Thanks for all the details. For about a year, I was using the wonderful Pocket Palette from Expeditionary […], […] sketchbook, Rosemary 1/4” travel dagger brush, and a mix of Daniel Smith, Winsor & Newton and Holbein watercolors. Many manufacturers have introduced Opera to their lines. and losing saturation. It is opaque when applied full strength but will stand considerable dilution, creating beautifully delicate wash textures. From that time, Holbein’s presence has been significant, not only in Southeast Asia, but also in North America, Australia and Europe.” They only manufacture artist grade paints, no student quality lines. I have tried several brands, but primarily use Holbein and will sometimes use a few Daniel Smith […], […] version as I am only 5’ 3”. It mixes perfectly with other cobalt pigments, providing a complete range of blue and green shades with the same textural and handling attributes. A major consideration in the choice of a cerulean paint is its handling in washes, since it is often used for skies or other large, even color areas. These pigments are fairly similar across manufacturers, with some exceptions (Daler-Rowney). The tinting strength of cerulean blue is weak. I’ll give you a tip but you can’t share it. It cannot be used in fresco or casein paints. PR101 Watercolor Swatches . TOP 40 PIGMENT The green shades of phthalo blue are (along with cerulean blue) very close to the psychological unique blue, as explained in the section on color vision; the warmer shades make an excellent choice for color point 8 of the color wheel. I know you want that box!! Manganese blue PB33 is a very lightfast, semiopaque, lightly staining, heavily granulating, moderately dark valued, moderately intense green blue pigment; also known as "cement blue" due to its use as a masonry colorant. And ultramarine is perhaps the most beautiful of all blue pigments: the French painter Yves Klein was famous for large canvases painted entirely in a powdery, intense shade of ultramarine blue, produced through a patented pigmenting technique. I’m not tied to any […], […] including favorite paints from Daniel Smith, Winsor & Newton, Lukas, Mijello, Schmincke, and Holbein. This is because cobalt oxide can crystallize with several other common metals (aluminum, titanium, chromium, nickel, zinc, and tin) to produce a broad range of pigment colors that vary in both hue and lightness. Paint manufacturers add sufficient vehicle to ease the milling process and improve the flow of the paint, which typically causes the coarse pigment particles to separate from the vehicle in the tube. Holbein peacock blue, now discontinued, was the only commercial source for this pigment in watercolors; however it is still available as Holbein Irodori "Antique Turquoise". All the cobalt cerulean/turquoise paints are relatively dull, and therefore are fairly easy to approximate with a mixture of cobalt blue with cobalt teal blue (PG50), or ultramarine blue with phthalocyanine green BS (PG7). One of my favorites from Holbein is their Brilliant Gold gouache. Although lapis lazuli can be acquired as a powdered pigment from some pigment retailers, Daniel Smith genuine lapis lazuli is the sole source of the pigment in watercolors. These paints bracket the hues of almost all other paints listed here (only the Utrecht is greener than the winsor blue GS); the red shade is darker valued than the green, and the GS makes a very good single phthalo choice, contrasting nicely to the reddish hue of cobalt blues or ultramarine blue. Note that the saturation and transparency of these pigments declines steadily as the hue shifts toward green: this is caused by the increasing proportion of chromium in the cobalt crystal. My palette includes the following colours: Naples Yellow, Cadmium […], […] Cézanne, Strathmore Aquarius and American Easel Watermedia panels. The color this brand was known for is Opera. There are two chemical pathways for manufacturing PB27 that can be applied to a variety of raw materials to produce the same pigment molecule, but the color, crystal form and particle size of the pigment can be manipulated in many ways during or after manufacture. Ultramarine blue is probably included in artist's palettes more often than any other blue, the modern replacement and color match for the historical pigment lapis lazuli that appears in the most precious medieval art. PB60 has a moderate to high tinting strength. Phthalocyanine blue PB15 in its various shades (PB15:1 and PB15:6 are middle blue or reddish shades; PB15:3 is the greenish shade) is the workhorse industrial blue colorant: a lightfast, transparent, strongly staining, very dark valued, moderately intense blue pigment, offered by over 70 pigment