Dual primary palette but my way

[@askialuna7717]

I'm also not a fan of nickel azo yellow, I haven't found any use for its pure form yet, that's why it's not in my main palette. I only use it for two mixtures of Nickel Azo Yellow and Quinacridon Rose PV19 in watercolour to mix a kind of bright red with an orange undertone which is also a bit brownish. I got it through a tube set from Paul Rubens, otherwise the colour didn't appeal to me so much that I would buy them individually. I usually use Green Gold PY129 as an alternative to mix green tones.

[@MrPigments]

Its an ugly yellow but its one of the key ways to mix a quinacridone gold color. I use it a lot because it mixes very natural colors but its not always on the palette.

[@awatercolourist]

Your videos are not weird 🙂. I like the information in them.

[@mrsupaconducta]

Being a paint junky, I would be up for a group buy to split the cost of getting pigments. Thanks for the videos, they are all so informative. I am really enjoying learning about the technical side of paint and can't get enough of your content. Keep it coming!

[@MrPigments]

@@mrsupaconducta I can actually make it happen, I have a lot of the contacts for these companies and relationships built up with them. I just don't know how many people would want the weird shit.

[@askialuna7717]

Good idea, I have sometimes already sorted pigments as a low priority on my list, because they are so expensive. I first use my pigments from one order once before I place a new order. I am still using mine from my last order from two years ago to try. As a result, it happened to me that I couldn't buy Quinacridone Orange, because it was further down on my list and by the time I ordered, it was already sold out :-/. If I'm part of a buying group, I can sort a lot of pigments up because they're not that expensive, and I don't have to buy such a large quantity.

[@MrPigments]

@@askialuna7717 quinacridone orange isn't that impressive tbh it's nice but transparent iron oxides sort of fit it's same spot

[@askialuna7717]

I mispronounced ultramarine for ages because as a child I thought it had something to do with the kind of trains that are called trams here in Germany. Ul-tram-arin instead of Ul-tra-ma-rin. I knew the name because the watercolour boxes for school often have colour names for the colours, between the rows.

[@MrPigments]

@@askialuna7717 I pronounce alizarin weird myself so I won't fault you for that. That's at least logical

[@askialuna7717]

Yay, a new video, I really like your way of explaining. Not too much information but also not too little and clearly explained.🙂

[@MrPigments]

Thank you! I try to make things easy to understand but it does come at a cost sometimes where that info gets a little screwed up. I need to make a corrections video sooner or later.

[@OldManRogers]

When you say you make paints, is that for personal use or commercial use or both? Are you a 1 man paint factory? With the greatest of respect, I kinda guessed the ASD thing however, you are an expert, with specialist knowledge, skills and interest and you are also articulate at communicating this to your audience who don't have the same knowledge and experience, it's cool to be passionate about things. Could 'dirty pisswater' be 'mustard' ? For ending "Thank you for watching, if you like this sort of deep dive into pigments please like, subscribe and maybe send to a friend. See you next time!"

[@MrPigments]

Mostly personal use. I know enough to calculate the math for pigments for acrylics but I still need to experiment a fair bit as I dont know the exact formulas for each one. People keep telling me to make my own paint line but I keep refusing due to cost and lack of profit potentials.

[@jc-aguilar]

Thank you so much for sharing this. Very interesting approach, I’m wondering about your take about some artists mentioning that Burnt Umber “sinks in”. For example Cynthia Howard has written the following on a blog post: “Burnt Umber can ‘sink in’ to the canvas making areas in the painting where it is present look flat and dull while neighbouring colours look rich. Sinking in can be remedied with the final protective layer of varnish which will bring consistency to the whole painting. However there are still the following considerations: As areas with Burnt Umber look duller and not as rich and dark as they will be once varnished it is difficult to colour match properly. To colour match these sunken areas they need to be ‘oiled out’ ie wiped with a drying oil like linseed oil. Adding oil to sunken areas makes the colours look dark and rich and closer to what they will look like once the painting is varnished. The strongest part of the paint is the ground pigment itself, not the binding oil (the oil is also the component that’s susceptible to yellowing over time not the lightfast pigment) so artists who care about the longevity of their work may prefer to avoid adding additional medium such as Linseed or walnut oil as much as possible. Photographs of the work may be required before varnishing is possible for marketing purposes etc which means the colours will not look how you intend. If varnishing is not done till 6-12 months when the painting is fully cured this may mean a long waiting period before it is possible to get images of the work that accurately show the colours. Sometimes varnishing doesn’t produce the flawless consistency we hope for which may require us to remove the varnish, oil out sunken in areas and attempt again. “

[@MrPigments]

Honestly because I varnish everything I've never noticed it but I know about it. I also follow smithsonian conservation rules when I paint canvases for the most longevity I can have not that my work will ever be famous nor is it good. Will I stop doing a base of burnt umber acrylics? Nope. I dont do a wash with oil I do it with acrylics which helps a lot with those issues, then I do oil over them after. As long as the acrylics arent glossy then its not a problem. but yeah the varnishes are a bit of a nightmare to deal with as tons of things can make from frost over when they dry.

[@jc-aguilar]

@@MrPigments thank you so much for the explanation and that makes sense about using an acrylic wash under the oil.

[@nicholascaldwell6079]

Love the M Graham oils, you can get them from like only one store in Melbourne, Australia but they stock it at a great price point.

