Recently decided to add the Perylene Green to my palette as a dark single pigment 'green' but hadn't even thought to add the Perylene Violet into the mix as well. This gives such a different mix (and a different mood) than the usual burnt sienna / umber and untramarine. I too am a admirer of Jane Blundell and her work. Always happy to find more information and inspiration for paints and pigments. Thanks for sharing! I also hope to find a 3 segment bijou box like yours here in the states someday.
I’ve recently added perylene violet and perylene green to my watercolour collection. I started falling in love with their mixes and your blog was the final impetus to order them. Very much looking forward to experimenting with mixing them.
PO49 Quin Gold is no longer available. Not cheating! LOL! That is a very good idea to put two pigments in one pan. I was wondering what brand of Yellow Ochre you are using because they vary so much across brands. So does all PBr7's. I actually like using Paynes Grey for a lot of my mixes. The famous watercolor artist Steve Hanks made his own Indigo' & Paynes grey and toned down strident colors with pure Ivory Black (PBk9) which is fairly transparent if its from W&N. Winser & Newton's Ivory black was always on his palette. If mixed with other colors correctly, the affects are very beautiful and natural. I've heard so many fellow artist say, "I never ever use black!" But I see them using Paynes grey and know that it is just a tinted black pigment. Hardly different at all. I've been so tempted to just try the W&N Ivory Black. I will someday.
I've had perylene green in my palette for a long time, mostly used for shadow greens but it thinned a lot, it makes a great oxidized copper color and we have a lot of copper roofs in Quebec City. Looks like I should add perylene violet for shadows in the red range. I use Transparent Red Oxide (Daniel Smith) as a substitute for burnt sienna because it's closer to W&N burnt sienna than DS's version which is too brown for my tastes.
Nice! I can see how Perylene Green would be useful for copper roofs. Do you mix in a blue or just use it on it's own? Winsor Newton Burnt Sienna is the same pigment (PR101) as Daniel Smith's Transparent Red Oxide, whereas Daniel Smith formulates their Burnt Sienna with the traditional PBr7. You might also consider trying Quinacridone Burnt Orange(PO48), it's similar to Transparent Red Oxide but tends to be even more fiery.
@@LeeAngold The PR number is what caused me to try TransRedOxide originally. I'm amazed at how many colors are PBr7. To me, it makes this pigment number almost useless :-) I have tried PO48 and while it's a fun color, I find it too bright, particularly how I use burnt sienna. Most of the time it's used with a blue to generate a neutral of one form or another. As for blues with perylene green, all I can say is "maybe." I'm a horrible watercolorist and when I'm sitting on my tripod stool and quickly drawing some scene, I tend to mix colors without understanding. So, if I felt my perylene green roof needed some blue, I'd probably add a tiny bit of indanthrone (DS spelling) but I can't say whether I have or not. It's no wonder my watercolors never look right (grin). BTW, I realized that I sometimes use Raw Umber Violet as you use perylene violet, though it isn't nearly as intense. It does have the virtue of a wide tonal range and I use it for doing monochrome sketches.
Another excellent video in your series. I'm a bit confused now. In your previous videos, you chose PY150, PR122, and PB16 for your primaries, and PO107, PG36, and PB60 for your secondaries. In this video (at 1:00), you seem to have changed those to PY150, PB15:3, and PV19 for your primaries, and PO64, PG36, and PV23 for your secondaries. Did you change your mind on your choices? Which is absolutely fine, of course! I'd love to hear why. It does seem as though those new ones are better choices according to the Handprint site. Thanks!
Hi! Sorry for being so late in replying. The first set is "my choices", which are close to primary and secondary colours but adjusted to personal preference for colour and behaviour. Mixing the absolute largest range of hues isn't my only or most important goal, especially as I am adding other paints to this set to round it out. The second set is more common pigments/closer to "perfect" primary/secondary colours - in the first and second video of this series I created these charts to show the basic "primary + secondary¨ set, as well as various alternatives.
If you search online, you can find an image of a painting by Paul Jackson called 'Obsession'. It uses an awesome array of different darks, really stunning.
Ahh! I was so excited to see Perylenes Green and Violet - I'm not very experienced yet, but I am already very attached to pretty much every Perylene colour. What lovely mixes! May I ask what brand you're using for those two?
I went to rewatch and haha, the tubes are visible; I should’ve recognized that, since I recently picked up a few Schmincke colours myself (including Perylene Green
It's been discontinued for a while but several shops near me still have a few tubes of PR88 Thioindigo Violet by Winsor Newton. Daniel Smith's Permanent Violet was single pigment PR88 until far more recently (it's now a two pigment hue) - if you check the labels on Daniel Smith tubes at your local stores you might luck out.
Hello Lee, what a great idea to put two paints in the same pan to make a grey. I premixed mine in a full pan, but keeping them separate in the pan is what I will do the next time I need to refill. Also, NBr8 is the Earth pigment used in Roman Szmal's Van Dyck Brown. I love its granulation and color separation. I also love his Caput Mortuum with its Violet undertones. It also granulates and separates like the Van Dyck Brown.
Recently decided to add the Perylene Green to my palette as a dark single pigment 'green' but hadn't even thought to add the Perylene Violet into the mix as well. This gives such a different mix (and a different mood) than the usual burnt sienna / umber and untramarine.
