Oil & Acrylic Yellow Paints!

[@renatobfa]

Before I forget, two things I would like to say also. First, thanks for the effort, this takes work and is always helpful for the art comunity! Second, as a suggestion for perhaps future videos, a thing that I find very helpful besides tints and transparecy, is to mix the color with a little bit of regular ivory black ( 2/3 color, 1/3 black ? ), to see how transparent it really is and how the hue shifts. I've found a great amount of surprise in doing this test with some pigments. PV19 vs PR122 for example, PR122 i've found much more transparent. PR254 too is semi-transparent when applied with a brush, but mix a little black and it goes black very quick, so also surprisingly transparent. Thanks again!

[@leedavis-art]

Well you're very welcome, and thank you for the kind words! This is definitely a labor of love. I needed a way to collect all the info floating around in my head over the years - so I make these videos! 😅 Figured I might was well pay-it-forward and have this knowledge available to other artists, hopefully someone will also find it helpful. Actually, I dropped a video specifically on black paints just a few weeks ago! kzbin.info/www/bejne/sIawd5qFec2cgqM I mix in a few colors into each black to illustrate the slight variations in the shades they produce. The variations in blacks (relative to each other) is quite fascinating! Hope you check it out. Cheers!

[@pjjmsn]

Hi Lee, I picked up some MH Yellow Lake Deep as a result of watching this video, and I just toned a canvas with it. I am amazed how much tinting strength it has - it doesn't take much! Thanks for rhe recommendation. I think you said you use it to tone canvases too. It is a nice shade. I hope it will help provide the painting with warmth.

[@leedavis-art]

That's great to hear! Oh yes, it is a very strong pigment, but it's my go-to for toning canvases unless I'm working on an unusual effect. Hope you enjoy it!

[@pjjmsn]

@@leedavis-art Thanks Lee! BTW, have you tried Michael Harding qinacrodrone gold? I say a Vickey Norman video on it and it looks quite interesting but I haven't gotten it yet. If you have it, I am curious of your opinion.

[@leedavis-art]

@@pjjmsn I do have it and it's a really lovely topaz color in a glaze. Perfect if you were to do something like a grisaille gemstone. Even though it appears earthtone out of the tube it's pretty high in tint strength and saturation, being a mixture of PY150, PR209, and PV19. I've not found a use case for it in my current work yet. Maybe in the future though!

[@pjjmsn]

@@leedavis-art Thanks for your perspective Lee! Interesting. I wasn't aware that it was a mix of 3 pigments. It is also true with me that some paints fit right in with what I am doing and get used over and over again, while others never get used because when I try, they don't work in terms of harmonizing with the others. Some paints, although beautiful colors seem to be oddballs that don't play well with others. Maybe this is one of those. I wonder if that happens more with paints that are mixtures. Although I do have some mixtures that work well. I might pick it up in the future out of curiosity and to add to my collection which is fun, in and of itself.

[@leedavis-art]

@@pjjmsn Most times - less is more! I have hundreds of tubes collected over the years but my main workhorse palette is the "tried and true split-primary". It's also easy to remix a pile when you only have 6 colors to work from (plus black and white). I have a limited skin tone and sea/landscape palette as well, but they complement the 6 colors and I bust them out only when the project calls for it.

[@4h844]

Nice work, lots put into this video 👍

[@leedavis-art]

Yes, this series has been a labor of love on paint colors. I appreciate your kind words! 😊

[@renatobfa]

👏👏👏👏👏👏👏

[@leedavis-art]

Cheers!

[@renatobfa]

@@leedavis-art Hey Lee, how is the consistency of the Gamblin Indian Yellow? I have the WN Winsor Yellow PY74, which I find smooth and creamy, and mine is touch dry (thin film in a non aborbant plastic) in about 3 days. But I'm not sure which of those I find more useful, PY74 or PY83. PY74 is cooler and make saturated greens, but it is very rare that i need those greens, and I find myself needing those types of rich yellows that draw towards orange more. Also, PY74 + Black makes a surprising cool green. I think PY83 + Black would be a little warmer, but i'm not so sure about how much. So my idea would be to pair one of those with yellow ochre and then leave the other one for a special case. Which one would you prefer to be in the 'regular palette' if you had to choose only one, PY74 or PY83 ?

