From: Judy Seigel (jseigel@panix.com)
Date: 10/08/01-03:22:20 PM Z
On Mon, 8 Oct 2001, lva wrote:
> What you say, Judy?
>
> Brahma
>
Hi Brahma,
Well, you know I have plenty to say... as follows:
> Quote:
>
> For many years the standard violet-red has been Alizarin Crimson. As I
> have mentioned elsewhere, it is a disastrous substance which is unfir
> for serious artistic use.
>
> To my mind the ideal replacement is Quniacridone violet with
> Quinacridone red being a close follow up.
I'll watch for the book to read more, but from your sample I'd say typical
Wilcox... well meaning, but hyperbolic. The info, obviously aimed in the
right direction, is (like I said) often irrelevant to us, never (by my
limited knowledge) totally untrue.... but some details a bit fuzzy....
For instance for 3 color printing, you want quinacridone red, tho some
folks (Keith as I recall) add some violet, which however is not (in my
experience) as close to process magenta.
> In previous editions I have called on manufacturers to use the actual
> name of the colorant instead of disguising it behind a fancy or trade
> name.
I myself call upon the sun to rise every morning. However, I believe
Rowney (as of a couple of years ago, or the last time I bought it) had not
yet heard the call. I'm not sure Wilcox was more crucial to manufacturers
than Artists Equity newsletter & Joy Turner Luke, & OSHA (due to allergy &
hazards info) but in any event I believe major mfrs (except Rowney) have
been doing that for some years. "Hobby" or offbrand student paints (like
my students' Niji) won't ever. Meanwhile, whatever the market effect of
Wilcox, my hunch is it will mainly affect major brands.
> Once artists become familiar with the correct name of a quality pigment
> they will start to look for it.
That's what Mayer et al are for. I suspect the manufacturers will NOT all
issue the same pigment, so counting on them isn't a great learning tool.
> It is encouraging to see that this is starting to happen with this
> particular colorant.
>
> What we have to watch out for however, is that in time, fugitive
> pigments such as the dreaded Alizarin Crimson are not sneaked in under
> this name.
I have censored my sarcastic remark here -- except what will the man do
once he's whipped all corporations into shape? (Tho I suppose if he's
basically a scold, that's got to be part of the job description.)
> If you think that I am too suspicious and this is not liable to happen,
> you have only just opened the book at this page.
>
> It will be a long time before the fugitive reds are driven out due to
> commercial pressures from the artist, but it is starting to happen.
I visualize those fugitive reds driven out of their caves..(Bleeding heart
liberal: PV 20.)
> Daniel Smith Quinacridone Red 091 (PV19)
>
> A very reliable violet red pigment which makes up into a superb
> transparent paint. Handled extremely well. Recommended.
>
> Winsor & Newton Quinacridone Red 548 (PR209)
>
> One of the recently introduced colors. The pigment employed is lightfast
> and gave a watercolor which was most pleasant to handle.
>
> Daniel Smith Quinacridone Coral 088 (PR209)
>
> A good balance of binder and pigment, our sample handled beautifully. An
> excellent violet red. Transparent and dependable.
Thanks Brahma... very interesting & much appreciated. I have meanwhile
screwed up several more prints with those dry pigments... Where was
Wilcox with the warning when I could have used him? Now I hear those
Daniel Smith paints calling me (as rendered by Nelson Eddy and what was
her name?)
best,
Judy
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