This one is one of my favorites! I was using it last week on a small sketch of daffodils to depict the soil. The red in the paint bounced off the greens I used for the leaves and stems and it made the sketch look very lively.
The Volcano range continues to surprise with the usefulness and beauty of the colors. In addition, this brown offers clues in how Schmincke is achieving the granulation effects. Firstly we know that Schmincke sells a granulation spray that is essentially a flocculation agent, and the suspicion has been that Schmincke is just adding this flocculation agent to the colors. Secondly, we know that at least some pigments are supplied to paint makers in various particle sizes to suit varying purposes. We know this because the transparent red and yellow oxides get their transparency due to particularly small particle sizes, and that larger particle sizes increase opacity. We also know that PBk11 comes in large particle sizes because Daniel Smith has suggested that this is why their Lunar Black granulates so much more than other versions of PBk11. Thirdly we can see from the graduated wash that the PR108 settles out more than the PBk11 which is consistent with larger particle size in the Cad Red, rather than the granulation agent affecting both pigments equally. There is no reason why Schmincke can't be using both particle size and flocculation agents with some colors needing varying amounts of either factor, but that this brown seems to be mostly a result of particle size. I applaud paint manufacturers starting to get more adventurous with the greater variations in pigment preparations available for industrial uses than artists colors traditionally used. I remember when the transparent red and yellow oxides first appeared in artist colors. They had been developed 20 or more years earlier for the color portion of automotive "metallic" colors. In the 1970's TV show The Rockford Files, Rockford famously drove a "gold" car that would have used these transparent oxides, but I never saw them in artists colors until near the end of the century. Much of the best newer pigments come from specialty colors developed for automotive use, and I suspect that much of these granulation colors that are being released are the result of research into automotive coatings. Whatever the source, I am very pleased with the super-granulating ranges, and I hope they sell well enough that Schmincke will continue to make them for many years to come. It would be very frustrating for us to get used to using them, then seeing them discontinued due to low-ish sales.
Great insights. I noticed too that some of their versions of the supergranulating colours are just so much better than us mixing two pigments together. Maybe they added granulating medium or use a different particle size. Which ever it is, we will never know.
@@eurekawanders Never forget that when we mix two colors on a palette the mixing is never as thorough as the same two colors being dispersed in a triple roller mill. when done at the manufacturing end there will often be a visual difference to artist palette mixtures :)
Thank you for all your tutorials on paint. They are all so helpful. I appreciate them.
Second to comment! I enjoy these supergranulation videos you make; thanks for sharing them :-)
I got this color not too long ago and I love it
This one is one of my favorites! I was using it last week on a small sketch of daffodils to depict the soil. The red in the paint bounced off the greens I used for the leaves and stems and it made the sketch look very lively.
It's so interesting, too. Perhaps I can try to make with two pigments which I have to compare with. Thank you!!
The Volcano range continues to surprise with the usefulness and beauty of the colors. In addition, this brown offers clues in how Schmincke is achieving the granulation effects.
Firstly we know that Schmincke sells a granulation spray that is essentially a flocculation agent, and the suspicion has been that Schmincke is just adding this flocculation agent to the colors.
Secondly, we know that at least some pigments are supplied to paint makers in various particle sizes to suit varying purposes. We know this because the transparent red and yellow oxides get their transparency due to particularly small particle sizes, and that larger particle sizes increase opacity. We also know that PBk11 comes in large particle sizes because Daniel Smith has suggested that this is why their Lunar Black granulates so much more than other versions of PBk11.
Thirdly we can see from the graduated wash that the PR108 settles out more than the PBk11 which is consistent with larger particle size in the Cad Red, rather than the granulation agent affecting both pigments equally.
There is no reason why Schmincke can't be using both particle size and flocculation agents with some colors needing varying amounts of either factor, but that this brown seems to be mostly a result of particle size.
I applaud paint manufacturers starting to get more adventurous with the greater variations in pigment preparations available for industrial uses than artists colors traditionally used. I remember when the transparent red and yellow oxides first appeared in artist colors. They had been developed 20 or more years earlier for the color portion of automotive "metallic" colors. In the 1970's TV show The Rockford Files, Rockford famously drove a "gold" car that would have used these transparent oxides, but I never saw them in artists colors until near the end of the century. Much of the best newer pigments come from specialty colors developed for automotive use, and I suspect that much of these granulation colors that are being released are the result of research into automotive coatings. Whatever the source, I am very pleased with the super-granulating ranges, and I hope they sell well enough that Schmincke will continue to make them for many years to come. It would be very frustrating for us to get used to using them, then seeing them discontinued due to low-ish sales.
Great insights. I noticed too
that some of their versions of the supergranulating colours are just so much better than us mixing two pigments together. Maybe they added granulating medium or use a different particle size. Which ever it is, we will never know.
@@eurekawanders Never forget that when we mix two colors on a palette the mixing is never as thorough as the same two colors being dispersed in a triple roller mill. when done at the manufacturing end there will often be a visual difference to artist palette mixtures :)