I too am a admirer of Jane Blundell and her work. Always happy to find more information and inspiration for paints and pigments. Thanks for sharing! I also hope to find a 3 segment bijou box like yours here in the states someday.
I’ve recently added perylene violet and perylene green to my watercolour collection. I started falling in love with their mixes and your blog was the final impetus to order them. Very much looking forward to experimenting with mixing them.
PO49 Quin Gold is no longer available. Not cheating! LOL! That is a very good idea to put two pigments in one pan. I was wondering what brand of Yellow Ochre you are using because they vary so much across brands. So does all PBr7's. I actually like using Paynes Grey for a lot of my mixes. The famous watercolor artist Steve Hanks made his own Indigo' & Paynes grey and toned down strident colors with pure Ivory Black (PBk9) which is fairly transparent if its from W&N. Winser & Newton's Ivory black was always on his palette. If mixed with other colors correctly, the affects are very beautiful and natural. I've heard so many fellow artist say, "I never ever use black!" But I see them using Paynes grey and know that it is just a tinted black pigment. Hardly different at all. I've been so tempted to just try the W&N Ivory Black. I will someday.
I've had perylene green in my palette for a long time, mostly used for shadow greens but it thinned a lot, it makes a great oxidized copper color and we have a lot of copper roofs in Quebec City. Looks like I should add perylene violet for shadows in the red range. I use Transparent Red Oxide (Daniel Smith) as a substitute for burnt sienna because it's closer to W&N burnt sienna than DS's version which is too brown for my tastes.
Nice! I can see how Perylene Green would be useful for copper roofs. Do you mix in a blue or just use it on it's own?
Winsor Newton Burnt Sienna is the same pigment (PR101) as Daniel Smith's Transparent Red Oxide, whereas Daniel Smith formulates their Burnt Sienna with the traditional PBr7. You might also consider trying Quinacridone Burnt Orange(PO48), it's similar to Transparent Red Oxide but tends to be even more fiery.
@@LeeAngold The PR number is what caused me to try TransRedOxide originally. I'm amazed at how many colors are PBr7. To me, it makes this pigment number almost useless :-)
I have tried PO48 and while it's a fun color, I find it too bright, particularly how I use burnt sienna. Most of the time it's used with a blue to generate a neutral of one form or another.
As for blues with perylene green, all I can say is "maybe." I'm a horrible watercolorist and when I'm sitting on my tripod stool and quickly drawing some scene, I tend to mix colors without understanding. So, if I felt my perylene green roof needed some blue, I'd probably add a tiny bit of indanthrone (DS spelling) but I can't say whether I have or not. It's no wonder my watercolors never look right (grin).
BTW, I realized that I sometimes use Raw Umber Violet as you use perylene violet, though it isn't nearly as intense. It does have the virtue of a wide tonal range and I use it for doing monochrome sketches.
Very interesting. I love the mixes with perylene violet. Definitely gonna buy the color. Thanks for the review😊
I also love perylene green. It's a really interesting colour.
Another excellent video in your series. I'm a bit confused now. In your previous videos, you chose PY150, PR122, and PB16 for your primaries, and PO107, PG36, and PB60 for your secondaries. In this video (at 1:00), you seem to have changed those to PY150, PB15:3, and PV19 for your primaries, and PO64, PG36, and PV23 for your secondaries. Did you change your mind on your choices? Which is absolutely fine, of course! I'd love to hear why. It does seem as though those new ones are better choices according to the Handprint site. Thanks!
Hi! Sorry for being so late in replying. The first set is "my choices", which are close to primary and secondary colours but adjusted to personal preference for colour and behaviour. Mixing the absolute largest range of hues isn't my only or most important goal, especially as I am adding other paints to this set to round it out. The second set is more common pigments/closer to "perfect" primary/secondary colours - in the first and second video of this series I created these charts to show the basic "primary + secondary¨ set, as well as various alternatives.
If you search online, you can find an image of a painting by Paul Jackson called 'Obsession'. It uses an awesome array of different darks, really stunning.
Ahh! I was so excited to see Perylenes Green and Violet - I'm not very experienced yet, but I am already very attached to pretty much every Perylene colour. What lovely mixes! May I ask what brand you're using for those two?
They're both Schmincke!
I went to rewatch and haha, the tubes are visible; I should’ve recognized that, since I recently picked up a few Schmincke colours myself (including Perylene Green
Where can you get Thioindigo violet (single pigment, pr88)?
It's been discontinued for a while but several shops near me still have a few tubes of PR88 Thioindigo Violet by Winsor Newton. Daniel Smith's Permanent Violet was single pigment PR88 until far more recently (it's now a two pigment hue) - if you check the labels on Daniel Smith tubes at your local stores you might luck out.
If the stuttering makes it difficult to watch, set the playback to 1.5x and it should sound smoother.
Hello Lee, what a great idea to put two paints in the same pan to make a grey. I premixed mine in a full pan, but keeping them separate in the pan is what I will do the next time I need to refill.
Also, NBr8 is the Earth pigment used in Roman Szmal's Van Dyck Brown. I love its granulation and color separation. I also love his Caput Mortuum with its Violet undertones. It also granulates and separates like the Van Dyck Brown.