Pyrrol Scarlet (48), Organic Vermilion (49), Perylene Scarlet (50), Permanent Alizarin Crimson (51), Cadmium Red Scarlet (52), Cadmium Red Medium (53), Pyrrol Crimson (54), Pyrrol Red (55), Perylene Red (56), Permanent Red (57), Permanent Red Deep (58), Carmine (59), Quinacridone Coral (60), Quinacridone Fuchsia (61) and Quinacridone Red (62). Out of this group the old familiar names are Cadmium and Permanent Red, but the other pigments - pyrrols, perylenes, quinacridones and perinones - all plot out as cleaner, more vivid, higher chroma colors.
Pyrrol Orange is a showstopper-warm, very intense and highly lightfast thanks to its modern synthetic organic pigment. To see another modern pigment in action, try two color mixtures: Permanent Green first mixed with Perinone Orange and then with Cadmium Orange. The Perinone mixture is brighter, and has a richer, less muddy glow. Perinone is another of our vat pigments. It is brilliant, transparent and staining, and because the pigment is so saturated, the dried paint film graduates to rich, deep orange.
Stemming from vat dyes developed in the early 1900s for the textile industry, vat pigments date from only the 1950s. Of the 400-listed vat dyes, only about 10 have become commercially significant as vat pigments. The reasons are that vat pigments are inherently expensive products and are only used where exceptionally high lightfastness is required and cannot be obtained with cheaper alternate pigments. Anthrapyrimidine Yellow (used to make Indian Yellow), Perinone Orange, Anthraquinoid Red and Indanthrone Blue (also used to create Indigo) are the four vat pigments we chose for our watercolor line.
Pyrrol Scarlet, Organic Vermilion, and Perylene Scarlet all plot out very closely to one another, yet when you paint them out they look very different. This is because our map is two-dimensional. If we could show the colors in a sphere, you would see how the values change. The pyrrol pigments, colors made from a modern synthetic organic pigment, diketo-pyrrolo-pyrrol, disperse very evenly, while the perylenes are more sedimentary, leaving a dark granular wash. The individual perylene molecule gives off a brilliant orange hue that shines through these increasingly popular modern, metal-free red pigments. You may also know Organic Vermilion as Scarlet Lake or Rose Carthame (PR-pigment red 188).
Permanent Alizarin Crimson is a blended, bright rose hue. This brilliant and transparent color has the highest lightfastness rating and greater intensity than Alizarin Crimson but shares many of its properties, including high-staining and non-granulating characteristics.
Permanent Red and Permanent Red Deep are bright, strong reds made
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from PR 170-naphthol red. They are semi-transparent and lightfast permanent. Carmine, a fugitive color in many brands, is rated II-Very Good in the DANIEL SMITH line due to the benzimidazolone carmine pigment used. It is very close to and slightly redder than Alizarin Crimson. The final two in this group, Quinacridone Coral and Quinacridone Red are unique colors that have no comparison. Quinacridone Coral is "the perfect match to the Tropicana Rose" and Quinacridone Red plots out as our truest red. Quinacridone Fuchsia is equally vivid, but slightly cooler. Of all our colors, the Quinacridones rate first in popularity.
Moving in towards the center of the color map are the mid-level, less saturated yellows and reds: French Ochre (63), Yellow Ochre (64), Verona Gold Ochre (65), Goethite-Brown Ochre (66), Monte Amiata Natural Sienna (67), Mars Yellow (68), Italian Deep Ochre (69), Raw Sienna (70), German Greenish Raw Umber (71), Yavapai Genuine (72), Burgundy Red Ochre (73), Terre Ercolano (74), Transparent Red Oxide (75), Quinacridone Burnt Orange (76), Mummy Bauxite (77), English Red Ochre (78), Transparent Brown Oxide (79), Italian Burnt Sienna (80), Italian Venetian Red (81), Sedona Genuine (82), Hematite Burnt Scarlet (83), Burnt Sienna (84), English Red Earth (85), Venetian Red (86), Minnesota Pipestone (87), Lunar Earth (88), Permanent Brown (89), Quinacridone Burnt Scarlet (90), Deep Scarlet (91), Indian Red (92), Cadmium Red Deep (93), Perylene Maroon (94), Anthraquinoid Red (95) and Alizarin Crimson (96).
Yellow Ochre, one of the oldest known pigments, and Mars Yelow, a processed synthetic mineral version of ochre, are very close in value. Mars Yellow is darker and more transparent than the natural ochre due to the absence of clay. We offer several ochres from various European mines. Yellow Ochre is the most neutral. French Ochre is fairly bright, with a very slight greenish tone. Verona Gold Ochre has a golden-pink cast, while Italian Deep Ochre leans toward orange-brown. English Red Ochre is a warm, sedimentary reddish-brown. Goethite-Brown Ochre is a slightly warm natural brown ochre with more pronounced granulation than any ochre we offer. All are low-tinting, a characteristic of earth pigments.
Raw Sienna and Burnt Sienna are ancient earth pigments with subtle beauty and extreme permanence. Monte Amiata Natural Sienna is made with very fine high-grade Italian pigments, giving it a more vibrant, surprisingly transparent look.
German Greenish Raw Umber, a natural earth pigment, is considerably paler than most raw umbers, with a characteristic yellow-green cast.
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