[alt-photo] Re: pigments for gum

[Johnny Brian]

Thanks for the useful guidance. 
Johnny Brian

On Dec 13, 2011, at 8:15 AM, Christina Anderson wrote:

> Trevor and others,
> 
> Please forgive, looooooonnnnngggg post.
> 
> Caveat: The following for those who size.
> 
> I hope I am not being so bold as to butt into your convo with Peter, and my list is not his list which you had asked for, but maybe this is of help to you anyway.
> 
> My only requirement for a pigment to make my list is that it is lightfast. I don't care about staining vs. non-staining because sizing makes that a moot point. I do care about lightfastness, and have had to eliminate questionable colors that I love, mostly in the red category. There is speculation that a pigment imbedded in a hardened layer of gum might be more lightfast therefore, and maybe one can therefore use a pigment in the "II" lightfast category, but I've just stayed with the ones below that I can depend on.
> 
> I keep about 30 on hand at any time, but tend to use only several of each color. For instance, I used to use PR 209 but it is too cherry or peachy red for my tastes now. I can spot it a mile away in prints I have used it in.
> Another color I used to use is PY110, a beautiful color but awfully gold. It is good at times, though! Other practitioners will vary.
> 
> I don't much use greens or oranges, really...or purple.
> 
> PIgment choice for gum is huge. For casein, my deciding factor, since I am a stock pigment/colloid kind of person, would be those that don't contain metallic salts that precipitate casein. I learned that the hard way. My favorite yellow, Nickel Azo PY150 will become a lump after several weeks. So did my magenta. 
> 
> DS is Daniel Smith, WN Winsor Newton, MG M. Graham, M Maimeri, then there's Schmincke and Rembrandt and Da Vinci on there, too. I usually do this: I find a lightfast pigment by number, then I buy all brands of it that I can locate of the high quality kind.
> 
> I don't use student grade. I rarely buy WN because it is expensive here, albeit good. I absolutely LOVE Schmincke and Maimeri but I usually use M. Graham because it is so darn cheap and it is what is available at our university bookstore. I teach, in fact, with stock solutions of M. Graham mixed up in half-liter bottles. A magenta, cyan, yellow and then a burnt sienna and a black.
> 
> My sources of information are Wilcox, Handprint.com, Hilary Page, and Daniel Smith. If you are not a book junkie as I am, Handprint.com is an incredible and FREE source.
> 
> I have begun the daunting task of weeding through all my gum research and organizing it, so I am sure over the next year there will be more of this, until someone flames the list for being too gum-centric :)
> Chris
> 
> Reds
> PV19R gamma quinacridone (transparent, red biased magenta.  Don’t confuse with the bluer magenta PV19 beta)
> WN permanent rose
> MG quinacridone rose
> DS quinacridone rose
> DS quinacridone red
> M primary red
> M rose lake
> Schmincke ruby red
> PR112 naphthol AS-D red (semi-transparent orange red)
> MG napthol red
> PR178 perylene red (semi-transparent red leaning slightly toward violet)
> DS perylene red--gorgeous bloody color
> PR179 perylene maroon (transparent, leaning toward orange or violet, depending on brand)
> WN perylene maroon
> DS perylene maroon (they say semi-transparent--another gorgeous blood red)
> Schmincke deep red
> PR188 naphthol AS BON arylamide (semi-opaque orange red)
> DS organic vermillion (they say semi-transparent)
> WN scarlet lake
> Da Vinci permanent red
> PR 209 quinacridone red (bright, transparent orange red)
> MG quinacridone red
> WN quinacridone red
> M tiziano red 
> DS quinacridone coral--gorgeous peachy red
> Utrecht quinacridone red 
> PR 254 diketo-pyrrolo pyrrole red (bright transparent red)
> DS pyrrol red (they say semi-transparent)
> WN winsor red
> M sandal red
> Rembrandt permanent red medium and deep
> Schmincke scarlet red
> Sennelier red
> PR255 diketo-pyrrolo pyrrole red, pyrrole scarlet (transparent orange red)
> DS pyrrol scarlet (they say semi-transparent)
> Rembrandt permanent red medium
> Schmincke vermilion (hue)
> PR260 isoindoline scarlet (orange red leaning toward dull and opaque)
> Old Holland vermilion (hue) extra (no blue reflectance so mixes well with other warm colors and with greens)
