Actually I have been using perylene maroon in my tricolor work for a while now with indantrone blue and nickel azo yellow (PY150). It gives a wonderfully balanced prints with palette shifted to a nice and expanded range of greens and browns. No screaming pinks or reds are possible in this combination. Indantrone blue gives the gum prints a punch, not quite possible with thalo blues. The effect is similar to using cyanotype as a blue layer, but for me it is easier to control as it is all gum. |
I am intrigued by the comments on the PR175 pigment. When I looked at the printed (or on line catalog from Daniel Smith) it looked so much like perylene maroon, that I did not bother to try it. Now I want o try it to see how it works for me.
I just came back from a trip to Alaska and have plenty of pictures to print. My favorite were taken in a garden in Anchorage and are close-ups of flowers. As I was taking pictures I was already putting names of pigments to be used to bring the colors of different flowers to life. This will give me an oppotrunity to drag out little used pigments for those saturated deep yellows, hot pinks, magentas, shades of purple and violets, etc.
> Date: Tue, 19 Aug 2008 11:02:11 -0700
> From: firstname.lastname@example.org
> Subject: Re: P. Maroon
> To: email@example.com
> Rajul, If you were asking about perylene maroon as a substitute for
> alizarin crimson, as per a recent thread, then I'd urge even more
> strongly to consider PR 175.
> I just remembered I have a page on my site from several years ago
> that has rough paint swatches of some different "magentas" that I
> found recommended for tricolor in a number of different gum texts ,
> along with my comments about them. If you'll look at the other
> swatches in comparison to the alizarin crimson, it shouldn't be too
> hard to see that the PR 175 is the closest match to alizarin
> crimson. I wasn't trying to match the swatches in value, so the deep
> scarlet swatch is deeper and richer than the alizarin crimson, but a
> drop of water would probably make them a perfect match, as the hue is
> relatively close.
> Perylene maroon wasn't included in that sample of swatches, since it
> wasn't recommended by any of the texts I looked at, but take a look
> at handprint's swatches of PR 179 for a rough comparison.
> I've been remodeling my website off and on for the last couple of
> years, and the galleries are still offline, or I'd show you a bunch
> of tricolors that were made using PR 175 over a number of years,
> but for the moment, just look at the apricots on the main page;
> that's a typical example of my tricolor work using PR 175 as the
> "magenta." It is a lovely deep rich scarlet that combines
> beautifully with other color layers to make rich jewel-like colors.
> Hope any of that is useful,
> On Aug 18, 2008, at 4:45 PM, Katharine Thayer wrote:
> > Odd, it's listed in the new DS catalog, but I don't find it on the
> > page where the colors are shown in swatches. Well, never mind, I'm
> > not questioning your information, just puzzled why they didn't take
> > it out of the catalog.
> > W&N and Rowney also market a Perylene Maroon (PR 179) but if you
> > need something in the Daniel Smith line, I'd suggest their PR 175,
> > Deep Scarlet, which for years and years was my favorite red for
> > tricolor gum. Not sure what you're looking for (what hue range and
> > value range and what kind of printing you want to use it for) but
> > this is a deep rich scarlet, which when I was comparing many
> > different pigments for tricolor a couple of years ago, I found to
> > be remarkably similar in appearance to alizarin crimson (PR 83)
> > but lightfast. Hope any of that is useful,
> > Katharine
> > On Aug 18, 2008, at 4:13 PM, Rajul wrote:
> >> The local art store (the only one) informs me that Perylene Maroon
> >> is no longer stocked by Daniel Smith.
> >> Can anyone suggest a close second?
> >> Thanks! Rajul
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