[@leedavis-art]

Hm, lets see … you could use Arylide Yellow (PY74) and Diarylide Yellow (PY83) in lieu of a the more traditional (and opaque) cad yellow light/med in a transparent split primary pallet. Or alternatively, you could under-paint with more traditional colors then glaze the PY74/83 in the higher layers of the painting. Using the benefits of the transparent colors. Even though I usually paint towards more saturated, when mixing greens I throw in a little cad red light, or transparent red oxide (PR101), depending on the value, because greens can turn "acidic-looking" real quick! Another trick I recently came across when painting greens is starting your pile of paint with chromium oxide green (PG17) and mixing from there. Many reasons but … 1) It's opaque - phthalos and ultramarines are transparent 2) it's a middle-value pigment - again, phthalos and ultramrines are vary dark in value strait out of the tube. 3) it's very forgiving when you mix in yellows and blues. - again, pthalos and ultramarines have very high tint strength, *especially* the phthalos! I understand landscape artists have been using PG17 with great success for years! I've only recently started deconstructing landscapes in earnest and applying them into my storytelling … but … here I go just rambling on! 🤣 Your questions were: 1) Consistency of Gamblin PY83? I'd say it's fairly middle of the road viscosity, not to thick not too creamy. I find with most oil paint from reputable manufacturers I don't need to mess with the recipe too much in most cases. Sometimes the tube will get a hole it it and then it will start to dry out your paint. However, if a paint is too thick I'll get an eye-dropper of linseed oil or other medium and mix in one or two drops. If it's too thick I'll leave the paint pile on a piece of cardboard for 10-20mins to let the cardboard soak up some of the oil. Easy peasy! 2) If was if I had to only pick one PY74 or PY83? I'd probably go with the PY74. It's lighter in value and easier to move to orange than the PY83 is to move to yellow. PY83 is very saturated and deeper in value strait out of the tube. I'd keep PY83 for glazing IMO. Cheers!

[@renatobfa]

@@leedavis-art Hummmm.. All makes much sense, thank you for the comprehensive response. I think you are right, about all. The PG17 is a good color that I never came out to use yet. I find that earth colors sometimes are great to keep values and saturations in check, because finding subtle changes with phtalos and hansas and cad. red is like trying to parallel park a sports car hahaaha. But, other then that, if you are lazy like me, sometimes I only put out yellow ochre and make it whatever earth color i need with other potent colors like PG36, PR254, PY74, and so on. Its very effective too. But, yeah, if I had money to throw on paint and no fear of wasting some of it, i'd probably put out Yellow Ochre + Terra Rosa + Chromium Green Oxide as my 3 opaque earths, and leave the potent transparent pigments on the other side to ajust those 3. About The PY74, you are right. Its the logical choice, that light value is unmixable and, for this reason alone, it should have a main place. I think I dont really need PY83 and perhaps is just one of those impulses to buy more paint, even though I perhaps already have paints here to last about 3 years heheheheh. Thanks again Lee and keep up the videos

[@renatobfa]

Lee, regarding the Gamblin India Yellow PY83 , how do you find this paint straight from the tube in terms of how stiff/loose it is, how dry or more fluid it is, and if you can see some texture on the paint or it is grinded to a small particle ? I ask this because i've got a tube of Gamblins Sap Green (PY 83 + PB 15) and the texture on this paint is kind of weird because I can see some individual spots on the paint, like it has some bigger particles mixed in with the smaller ones... Not that it a big deal or anything, but I can see it and would like to know if the pure PY83 shows this property the same way... Also, I ask about PY83 stiffness and "dryness" because I have a small tube of W&N India Yellow (PY101+PY139) and it is very dry and very stiff (I prefer smooth and fluid paints). Thanks in advance and sorry about any bad english!

