Thanks for the kind words! Glad you enjoyed the video! So, yes, there is quite a bit that cadmiums bring and it does seem wise to use them carefully. Personally I tend to think in terms of specific colors/various cadmium pigments (PR108, PO20, and PY35) rather than grouping cadmiums as a whole. As far as their necessity, it is a subjective question that will depend on each individual painter's painting practice. In brief, it comes down to lightfastness and opacity in those areas of the color wheel. In terms of individual colors, there are some areas where Pyrrole reds (PR254, PR255) can do an ok job of imitating a cadmium red (PR108), but there is a loss of opacity with the Pyrroles. The two pigments (PR108 and PR254) have slightly different mixing behaviors as well. However, it has been extremely difficult to find replacements for Cadmium Orange (PO20)- the high chroma, its mixing behavior, its lightfastness and its opacity are stellar. Cadmium yellows (various PY35s) are valued for opacity, lightfastness, mixing, and high chroma. Several accomplished painters have identified the need for cadmiums in order to reach the highest chroma areas of the gamut in oil paint. As for lead white, that is a bit different. We are not toxicologists so please consult some other sources, but it seems to us that there are different levels of toxicity, and lead white is more serious. However it can form a stronger paint film that can last- George O'Hanlon of Natural Pigments has a lot of resources on this (as well as on cadmiums). Lead white is a more transparent white than Titanium, and it is also warmer. Lead doesn't tend to "spin" the hue of a mix as strongly as Titanium does. Basically none of the white pigments on the market are ideal and all have their benefits and drawbacks.

Just guessing it's due to lack of demand-- also there were a whole host of mergers and acquisitions in the world of pigment manufacturers that were mentioned by a talk that Golden's Senior Formulator gave recently. Still surprising that it is actually being phased out!

It totally does

I'm not sure, but let's go with something between #570101 and #A75563

@@thepaintlist thank you

Oh interesting! Yes it is a lovely red. I'm not sure how it compares to Utrecht since I tend to steer clear of Napthol Reds. With a lot of archival-oriented work unfortunately it is not quite lightfast enough for my liking though I used to love it in portraiture. This tube was added to our paintbox more for science than for art-- to test just how reactive it is in certain mixing whites (like lead). So we bought PR112 in a couple of different brands. Golden has published some research that goes into PR112 and mixing whites in greater depth: justpaint.org/astm-lightfastness-testing-for-oil-paints/ (see the section "Reactivity of Lead Whites"). This lined up with what we had observed-- we had also noticed that it is really reactive in lead white. It also is not so good in zinc white but hopefully not too many people are using it that way anyway. I love how Napthol tints though -- it's hard to get anything quite that punchy in certain pinks!

@@thepaintlist Thank you so much for taking the time to share this wonderful information on Napthol Red. I tend to like the less lightfast colors, it is not on purpose though 😀 I too love how it tints and mixes with the Williamsburg Neutral Greys. For the longest I was totally loving zinc white, my lightfast instincts are not there yet. 😁. Your passion for color is contagious.

It's interesting- it looks deeper on my screen than in real life (color balancing is so weird) but in real life it is not all that different than Winsor and Newton Artist line's Cadmium Orange. The WN is ever so slightly yellower orange... the Gamblin Deep may be a tiny bit redder and higher chroma, but even though they named it deep it's pretty close to the W&N in the scheme of things. The WN has a bit more yellow in its tints as well. It's just that the regular Gamblin Cadmium Orange is like a yellow orange, so it looks like they named this Deep in comparison :D

@@thepaintlist I do love my Cadmium Orange to be on the yellow spectrum because I don't want it to tint pinkish. I currently have the WN on my palette,, so this intrigues me because I am not a fan of the oily texture of the WN Cadmium Orange. Thank you again for sharing your knowledge.

Yeah it's really high chroma in masstone

@@thepaintlist I will definitely investigate it. Thank you so very much!!!

Yep, agreed. It's somewhat similar to Schmincke Norma actually. It's weird and hard to describe but I know what you mean. That is interesting about the mined pigment. I just took a look at a comparison panel that we'll hopefully publish soon- Michael Harding and Maimeri Puro have this brighter, higher chroma and higher value Burnt Sienna which are at a more orangey note whereas Gamblin's doesn't hit those chromas in tints.

Yes! I have come to appreciate those mixes that are high chroma but slightly desaturated. It's not quite the Reilly 8 for green grass in sunlight but it is a great color if a person isn't expecting spectral green. Backlit leaves and grass is a perfect description!

