QoR are very different from traditional watercolours and feel different to paint with. They need to be used more liquid and will often explode on a damp paper as they must have a lot of oxgall or other dispersing medium. They can be hard to control. On the other hand, they have a very little to no drying shift so remain very bright, and are largely very finely ground pigments so even the cadmiums are less granulating than the same pigments in other ranges. My initial reaction to them was somewhat critical as they didn't work the way I like watercolours to work, but using them again and fresh from the tubes, watching the colours explode onto the wet wash and seeing what they could do if you want to play with them, I think they add another dimension to the watercolour world. I think it is good that all watercolours are not produced the same way. We are then able to pick and choose those that work the way we each wish to.
I really feel that these are best used fresh from the tube. They don't rewet well enough to work as a travel watercolour as far as I have explored, which makes them less portable. But this is true of M.Graham and Sennelier tube colours too and suits the way some watercolour artists work in the studio.
These yellows are similar in hue, apart from Nickel Yellow which is always a very weak pigment. the cadmiums are really finely ground and are very beautiful.
|QoR Watercolours - Nickel Yellow, Cadmium Yellow Primrose, Hansa Yellow Light, Bismuth Vandate Yellow, Cadmium Yellow Light.|
These are the mid to warm yellows. Indian Yellow has the look of some of the Quinacridone Gold hues and is slightly brighter than QoR Quinacridone Gold.
|QoR Watercolours - Benzimidazolone Yellow, Cadmium Yellow Medium, Aureolin Modern, Nickel Azo Yellow, Indian Yellow.|
This is an unusual pigment for Quinacridone Burnt Orange - it's usually called Brown Madder or Quin burnt scarlet. Quin burnt orange is usually more orange - once again it is important to know the pigments when reading a paint name to have a better idea what to expect.
|QoR Watercolours - Permanent Gamboge, Quinacridone Gold, Quinacridone Gold Deep, Quinacridone Burnt Orange, Cadmium Yellow Deep.|
Transparent Pyrrol Orange is gorgeous - though different from the Daniel Smith paint of the same name. Pyrrole Red Light is a lovely pigment for a warm red in a classic split primary palette.
|QoR Watercolours - Quinacridone Red Light, Pyrrole Red Medium, Cadmium Red Light, Cadmium Red Deep, Pyrrole Red Deep.|
These blues all painted out nicely.
|QoR Watercolours - Indanthrone Blue, Prussian Blue, PHthalo Blue (Green Shade), French Cerulean Blue, Manganese Blue.|
Viridian is often a weak pigment but is quite strong in the QoR range.
|QoR Watercolours - Cobalt Teal, Phthalo Turquoise, Cobalt Turquoise, Phthalo Green (Blue Shade), Viridian Green.|
The Cobalt Green is made from a lovely PG26 pigment rather than the PG50 - deep and granulating usually. I found it a little hard to get a smooth wash. Terre Verte is always a weak pigment but perhaps would be stronger fresh from the tube? These versions of Sap And Hooker's Green are very usable as convenience colours though I'd prefer two-pigment rather than three-pigment mixes if possible.
|QoR Watercolours - Permanent Green Light, Cobalt Green (not shown), Hookers Green Sap Green, Terre Verte.|
These convenience greens are also interesting, though have many pigments. Buff Titanium is one of my favourite Daniel Smith colours and QoR is the only other source available commercially. However, this version has little granulation though is a lovely creamy ecru colour.
|QoR Watercolours - Chromium Gren Oxide, Olive Green, Bohemian Green Earth, Green Gold, Titan Buff.|
Many of these were painted from dry samples which look weaker. I really think QoR colours need to be used fresh. Raw Sienna is ideally made from PBr7 rather than PY43, which is yellow ochre.
|QoR Watercolours - Naples Yellow, Yellow Ochre (Natural), Transparent Yellow Oxide, Raw Sienna (Natural), |
Transparent Red Oxide.
Lots of single pigment earth colours. Transparent Brown Oxide was tested from a small dry sample so may be stronger fresh from the tube. You can really see the difference.
|QoR Watercolours - Mars Orange Deep, Venetian Red, Burnt Sienna (Natural), Transparent Brown Oxide, |
Burnt Umber (Natural).
I like the use of natural earth pigments - they are not mixed with anything else, and the siennas and umbers are nearly all made with the appropriate PBr7 pigment. Raw Umber Natural is especially dark and rich. Van Dyke Brown is far warmer than usual.
|QoR Watercolours - Rae Umber (Natural), Sepia, Van Dyke Brown, Carbon Black, Ivory Black.|
I am always delighted to see a mixed grey made without the deadening effect of a black pigment. Neutral Tint contains a yellow (yellow oxide), a magenta (quin magenta) and a blue (phthalo blue) pigment. I think this would be an interesting watercolour for some tonal studies. I last tried Ardoise Gray from a very small sample dot but it is a very gentle colour from the tube too.
|QoR Watercolours - Payne's Gray, Neutral Tine, Ardoise Gray, Chinese White, Titanium White.|
Update - And here are the three Iridescent colours. They are difficult to show but since I have them it gives an idea. They are not particularly strongly tinting.
QoR are now available in a 12 colour palette of standard 1/2 pans. See the website here. The colours include Cadmium Yellow Primrose, Nickel Azo Yellow, Transparent Pyrrole Orange, Pyrrole Red Medium, Quinacridone Magenta, Dioxazine Purple, Ultramarine Blue, Phthalo Blue (Green Shade), Sap Green, Transparent Brown Oxide, Burnt Umber (Natural) and Payne’s Gray. The website claims that they are easier to re-wet, which would be a great step.
|QoR Mini 1/2 pan palette, from the website www.qorcolors.com|