[@leedavis-art]

Oh no worries, your english is fine. 👍 Consistency of Gamblin PY83? I'd say it's fairly middle of the road viscosity, not to thick not too creamy. It's not gritty at all. Sorta like a cool butter. The only oil paint I've used that is consistently "fluid"-ish out of the tube in viscosity is Vasari (www.vasaricolors.com) . They're *really* nice quality, but pricey 💰. I find with most oil paint from reputable manufacturers I don't need to mess with the recipe too much in most cases. Sometimes the tube will get a hole it it and then it will start to dry out your paint. However, if a paint is too thick for my taste I'll get an eye-dropper of linseed oil or other medium and mix in one or two drops. Easy peasy!

[@renatobfa]

@@leedavis-art hummmm thanks helpful to know Lee , thanks. I think ill buy a small tube of the py83 and give it a try, then. I also use some walnut oil as medium , just a little bit makes the paint loose. I tend to prefer looser out of the tube just for convenience sake,but as you said, cant go wrong with good reputable brands 👍👍

[@leedavis-art]

Sure thing 👍 Fortunately PY83 a relatively inexpensive paint. Definitely Give it a try. If it turns out it's too strong of a color out of the tube you can always bump up the saturation of other yellows with it. It's a strong tinting pigment.

[@renatobfa]

@@leedavis-art great, yeah, i ll give it a try. The main goal for py83 is to help me make natural dark greens / modulate between dark green, dark yellow and dark orange, and for that i was using sap green with perylene red, but the Gamblins sap green had that weird tendecy i explained, so ill try to substitute it for py83 , which feels more helpful overal

[@leedavis-art]

@@renatobfa I really like PY83 for greens. Fwiw, my favorite premade "sap green" tubes are *Utrecht Prussian Green* (PB27+PY150) in oil and W&N *Perm Sap Green* (PY83+PB15:3+PBk9) in acrylic. Oh, I bet PB27 and PY83 would make a really nice green. I'll have to play with that sometime.

[@pjjmsn]

Do all opaque colors get chalky when mixed with T white? I have been watching your videos of the various colors and I think I noticed the pattern that the opaque colors get chalky when mixed with titanium white and the transparent colors don't. Is that correct?

[@leedavis-art]

It really has more to do with mineral vs modern pigments. Gamblin goes into great detail about the differences on their blog here: gamblincolors.com/mineral-modern-colors/

[@pjjmsn]

@@leedavis-artThanks Lee, an excellent read. Quite interesting! It is great that we can have the benefit of having both pigment groups. A couple of things I noticed was that titanium white was not listed in either category, I assume because white is not a color? But given the way it behaves I assume it is mineral. The other thing that suprised me is that synthetic transparent red oxide is a mineral pigment that to me behaves somewhat like a modern one. I mix it with pthalo green for lanscapes, but recently switched to viridian and have been getting better results. I want to compliment you again on your excellent videos which I binge watched yesterday.

[@leedavis-art]

Thank you! 😊 I'm happy to hear you've found these videos useful. White and black make tints and shades respectively for all colors, so that might be why they're not included. Synthetic transparent red oxide is PR101, but PR101 can be various brownish yellow to orange to red shades with yellow to violet undertones. And it can be transparent or opaque! It all depends on the manufacturing process and particle size. Either way, it's usually very high tinting. You can check the properties of pigments here: www.artiscreation.com/Color_of_Art.html

[@LittleMew133]

How about cad yellow light?

[@leedavis-art]

Cadmium Yellow Light usually falls between the Cad Lemon and the Cad Medium. But every manufacturer has slight variations of what their cadmium lines hue actually are. So give them a test. 👍

[@didgeridooblue]

No PY3?

[@leedavis-art]

Maybe in a Yellow Vol 2 Video 😉

[@MrKongatthegates]

oil and acrylic are not the same tho

[@MrKongatthegates]

I assume these are acrylic

[@leedavis-art]

Correct! The mediums are different, but the *pigment* in the mediums are the same. These are all oils but the properties (transparency and tint) will be very similar in acrylic. 👍