This section can be divided into two chroma groups, Rhodonite Genuine (109), Quinacridone Rose (110), Quinacridone Pink (111), Quinacridone Magenta (112), Bordeaux (113), Quinacridone Violet (114), Imperial Purple (115), Rose of Ultramarine (116), Carbazole Violet (117), Cobalt Blue Violet (118), Ultramarine Blue (119) and French Ultramarine (120) make up the bright chroma colors.
Violets, from red to blue, have historically been among the more fugitive colors, and were made from vegetable dyes and animal extracts. Many artists prefer to mix their violets, but modern pigments are providing some sound alternatives.
Rhodonite Genuine is first on the color map. This neutral red is extremely intense and non-granulating. This brilliant color is derived, somewhat surprisingly, from the natural mineral Rhodonite found in Germany and typically used in jewelry.
Next, the Quinacridone colors-Rose, Pink, Violet and Magenta-are beautifully transparent with high tint strength. Quinacridone Rose, a bright red-violet also called Permanent Rose, is one of those colors that is virtually impossible to mix. The similar Quinacridone Pink is equally strong, and yields even truer pinks. Quinacridone Violet (labeled Permanent Magenta and Permanent Violet in other brands) is slightly redder than Quinacridone Magenta. Both gradate from a deep red-violet to clean transparent washes.
Bordeaux, another of the azo pigments, is a scrumptious, velvety wine color. It is a high tinting, semi-transparent color you really must see to appreciate.
Imperial Purple is a mixture developed with DANIEL SMITH customers who requested a vibrant and granulating royal purple. This blended color is semi-transparent and granulates with surprising shades of violet and pink.
Rose of Ultramarine is a blend of Quinacridone Rose and Ultramarine Blue. In washes the blue sinks, creating a vivid violet with exciting separation. Carbazole Violet plots on the blue side of violet. It is slightly granular and goes from black-violet to a clean "classic" purple with good tinting strength and excellent lightfastness. Cobalt Blue Violet is a wonderful blend of cobalt blue and quinacridone violet. On the color map, Ultramarine Blue plots bluer and slightly less saturated while French Ultramarine is slightly redder and more saturated.
Moving towards the center of the map, colors containing less red and blue and more of their complements, we find Permanent Violet (121), Naphthamide Maroon (122),
|
|
Purpurite Genuine (123), Ultramarine Red (124), Cobalt Violet (125), Manganese Violet (126), Ultramarine Violet (127), Cobalt Violet Deep (128), Lunar Violet (129), Moonglow (130) and Indanthrone Blue (131).
Permanent Violet, made from thioindigoid pigment, is a rich, strong, reddish violet with very even dispersion. Naphthamide Maroon, the last of the azo pigments, is a deep brown-violet; it's semi-transparent, low-staining, and slightly sedimentary.
Purpurite Genuine is derived from a violet mineral of the same name. Ours comes from the most intense quality mined in South Africa. Purpurite is a naturally occuring manganese phosphate that, when ground into pigment, contains a small amount of the hematite. Purpurite's earthy hue and remarkable granulation is the result of this combination.
Next we have five inorganic violets, beginning with Manganese Violet, also known as permanent mauve. A more pure form of manganese phosphate than our Purpurite Genuine, it is a good mid-range violet best used by itself, as it tends to create muddy mixtures. The next groups of violets are ultramarines and cobalts. Chemically heating Ultramarine Blue produces Ultramarine Violet; further heating produces Ultramarine Red. Both are transparent, disperse evenly and have moderate to low tinting strength. Cobalt Violet and Cobalt Violet Deep are low tinting compared to the Ultramarine Violets and by nature allow more of the gum arabic to show through. Good glazing pigments, they are characteristically weak and light-bodied.
Lunar Violet is a deep and intense combination of two pigments noted for their granulating properties - Mars Black and Ultramarine Violet.
Moonglow, a blended color first developed in our oil line, creates the most unusual violet-gray, blue-red color separation. The blue-green from ultramarine blue and viridian sinks and allows the red of anthraquinoid red to float to the surface, creating fascinating light and dark washes. Indanthrone Blue, another DANIEL SMITH original, is the last of our high tinting strength vat pigments. This beautiful, very dark transparent blue ranges from a slightly reddish blue-black to rich denim blue wash. It is an interesting alternative to French Ultramarine.
Our journey begins with two phthalo greens, and as we move from blue to green we find four final bright chroma pigments, Phthalo Blue-RS (132), Phthalo Blue-GS (133), Verditer Blue (134), Phthalo Turquoise (135) and Ultramarine Turquoise (136).
|
|
