In oil I have PY32, Strontium Yellow paint. I can drop everything except it. Even Yellow Ochre, I use so much!
Pigment of this paint comes from Aerospace industry. Therefore, it has aircraftsman quality with affordable price

Oh, I don’t know, maybe some form of yellow iron oxide…

It would have to be the right one though, since there’s so many varieties. Some are too dull to work like that and are more brown than yellow. Transparent yellow oxide, a bright mars yellow, or a lemon ochre can all easily be a sole yellow.

A few days ago I was building a limited earth palette to use for the next while and decided to choose Rublev Italian yellow earth as the yellow.

… I now pronounce it indispensable!

So close to agreeing…
I worried about this half the night. Whole life without YO and PY110?
Why, Patrick, why?

But it would be nearly impossible to live with YO only.
I think PBr 7 or 24 would be passable( and is not under the yellow restriction)

A cad would lock out transparents, so probibly Bismuth 128 or py154 or 184.
I think you would get the most bang for the buck from these semi/full transparents.

FINAL answer: PY154 bright, semi transparent, mixes clean, and lightfast.

Brad

PS indian yellow py110, I love you so much, Im sorry: Its not you, its me.

Well, if I had to select only one Yellow with which to create paintings for the rest of my life, it would definitely be Winsor & Newton’s Transparent Yellow 653. Its pigment identification is PY128, and it is called an AZO Condensation.

Transparent Yellow is better for creating dark mixes than any opaque Yellow. And, this particular Yellow is also close to being a true, scientific primary color, because of its location on the color wheel.

Transparent is “good”. Primary is “excellent”. Both contribute to its desirability, in terms of its being the only yellow of choice.:thumbsup:

I consider Cadmium Yellow Light (PY35) to be most important. But Yellow Oxide (PY42) is very important for painting things that have to look realistic, so it comes in a close second. I’m not into glazing (sorry, Bill!), so I don’t consider transparency to be quite so essential.

Wow…so many here would go with a transparent yellow oxide. I’ve only used ordinary, opaque yellow ochres, but the modern, highly transparent ones are surprisingly chromatic in undertone and tints with white….it’s just [I]wrong[/I] that you can get a yellow that bright, from essentially, rust.

Patrick, I learned a little more about this mystery when purchasing pigment (a different, darker shade of PR 122). It turns out that Transparent Yellow Iron Oxide (PY 42) is “micronized”, i.e, it’s cut into very small particles using lasers. That’s one of the reasons it behaves similar to a lake and it is so bright. The other reason is purity: while a high-quality natural iron oxide will have, at most, 40 percent of iron oxide in its composition (say, a “legendary” Italian Ochre), synthetic iron oxides can have a purity as high as 99 percent of iron oxides!

I consider Cadmium Yellow Light (PY35) to be most important. But Yellow Oxide (PY42) is very important for painting things that have to look realistic, so it comes in a close second. I’m not into glazing (sorry, Bill!), so I don’t consider transparency to be quite so essential.

The importance of transparent oil paints is not based upon glazing. To the contrary, I use all sorts of colors for glazing–both transparent and opaque. The advantage of transparent paints is the colors that can be created with them, that are either impossible, or difficult when using opaque colors.