Permanent Orange is an interesting color! Yeah I know what you mean about Titanium. It is so weird and so annoying. George O'Hanlon shared some theories on this. Basically what I gleaned was that it is not yet fully understood, and may have to do with the small particle size that Titanium is being manufactured at, and it may also interact with other small-particle pigments within a flow inside of the drying paint film. It might be worsened in thicker applications and with slower-drying oils, such as safflower. We'll do a video on just titanium as a pigment. It is a weird phenomenon.

Thank you so much!

Thanks, this comment made me curious-- and so I got mine out to try with smoothness in mind. I can be a little less sensitive to grit (for example, I like the French and Italian earths for different things). So, I would say they do have a gritty grey-- the French Ardoise Gray, which has grit to it, but the N8, N6, N4, N2 set struck me as pretty smooth. So that is fascinating to hear they were grittier than what you would use. Also I noticed these grays aren't on Williamsburg's chart of textures, so I would be curious how they classify them as well. Though they feel much smoother than the French and Italian earths-- that we can say! :D I would be interested to hear your recommendations for your favorite smooth earth tones because we do have people asking for the least gritty earths from time to time. Thank you for the comment!

Hi, and thanks for your kind words. The Williamsburg Cadmium Orange is a little yellower in hue than W&N Artist Cadmium Orange and looks a bit brighter in lightness as well. The Williamsburg has a little bit different feel with the palette knife as well. Both are good tinters.

@@thepaintlist Thank you so much for your prompt reply, Melissa. Your answer was perfect because I am looking for something that is a true orange (as on the color wheel). Is there a brand that you love the most for that? I am not happy with the consistency of the W and N.

@@TimothyJohnLukeSmithPSA Ooh, that is a good question. It depends on whether red-oranges or yellow-oranges are what you're looking for. We found that the hues of the cadmium oranges sort themselves into clusters or groups-- some red orange ones and some yellow-orange ones. I actually love cadmium orange so much I paint with at least four of them. With the cadmiums I like a broad range of high chromas and a wide range of consistencies. (For example in the red-oranges, I use both Old Holland for a very stiff paint or Rublev for an almost liquid paint- they are similar red-oranges but they vary in their viscosity). Also I've read that our eyes are really sensitive to differences in those wavelengths, and I find myself very picky about getting the rainbow balanced through the progression of oranges (the progression from red to yellow has to have the right series of notes, which is hard to get, sort of like a musical arpeggio). Pictures are so imperfect on a screen but perhaps one can get a sense of some of the hue differences from this review on Cadmium Oranges: www.paintlist.com/review/6.

@@thepaintlist Thank you so much for sharing your experience and expertise with me. I am going to read that wonderful article you sent me! I am a portrait painter and Cadmium Orange is an important color on my palette. I am so happy you created this channel and I share your videos on my Facebook page (4.8K Followers). What you are doing is so important.

Yep it's PY35. www.paintlist.com/paint/oil/911

@@thepaintlist yeah i know the colour does it ACTUALLY have the element Cadmium or is it just named that

@@anthonyvaldes6070bit late but yes it has cadmium in it, some brands still put real lead in lead white as well

Yep, I know a lot of people love them but I tend to feel the same way.

@@thepaintlist Yeah, to me, Vasari is a lot like Apple... a boutique brand that is WAY overpriced. Still, I love their colours, but I would rather buy Old Holland or Michael Harding. Old Holland, while expensive, is a much better deal because you get a very firm tube of paint that is packed with pigment and you can add linseed oil to make it easier to use if necessary. I would hazard to guess I would have to buy three Vasari tubes to get the same amount of pigment in a singl Old Holland tube.

@@davidc1878 Old Holland is great. It is very stiff. Their cadmiums are such high tinters, especially their Cadmium Red Light-- I love that. Also their cad orange, cad yellow extra deep, and the other cad yellows are all favorites. I tend to feel the same way about their cadmiums- it always felt worth it just because they are so concentrated. Over the years I've come to like having different consistencies right out of the tube and love having a diversity of brands on hand. I recently did some Plein Air, and it was weird to find that the Old Holland cads were not my favorite for that context (for different reasons, neither was Vasari). Normally though OH cads feel top tier.

​@@davidc1878 Thank you! You have touched upon the very issue I took have been studying in more detail recently. I am very curious that Vasari use alkali refined linseed oil whereas Old Holland are advocates for 'extra virgin', cold-pressed linseed oil which despite having a tendency to yellow a little bit over a considerable amount of time in the end is probably the best choice for its longevity and strength. Many thanks and my best wishes! ✨🌞✨