By Golden Artist Colors
At Golden Artist Colors, we’re deeply committed to developing and supporting materials that reflect the real-world needs and preferences of artists. That’s why we regularly turn to professional painters for insight—not just about how our products perform, but how they feel, mix, and function in the studio.
Earlier this year, we reached out to a select group of oil painting instructors at leading ateliers and studio schools around the world to participate in a focused evaluation of YInMn Blue (Yttrium Indium Manganese Blue), a relatively new pigment discovered in 2009. Twelve artists who received our curated sample boxes completed a follow-up survey about their experiences with the pigment. Their responses revealed a rich mix of insights—some expected, others surprising. Here’s what we learned.
YInMn: A New Experience for All
Interestingly, none of the participating artists had used YInMn Blue prior to receiving the sample set. This gave us a clean slate: first impressions from experienced hands.
When asked about their go-to blue pigments, eleven of twelve artists said they primarily rely on Ultramarine, with only one identifying Cobalt Blue as their mainstay. This helped frame comparisons throughout the feedback.
How Does YInMn Compare?
The dominant question for most artists was: How does YInMn Blue relate to the blues I already know?
Most artists positioned YInMn as sitting somewhere between Ultramarine and Cobalt Blue in hue:
- Warmer than Cobalt, which leans green
- Cooler than Ultramarine, which tends toward violet or purple
- Violet bias or reddish undertone was noted by several artists
Technically, artists described YInMn as:
- Opaque to semi-opaque, like Cobalt, and more so than Ultramarine
- Moderate in tinting strength, making it relatively well-behaved in mixtures
- Slightly darker than Cobalt, but lighter than Ultramarine in value
- Lower in chroma when mixed with white—less saturated than expected
Where Artists Found It Useful
Five artists tested all the provided colors on a test substrate, using either a knife or brush-out method. Five others incorporated YInMn into actual paintings, while one artist used it in a small sketch, and one didn’t specify their method.
Applications where YInMn stood out included:
- Skies and blue florals
- As a middle-ground blue
- Mixing distinctive violets
- Creating “natural greens” when mixed with yellow
The Cost Conversation
Of course, no conversation around YInMn is complete without addressing its significantly higher cost compared to other blue pigments.
Here, artists were split:
- Some found it not distinct enough to warrant the price premium
- Others would pay more for it for specific applications
- One artist reflected that “colors are worth what you pay if you need them”—but wasn’t sure YInMn was one of those
- Others flagged the price as prohibitive for everyday or large-scale work
Final Impressions
Feedback on YInMn was mixed but leaned positive. While none of the artists found it to be a must-have replacement for their current blues, many saw value in its subtle differences:
- Several artists found it interesting but not revolutionary
- Some appreciated its unique properties
- A few were enthusiastic about adding it to their palette
- Others didn’t see significant merit over existing blues
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