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May 27, 2014 at 2:47 am #991918
Which middle yellows do you use? Or if not a middle yellow, which warm or cool ones? Only middle yellows listed in the poll, although some of them also come in warm/cool shades.
I’m using a cad yellow, but sometimes desire a bright transparent middle yellow just to vary things a bit. The brightest transparent yellow I have is iron oxide, which is quite warm. Not yet sure how to use a bright transparent yellow, other than bright greens, so any help there will be nice.
May 27, 2014 at 3:28 am #1205807It may be unprofessional of me but I can’t handle pigment names, I go by manufacturers names, sorry!
Doug
We must leave our mark on this worldMay 27, 2014 at 6:18 am #1205810Indraneel,
Here are the yellows I use Lemon Yellow (cool) PY3; Hansa Yellow Med., PY97 (cool); New Gamboge PY153 (warm), Quinacridone Gold PO49 and Naples Yellow PY37,PY42,PW6 (I know its a mix, but it is such a beautiful creamy yellow, it just fills the bill sometimes ).
I also have Hansa Yellow Deep PY65 which is a lovely transparent middle yellow you might like.
Sylvia
May 27, 2014 at 7:12 am #1205857I never check pigments names. I go usually by the look of the color and how looks on the paper or mix with others and I usually go for transparent pigments. The transparency is the only thing I check.
May 27, 2014 at 11:02 am #1205827Thanks Doug, Sylvia and Sylwia. I decided to goo with the pigment names since I’ve become completely confused by the manufacturer names. The same names occur for all types of pigments, lightfast or not.
Sylvia : Nothing wrong with a mix. I mix my cad yellow and iron oxide yellow on the palette and paper all the time!
May 27, 2014 at 11:15 am #1205844no yellow_oxide? ;_;
Actually, now that I think about it I don’t really ever use bright yellows in watercolor anymore. PBr24 makes a really good yellow that’s earthier and more natural than the bright yellows but not as dark or dull as yellow ochre can be.
A couple of these I wouldn’t call yellow at all. PY129 is completely green, and PY83 (at least the one I have in oil paint) is a little too orangish.
May 27, 2014 at 12:13 pm #1205826I don#t use a middle yellow. I have a greenish one like lemon yellow (PY 3 or 53), and my absolute favourite: chinachridongold (W&N) which is a combination of PR 206, PV 19, PY 150.
May 27, 2014 at 12:53 pm #1205842I use PY154 (Winsor Yellow, W&N) as my neutral yellow, good tinting strength, more transparent than many yellows, absolutely lightfast.
PY153 (New Gamboge, Daniel Smith) as my warm yellow, very nice natural duo-tone effect. I originally had no intention of bothering with a warm yellow, but I read so many glowing (literally) reviews, that I gave it a shot and absolutely love it. Of course, immediately after that they stopped manufacturing the pigment. Never heard how much of a stock Daniel Smith had left of it – hopefully they laid in a massive amount as they did for PO49.
I have PY129 (Rich Green Gold, Daniel Smith), but I didn’t vote for it on your list because I wouldn’t call it anything near a middle yellow, which is kind of given away by the name.
Good old Yellow Ochre (PY43, W&N, actually Yellow Ochre Light, because it was the least staining, most transparent I could find), and the somewhat brighter, warmer, and newer PO49 Quin. Gold, both for more earthy tones.
So, middle yellows, PY154 for bright clear yellow, PY43 for subdued earth tones. The Hansa named ones (PY3, PY97) are on that marginal edge of acceptable lightfastness for me, which pretty much reveals I avoid PY40 like the plague. I also avoid Cadmiums these days, and have never felt a huge need for lemon yellows, beyond PY129 which has some interesting landscape applications.
May 27, 2014 at 5:05 pm #1205856Hmm, I’m a bit surprised that Nickel Azo Yellow (PY150) isn’t on the list. It’s highly versatile and according to info on the W&N website, it’s currently the most transparent pigment, of any hue, that exists.
It’s also the base pigment for many different manufacturers’ iterations of a mixed pigment ‘quin gold’.
Here’s a swatch of DS nickel azo yellow (I didn’t entirely crop out the red which is DS quin coral, PR209).
A blurb from handprint.com:
[INDENT][FONT=Verdana,sans-serif]An apt name for PY150 might be “new gamboge deep”, as it has the same two toned appearance: in masstone it is a dull deep yellow (chroma of around 65) very similar to genuine gamboge (NY24); in tints it rises to a sunny, noticeably cooler and more intense (chroma 75) middle yellow.[/FONT][/INDENT]Anyway, hope that helps.
[FONT=Garamond]“Creativity takes courage.” [FONT=Garamond]
― Henri MatisseMay 27, 2014 at 5:19 pm #1205811Sylvia : Nothing wrong with a mix. I mix my cad yellow and iron oxide yellow on the palette and paper all the time!
Indraneel, I also mix colors on my palette and paper all the time, what I mean above is that the formula for the Indian Yellow is three pigments mixed together in manufacturing, not a single pigment color like the others are.
Sylvia
May 27, 2014 at 7:56 pm #1205824I usually use Quin. Yellow for my cool yellow now; used Lemon Yellow for a very long time but I just LOVE the quin. colors too much.
For my warm yellows, I use Quin. Gold, Aureolin, Cad. Yellow or New Gamboge–Quin. Gold, for the most part! Have use Nickle Azo, Winsor Yellow and Naple Yellow also.
Michele
"Don't only practice your art, but force your way into its secrets; art deserves that, for it and knowledge can raise man to the Divine."
--Ludwig Von Beethoven
My tumblr blog: http://artisticallyinclinedartist.tumblr.com/
May 28, 2014 at 2:15 pm #1205832Is Quin. Gold warm or cool?
May 28, 2014 at 2:42 pm #1205848Is Quin. Gold warm or cool?
It’s considered warm, but it’s more of an earthy warm yellow.
May 28, 2014 at 3:38 pm #1205817I’m truly shocked by the number of people still using PY40 Aureolin. It’s been proven to be fugitive and even worse, colour shifting to brown over time.
M. Graham’s PY129 Azo Green is a magnificent spring colour. I love it. And I’ve been using their PY151 Azo Yellow for many years. I like it because of its nearly neutral bias, neither leaning to green or orange.
Daniel Smith’s PY153 Gamboge is a beautiful warm yellow that mixes with my reds to make vibrant oranges. Especially with M. Graham’s napthol red (PR188).
My Quinacridone Gold PO48 has been sitting unused for awhile now…
Char --
CharMing Art -- "Where the spirit does not work with the hand, there is no art." Leonardo DaVinci
May 29, 2014 at 3:15 am #1205812I rarely use anything else than PY 150 yellow(transparent yellow/translucent yellow). When it’s the only yellow in your box people can become a bit confused since it looks like you don’t have any real yellow.
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