Thursday, 28 December 2017

Quinacridone Gold Hues

Quinacridone Gold could be considered a non-essential colour, but it very quickly became one of my personal go-to favourites when I first tried the Daniel Smith PO49 version back in about 1995. I think it was the first company to produce the colour, and I loved not only the way it mixed, but also the gorgeous glow it could add to a painting. I've also tried a PO49 version from Winsor & Newton, but otherwise only hues from other manufactures.

It is brighter than most earth yellows, but more neutralised that most warm yellows so is a neutralised warm yellow. It's perfect for making the gorgeous dull greens of the Australian landscape.

This year saw the end of the world's PO49 supply that Daniel Smith bought up about 17 years ago, when the car industry lost interest in the beautiful pigment and production ceased. The last batch was produced in September. Though I did see some available in dry pigment form in New York...(see edit below)

Since PO49 has run out, I thought I'd post up a sample of different versions for comparison.

The first has the yellower Nickel Quinacridone Gold from M.Graham, followed by the new (2017) Schmincke Quinacridone Gold Hue and the QoR Quinacridone Gold. PY150 is a perfect base for this colour hue and it appears in all versions.

M.Graham Nickel Quinacridone Gold, Schmincke Quinacridone Gold Hue, QoR Quinacridone Gold.

Next are Quinacridone Gold Hue from Daniel Smith introduced in 2015 for 5ml tubes and sticks, and now used in 15ml tubes. This hue was used in the mixes (including Sap green and Undersea green) from that time instead of PO49. Next shown are the genuine PO49 from Daniel Smith and the genuine PO49 from Winsor & Newton (also no longer available).

Daneil Smith Quinacridone Gold, Daniel smith Quinacridone Gold (PO49), Winsor & Newton Quinacridone Gold (PO49)

And finally the Winsor & Newton three pigment hue which looks ok in this sample but is often very dull, the three pigment Sennelier hue and the deeper and more orange Da Vinci hue.

Winsor & Newton Quinacridone Gold, Sennelier Quinacridone gold, Da Vinci Quinacridone Gold.

They are all very similar, though the W&N is less bright due to the PV19 and the Da Vinci is deeper - almost like a PO48 Quin Gold deep. As always, it's hard to show on the screen.

My favourite mix is PY150 plus PR101 (DS transparent red oxide, DS Burnt Sienna Light or W&N burnt sienna) that Schmincke uses, though PR206, PO48 and also work.

The world hasn't ended, and just as we survived the end of PY153 and other gorgeous pigments, we'll survive the end of this one (though I admit I started hoarding tubes of PO49 a while ago....)

I'll also show these pictures on Instagram (Janeblundellart) where they may look slightly different.

Edit January 2018 - The dry samples I had noticed (mentioned above) were from Guerra Pigments in New York. Thanks to RiverdaleWatercolor who commented below, here is a sample of the Guerra PO49 pigment compared with Daniel Smith PO49. Apparently this took some hours to mull to get smooth enough for watercolour, but there is also a dispersion available which may be more suitable for home made watercolours. It certainly looks beautiful on the screen if you click on the link.

Daniel Smith PO49 (left) compared with Guerra Pigments PO49 (right).
As far as mixing is concerned, the Guerra pigment behaved more like a raw sienna.

Edit March 2018 - Riverdale watercolours sent me a sample of her hand made Quinacridone Gold made with the Guerra dry pigment and it's quite something! Not what I expect for PO49, but very beautiful with extreme granulation. It is almost a burnt sienna colour.

If you are using my ultimate mixing set, you can also create a very nice Quin Gold hue by mixing hansa yellow medium with burnt Sienna. However I think the DS hue is close enough to still be a useful colour in the palette - it will still mix gorgeous greens and provide a beautiful warm glow.

Happy painting!