ☺
@suzand. No worries. You're right there with the rest of us, learning while enjoying something that brings you happiness. 😉 Color names come first, then you'll start picking up the Color Index numbers. 🤣 I am looking forward to more of your videos.
To be quite honest, I didn't notice any kind of speech issue at all. You sound just fine and "normal" to me. And those results are really surprising! And as far as Prussian Blue goes, since I heard you mention something about that being the color that inspired your lightfast testing, I know that it isn't lightfast, but I also learned that it comes back if left in the dark! I would love to try that!
Thank you for sharing your extensive research with us! It would be interesting to see a lightfastness test with UV protective spray because I'm skeptical that it makes much of a difference. Either way, I think I'll just continue painting with non-lightfast colors because searching for completely lightfast options is exhausting, expensive, and seems near impossible.
Glad you found the video useful! ☺ I have by now tested a W&N UV protective spray with some alcohol inks, and that was not(!) a good result (faded within a few months). But then again, inks fade so fast, it was probably an unfair test. I’ll try again with some watercolours, one fast fading, one with only slight fading after a year, but like you, I am not very hopeful it will have any effect anymore. And I hear you about finding lightfast options being exhausting etc.! I’m still trying, so I’ve got a few new Daniel Smith replacements for colours that I consider necessary, which I’m currently testing. However, if those proof not to be lightfast one year later, I’m not sure what my attitude towards the whole thing will be either going forward… 😁
You mentioned suggestions for some spots on your palette you are trying to fill with more lightfast options…For a cool-leaning red, how about PR264? And for a cool lemon yellow, maybe PY175 (Winsor and Newton has a very nice one)?
Very thorough and interesting video thank you Suzan, I think many red and violet pigments are more fugitive than other colours, particularly the PR83 alizarin crimson which is a most gorgeous colour but not lightfast. It's a shame about prussian blue, it is such a pleasing colour. personally I like Indanthrene blue PB60 so that's a disapointment for me.
The two swatches after 10:19 Talens Rembrandt titanium buff and Schmincke Horodam Potters pink, which you say have both yellowed, is it the paint, or the paper? I think I can see yellowing of the paper when you bring the two halves together could it be the paper which has made the paint colour look different . Thanks for all your hard work, mammoth task.
Hi & thanks for watching! I don't think it's the paper. (Unfortunately, because I'd prefer that actually, lol). I used good quality by Arches and I did check the backs of all my tests. Sometimes you can see a bit of yellowing on the back because of the tape I used to stick it to the board. Also, for this small part I had a desk lamp on to the right, which cast a bit of a yellow glow. So, alas, that titanium buff did that all on it's own, although I'm still holding out hope for the Potters pink. ☺
Awesome video! Schmincke' number: 215 is their Lemon Yellow. Pigment number PY3. They don't make a Permanent Yellow Light in their Artists grade paint. And you are correct. PY3 is not the best yellow for lightfastness in any brand.
its none of my business but I believe this is the first video i've watched from you and my first thought was "this person has such a sweet voice and accent!".
wow not very often we get to see such long experiments when it comes to watercolours. This is very valuable thank you
Thank you so much, especially about the 'talking' thing. I'm still getting used to doing voice-overs, so that's good to hear! 😊 Glad it was helpfull as well!!
I am quite literally in the very middle of swatching all my supplies and doing exactly what you did, so I know how much work this is. But it’s great to do, right? Because then you can sort out whatever is not lightfast and say with confidence to anyone purchasing your work that you use lightfast materials. Thank you SO MUCH for sharing this in a video on RUclips. 😊 What a lot of work not just to do the tests, but also to compile everything into a video!
Thank you so much for your comment! This was indeed a ridiculous amount of work. 😄 Worth it in the end, though, even if the results were not quite as I’d hoped. The search continues for certain lightfast colours, and I will most definitely take your suggestions into consideration. Thanks for those. 👍 W&N is readily available over here, that helps as well. Goodluck with your swatching/testing-journey!
Your speech is just fine. I only thought you had an accent for my American ears. I have trouble hearing but I understood you perfectly. Thanks for the lightfast info. It’s always helpful information.
Thanks so much for your positive feedback! And I'm glad you found the video helpful. ☺
Thank you for sharing this in-depth lightfastness test results. Really appreciate it. Its super helpful!
You're very welcome, glad you liked it! 😊
It must be just the way it looks on camera because the Van Gogh Prussian Blue didn't look like it faded at all whereas the Schmincke was noticeably different. I appreciate all the effort you put into doing these! Filming the making of the swatches, the year later filming, and then going through and putting those bits together and editing them...........
Thanks for commenting! That Van Gogh Prussian blue was way darker and more vibrant to begin with, that might also have something to do with it? I stared and stared at my swatches a lot(!) but the result does not always show up well on camera, alas. It was quite a bit of effort, but at least now I know what I've got, right? And all the footage already helped me re-identify some stuff, so worht it. ☺️
Thank you for you swatching and light fastness tests.
You are so welcome!