manufacturers worldwide for inks, paints, plastics, automotive finishes, rubber, textiles and cosmetics, as well as artists' paints (where it is often nicknamed phthalo or thalo blue, as the "ph" is not pronounced). MaimeriBlu's two cobalt blues are very similar to each other in hue and texture, and relatively opaque; the "light" shade closely resembles the Daniel Smith paint. The best paint from this point of view is perhaps Winsor & Newton cerulean blue, which gives beautifully flocculating, satiny wash textures, though at the expense of color intensity; its relatively subdued texture also makes it a better mixer with other paints. Cobalt blue PB28 is a very lightfast, semitransparent, moderately staining, dark valued, moderately intense blue pigment, available from 12 pigment manufacturers worldwide. In watercolors, PB60 undergoes a very large drying shift, lightening by 50% (!) The greenish blue and turquoise part of the color range (which includes phthalocyanine cyan, PB16, and cobalt teal blue PG50) has a peculiar status within the family of cool colors, much like red orange pigments on the warm side of the color wheel. In the correct proportions, either the three paint or two paint mixtures give an extremely dark, dead on black color; tweaking the proportions of the paints will shift the hue to mimic any commercial dark shade paint (sepia, perylene black, indigo, neutral tint, payne's gray), as well as dark shades that are magenta, turquoise or deep yellow. I live in the desert, so about a week or so if I fill a half pan. They create a velvety luster, rather than the usual carbon black dullness, that harmonizes well with other dark valued paints; they can be used to produce shades of any paint, and when applied wet in wet or used in diluted glazes, color separation among the pigments will produce subtle and shimmering color effects. Colors listed in order of how they came in the box: Row 1: Permanent Alizarin Crimson, Carmine, Opera, Vermilion Hue, Pyrrol Red, Naphthol Red, Brilliant Orange, Lemon Yellow, Imidazolone Yellow, Row 2: Yellow Ochre, Cadmium Yellow Lemon, Cadmium Yellow Deep, Indian Yellow, Leaf Green, Viridian Hue, Emerald Green Nova, Cadmium Green Pale, Olive Green, Row 3: Sap Green, Shadow Green, Cobalt Blue Pale, Cerulean Blue, Phthalocyanine Blue, Ultramarine Light, Ultramarine Deep, Prussian Blue, Dioxazine Violet, Row 4: Quinacridone Magenta, Burnt Umber, Burnt Sienna, Indian Red, Sepia, Imidazole Brown, Ivory Black, Payne’s Grey, Chinese White, Row 5: Bamboo Green, Raw Umber, Manganese Blue Nova, Bright Violet, Cobalt Violet Light, Lavender, Brilliant Pink, Shell Pink. I am reluctant to buy it, at $16 a tube, because it does not resemble a good quality medieval ultramarine, and because the color compares poorly to both ultramarine blue (PB29) and cobalt blue deep (PB72), which provide much more reliable and cheaper modern substitutes with similar granulation effects. ); and their "cobalt green deep" is what everybody else calls a cobalt turquoise. […] in love with the entire set. I just bought a split primary pallet from Schminke….will look into getting some Opera from one of the purveyors of it. Do you see a shadow of the head and back of a man in the fish? Pans rewet instantly. I guess the apple doesn’t fall far from the tree. I’m a sucker for boxes and containers, too. But honestly, I’m happy to have a hobby that I’m super into, and joining in with a lot of other people that are super into it too! Valued for its high tinting strength and pure blue hue, PB27 was hugely popular from the 18th to the 20th centuries until displaced in the 1970's by phthalo blue. Download our Watercolor Pigments and Characteristics Listing. I feel like art supplies are essentials so that’s how I justify it to myself, and watercolor lasts a long time! Leporello fold? Hehehe! Tube sets on places like Dick Blick, cost almost double over Amazon’s prices. The variability in PB27 across paint manufacturers suggests it should be routinely put through a lightfastness test, and especially when marketed as antwerp blue. Like other phthalos, its chroma greatly increases as it is diluted, and the color can be radiant in tints. (It's a triumph of modern chemistry that even the cheapest student paint box today contains the same pigment that medieval artists bought at many times its weight in gold.) lightfastness test samplesunexposed (left); exposed 800+ hours (right), Rowney coeruleum blue, cobalt blue, ultramarine violet. It is one of the most expensive pigments, and is sometimes imitated by a green shade of ultramarine blue (PB29), or ultramarine blue altered with phthalocyanine blue (PB15), an ingredient that increases the paint's staining effect on paper.