[@MrPigments]

@@nicholascaldwell6079 oh I absolutely adore them and the company is also fantastic. The company is a tiny little thing with only eight employees and their MSA is a wonderful person as well who really likes to tell stories of his side of the industry which I'm all there for.

[@nicholascaldwell6079]

@@MrPigments That is really heartening to hear.

[@willswasteland]

Can you do a video on the way you make your own acrylic paints? I am currently trying to replicate the "True Color Wheel" and there just aren't paints available on the market for all 36 colors around the wheel in a single range. I currently use Golden Heavy Body paints that I thin myself for painting minis, but this has its problems as well. Thanks for your videos.

[@MrPigments]

thats been in the plans for a while funny enough so yes I can. Golden has an online mixer that I linked in my flesh tones video too. goldenartistcolors.com/mixer/acrylic its not perfect but its a good resource. I personally would switch to single pigment over the heavy bodied line entirely because its easier for me.

[@jc-aguilar]

Hello, I have another question for you. What is your take on PB60 and PV23? Anthraquinone/Indanthrone blue and Dioxazine Purple. I like that those colors are so dark, I would think they are great for mixing but I see mixed reviews about them.

[@MrPigments]

@@jc-aguilar so I'll tell you what once I get the other version of dioxazine violet I'll make a video about those two because I do know the reputation and I'll explain them as a whole but the short of it is I quite like them both and I use them quite frequently in both acrylic and oil paint along with watercolor. I like them because they're very potent color so I don't have to use a lot of it to get an effect that I want however the version of anthroquinone I like is The green shade which is more similar to Prussian blue but that is an insanely rare pigment that really doesn't pop up all that often. With the dioxyzine violet I much prefer the red shade over the blue shade but both of very good uses and mixed differently for different chromatic blacks with the blue shade being the best for a chromatic black. Generally speaking I like those really bold dark punchy colors that most people don't because I want those effects I want those colors in my work and if I can get a single pigment version then I'm going to be much happier in the long run than doing a mixture because I'm weird and like to paint out of the bottle with single pigment things as defiance towards the art institution, to which I am a product of. Art school taught me a lot but I also do a lot of things in defiance of what they taught me entirely because I hate being told what I can't do or should never do because it's a rule. Rules are meant to be broken within art and breaking them well is an art itself.

[@jc-aguilar]

@@MrPigments so cool that you are answering my questions, I appreciate it a ton. Those darn rules, they suck the life of having fun :). I like to learn about the physics and psychology, then play around with that knowledge. So often teachers provide the rules, without providing the why. If you are lucky that they provide the why, too often the answer is shallow. Looking forward to watch your video about those 2 colors and Ultramarine Violet as you mentioned in this video. I’m totally with you about those punchy dark colors. Except for the cleaning and they get everywhere :).

[@MrPigments]

@@jc-aguilar I have a lot of videos planned on pigments and ways to break the rules because honestly I hate these arbitrary rules that are there out of ego and tradition.

[@pbkobold]

How do you feel about cadmium pigments in oil? Marco Frisoni was working with opaque oils in one of his recent videos (cad yellow and orange when you pause and look). Most of my vibrant oil colors are transparent, so I've been painting grisaille or taking white/black mixing desaturation in stride. Shopping opaque oil colors, the cads seem really difficult to beat, PY184 being a notable exception. Should I cave and get some?

[@MrPigments]

@@pbkobold I use cadmium pigments all the time however using them without the correct kind of varnish it's a bit stupid. You'll want speciality automotive varnish like kbs satin with them. Cadmiums don't really "shine" well in matte paint, cadmium red tends to desaturate heavily.

[@pbkobold]

@@MrPigments Thanks mate. Keep having fun with the channel!

[@jc-aguilar]

I wanted to add that there is more than just applying the paint. If you paint something that will be touched, make sure you varnish it very well. 2 extra concerns that I have about cadmium pigments, or any toxic pigments. First: The water used to dilute the paint or clean brushes. People get lazy very soon with that water and it can end up in the reservoirs. Obviously less of an issue with Oil paints, unless you are using water mixable oils. Second and my personal biggest concern: most places where people work on mining/sourcing those materials have very bad protections for the workers. The situation is better for companies creating the actual paints for artists but I have my doubts about the companies creating the pigments. Sadly, the original state for the pigments is dust which is the most dangerous way to handle pigments, so it’s more dangerous for the workers on those companies. For those 2 reasons I avoid cadmium and cobalt pigments, I feel that I can manage not eating them :), and use gloves!

[@MrPigments]

@@jc-aguilar so ingestion of cadmium and cobalt really aren't that bad however the worker conditions are. Their environmentally bad however towards the user they're not that bad. Cobalt blue is supposedly used in children's finger paint a lot because it's less problematic than other blues. I use cadmium because I have a ton of vintage cadmium here so I might as well use up the stock, same with Cobalt. Because I make a lot of my own paint I might as well just use up what I have.

[@jc-aguilar]

@@MrPigments totally, I think if you have it, it’s best to use it and not waste the hard work of people making them and your hard earned money.

[@ignitedxblaze]

how do we not die from cobalt and manganese, asking for longevity (to paint more really)

[@MrPigments]

@@ignitedxblaze neither of those are toxic within modern paints. Cobalt is relatively safe to use and it's actually used in children's paints all the time. Manganese blue isn't in production anymore and the worst that would ever do as a paint is give you a minor rash after a large exposure.