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The Life of Pigments in Fine Art Paints

7 thoughts on “The Life of Pigments in Fine Art Paints”

  1. Looks like there are some Golden and QoR paints I need to stock up on before PR206 disappears! It has those peachy undertones that just aren’t in any otherwise similar pigment. There seems to be a lot less discussion about the upcoming loss of PR206 online than there was for the loss of PY49, which was a big deal for watercolorists. I would bet, though, that acrylic painters will really miss PR206. Will you be formulating a new Quin Burnt Orange?

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  2. Hi Bryce, great article,

    I was shocked to hear that Golden was discontinuing the Hansa Yellow line due in part to it’s poor performance. then i checked the date and discovered it was three years old.

    Hansa Yellow Medium is one of my favorite colors and seems to be working just fine. Did you find a way to improve the yellow or am i allowing the beautiful color to dissuade a proper look at its overall performance?

    thanks for all the great colors, keith

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    • Keith,

      Lightfastness testing is carried out on tints of each color and with exposures designed to approximate many many years of indoor/gallery lit conditions (you can find out a bit more about the process at justpaint.org/lightfastness-testing-at-golden-artist-colors). Used full strength or in stronger tints, with less intense UV exposure, or any combination of the two and the degree of color change could be greatly reduced. There’s a great chart in the linked article on Hansa’s, about halfway down, showing that tints of PY73 Hansa Yellow Medium using 50% or more Titanium White showed much greater color shift than PY73 full strength or mixed with just 10% Titanium White.

      -Bryce

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