I've heard that UV spray doesn't really work, but I've never tried it. We have to remember: paint lightfastness is best preserved under museum conditions...low light (or managed lighting for certain time periods, I think?) and mounted under what is called "museum glass" that is made w/UV resistance in the glass. I think it's very pricey. All we can do to preserve our paintings is arm ourselves w/knowledge of best practices, and recommending to our customers, if we're selling or if it's going to hang in a gallery, that they don't hang any art work in sun or even bright light, and then we have to kiss 💋 it goodbye, right? I'm getting ready to get some of my art printed and I understand that the ink colors used in printing are more lightfast than almost any of the paint we use. That's good news! 😁
Thank you for your comment!! You're totally right about the lighting conditions, of course! It's certainly a trade-of for the ease of using watercolours and the beauty of the medium in and of itself. Most oil paints and acrylics are far less likely to fade, at least my own test show me this. I'm going to test some UV protective measures, for sure, see if they work (and I have plenty of non-lightfast paints to test with, lol). But I'm also still going to try and collectc a basic (biggish) palette that's as lightfast as I can get it.
PS. Not good at saying goodbye to my work myself, definitely prefer the printing version. 😄
I believe it's the other way, printing inks will generally LESS lightfast than artists grade paints. You can see it in any bilboard or magazine cover that were out in the sun for 1-2+ years. Meanwhile classic pigments like ultramarine blue, phtallos, siennas, umbers, ochres, cadmiums, cobalts, quinacrodones, etc will all outlast that, i think nowadays in pro paint only opera rose and alizarin crimson are still being sold despite being fugitive.
The UV protection glass doesn't work 100 percent either because sunlight and lighting have other rays coming through. Plus the UV glass has a tint to it that compromises the original colors used also.
Thank you for a great video and all the work you put into testing these paints. I had to laugh about mystery pans because I've forgotten to mark a few myself. 🤣 I love Prussian and Indanthrone blues, but neither held up very well. :( PV19 was in quite a few of your failed mixes, which surprises me and now has me wanting to test all mine. PR83 and PR177 were expected. Thanks again as I thoroughly enjoyed this. 🙏
Thanks for watching! Honestly, my mystery paints are a little out of control, and apparently I felt the need to add even more, lol. I'm afraid my pigment knowledge continues to be very lacking. 😬 Always impressed by people who are very at home with all the numbers!! Glad you enjoyed the video. ☺
@suzand. No worries. You're right there with the rest of us, learning while enjoying something that brings you happiness. 😉 Color names come first, then you'll start picking up the Color Index numbers. 🤣 I am looking forward to more of your videos.
To be quite honest, I didn't notice any kind of speech issue at all. You sound just fine and "normal" to me. And those results are really surprising! And as far as Prussian Blue goes, since I heard you mention something about that being the color that inspired your lightfast testing, I know that it isn't lightfast, but I also learned that it comes back if left in the dark! I would love to try that!
Thank you for sharing your extensive research with us! It would be interesting to see a lightfastness test with UV protective spray because I'm skeptical that it makes much of a difference. Either way, I think I'll just continue painting with non-lightfast colors because searching for completely lightfast options is exhausting, expensive, and seems near impossible.
Glad you found the video useful! ☺ I have by now tested a W&N UV protective spray with some alcohol inks, and that was not(!) a good result (faded within a few months). But then again, inks fade so fast, it was probably an unfair test. I’ll try again with some watercolours, one fast fading, one with only slight fading after a year, but like you, I am not very hopeful it will have any effect anymore. And I hear you about finding lightfast options being exhausting etc.! I’m still trying, so I’ve got a few new Daniel Smith replacements for colours that I consider necessary, which I’m currently testing. However, if those proof not to be lightfast one year later, I’m not sure what my attitude towards the whole thing will be either going forward… 😁
Thank you for a great video! It was very informative
Thank you so much for your comment!
You mentioned suggestions for some spots on your palette you are trying to fill with more lightfast options…For a cool-leaning red, how about PR264? And for a cool lemon yellow, maybe PY175 (Winsor and Newton has a very nice one)?
You made a great job🎉.
Thank you! 😃
Thank you! Exelent informatorom!
Thanks for watching!
Very thorough and interesting video thank you Suzan, I think many red and violet pigments are more fugitive than other colours, particularly the PR83 alizarin crimson which is a most gorgeous colour but not lightfast. It's a shame about prussian blue, it is such a pleasing colour. personally I like Indanthrene blue PB60 so that's a disapointment for me.
Glad you enjoyed the video!☺ I was also very disappointed about the indanthrene, I have to say.
The two swatches after 10:19 Talens Rembrandt titanium buff and Schmincke Horodam Potters pink, which you say have both yellowed, is it the paint, or the paper? I think I can see yellowing of the paper when you bring the two halves together could it be the paper which has made the paint colour look different . Thanks for all your hard work, mammoth task.
Hi & thanks for watching! I don't think it's the paper. (Unfortunately, because I'd prefer that actually, lol). I used good quality by Arches and I did check the backs of all my tests. Sometimes you can see a bit of yellowing on the back because of the tape I used to stick it to the board. Also, for this small part I had a desk lamp on to the right, which cast a bit of a yellow glow. So, alas, that titanium buff did that all on it's own, although I'm still holding out hope for the Potters pink. ☺
Your accent is 🔥
Awesome video! Schmincke' number: 215 is their Lemon Yellow. Pigment number PY3. They don't make a Permanent Yellow Light in their Artists grade paint. And you are correct. PY3 is not the best yellow for lightfastness in any brand.
Thank you for the information on the Schminke yellow! 😊