I read that Alizarin Crimson (either PR83 or PR177) should only be used with calcinated pigments such as "Burnt" Sienna or Umber (PBr7) because it doesn't stabilize over the long term with non-calcinated pigments. I also read that it works superbly well in glazes but not as a mixing color.
A few questions if someone can illuminate me:
- why doesn't Mark use the three primaries such as Quinacridone Rose (PV19), Phtalo blue green shade (PB15.3) with Cadmium Yellow Light (W¬N Artist) Pale (Talens Rembrandt) (PY35)? Aren't these two pigments much stronger than PR177 and PB29 (Ultramarine Blue red shade?)
PS: Incidentally - Only W&N Artist oil "Burn Umber" is made of PBr7. Talens Rembrandt is made up of two pigments and the color is actually different as expected with a lot more red. They use both PR101 (red) and PBk11 (black!!!)
- there's a red pigment called "Benzimidazolone Carmine"- PR176 sold as Carmine by Talens Rembrandt (no. 318) which is so remarkably close to W&N Artist's Permanent Alizarin Crimson (Anthraquinone Red). When mixed with yellow and/or white it opens up marvellously - roses, pinks, lovely! Has anyone tried out this color?
- I replaced Ultramarine Blue (PB29) with Phtalo Blue green shade (PB15.3) to mix with Cadmium Yellow Light (Py35) and the end result was a vibrant green with a lot of room to lighten up and warm up with tiny amounts of Burnt Umber (PBr7).
- Titanium White (PW6) dulls the green, removing its original vibrancy. I know that Talens Rembrandt 118 is a mix of both Titanium Dioxide and Zinc Oxide (PW4) so I guess it would be much worse than with pure PW6). SO my question is this - which white out there doesn't dull the colour and simply lightens it up? W&N has a lot of whites on offer, form Lead based, "Transparent", etc.