> PR264 diketo-pyrrolo pyrrole rubine (transparent red)
> DS pyrrol crimson (they say semi-transparent)
> WN winsor red deep
> Yellows
> I vacillate in my yellows between cool and warm, generally preferring a bright and clear unbiased one such as PY97, PY151, and PY175.  Otherwise for warm and deep I use PY110 or PY139, finding them interchangeable except for PY139’s slight opacity. One pretty gutsy yellow I’ve been using of late is the Rowney PY138.  All I can say is...WOW.  Wear sunglasses.
> PY3 arylide yellow 10G (transparent, green bias)
> DS hansa yellow light (they say semi-transparent)
> Schmincke lemon yellow
> Sennelier lemon yellow
> Utrecht lemon yellow
> Holbein aureolin 
> PO49 quinacridone gold (transparent)
> DS quinacridone gold
> PY65 arylide yellow 3RN (transparent, orange bias)
> WN Winsor yellow deep
> DS hansa yellow deep (they say semi-transparent)
> Utrecht hansa yellow deep
> Schmincke chrome yellow deep
> PY97 arylide yellow FGL (semi-transparent, green bias)
> DS hansa yellow medium
> M primary yellow
> Da Vinci arylide yellow
> PY 110 isoindolinone yellow R (neutralized orange yellow, semi-transparent)
> DS permanent yellow deep (they say transparent)
> PY138 quinophthalone yellow (transparent, slight green bias)
> Rowney Artists permanent yellow
> Fragonard permanent lemon yellow
> PY139 isoindoline yellow (semi-opaque orange yellow)
> M permanent yellow deep
> PY150 nickel azomethene yellow (transparent greenish yellow)
> DS nickel azo yellow
> WN transparent yellow
> Schmincke translucent yellow
> PY151 benzimidazolone yellow H4G (semi-transparent greenish yellow)
> MG azo yellow (they say transparent)
> Schmincke aureolin modern
> PY 153 nickel dioxine yellow (semi-transparent orange yellow)
> WN new gamboge
> DS new gamboge (they call it transparent)
> Utrecht Indian yellow
> Sennelier Indian yellow
> PY154 benzimidazolone yellow H3G (transparent orange yellow)
> WN Winsor yellow
> Sennelier yellow light
> Rembrandt azo yellow light
> Schmincke pure yellow
> PY 159 zirconium praseodymium silicate
> WN Winsor lemon yellow deep
> PY 175 benzimidazolone yellow H6G (two-toned, orange in mass, green in tint, mixes well)
> WN Winsor lemon
> M permanent yellow lemon
> Schmincke chrome yellow lemon
> Blues
> For tricolor, thalo blue is saturated, transparent, and beautiful.
> PB15 phthalocyanine blue ( transparent greenish blue)
> M phthalocyanine blue
> Utrecht phthalo blue
> DaVinci phthalo blue
> PB15:1 phthalocyanine blue
> Schmincke phthalo blue
> PB15:3 phthalocyanine blue 
> DS phthalo blue
> MG phthalocyanine blue
> Sennelier phthalo blue 
> M primary blue-cyan
> Winsor blue, green shade
> PB29 Ultramarine blue (a reddish transparent blue)
> WN French ultramarine
> MG ultramarine blue
> Holbein ultramarine light and deep
> DS ultramarine blue (they say semi-trasparent)
> M ultramarine
> PB60 indanthrone blue (a dark blue jean blue, transparent)
> DS indanthrone blue
> M faience blue
> WN indanthrene blue
> Schmincke delft blue
> Schmincke dark blue indigo
> Holbein royal blue
> Other Colors
> There are lots of other colors to use, for instance, traditional choices such as iron oxide earth pigments.  I would suggest a black and a brown for duotones.  
> PBk9 ivory black (warm to neutral, semi-opaque to opaque--MG says opaque, DS says semi-transparent!) (less likely to stain according to Stuart Melvin)
> PBk6 lamp black (blueish, semi-opaque to opaque --MG says semi-opaque, DS says opaque)
> PBk7 carbon black (opaque and velvety)
> M carbon black is the only one I could find that is actually carbon black…
> PW6 titanium white
> PBr7 raw (yellower) and burnt  (oranger)sienna, raw (greener) and burnt (browner) umber
> Raw Sienna is a clear, golden, semi-transparent yellow that is quite muted and beautiful when used in tricolor.  It does not stain.
> PO62 benzimidazolone orange (semi-opaque yellow orange)
> DS permanent orange
> WN Winsor orange
> M permanent orange
> Schmincke chrome orange
> DaVinci benzimida orange
> PY43 yellow ochre (semi-opaque)
> WN yellow ochre
> DS yellow ochre
> MG yellow ochre
> Utrecht yellow ochre
> 
> Christina Z. Anderson
> christinaZanderson.com
> 
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