|Colour Index||PB 15.3, PG7, PY 150|
|Opacity Covering and Tint Power||High|
|Conforms to||ASTM D-4236|
My Caribbean Turquoise is made from organic pigments: it is transparent, fast drying, and has a high tint power.
Turquoise is one of many coveted ancient gems, was adorned by the Egyptians and carved by Chinese artisans more than 3000 years ago. Turquoise has long been considered a stone that guarantees health, good fortune, and protection from evil. Where might one go now a days for good health, good fortune, and protection from evil? Let yourself be swept off the beach and into the ocean for that refreshing long deserved break in beautiful tropical islands.
I created this colour because whether you are painting like an Old Master, a famous Plein Air painter, or a Modern Abstract artist, this colour will help create the mood you are conveying with the stroke of a brush to canvas.
This luminous, tropical colour is a convenience mix and was designed to help you create atmosphere and mood with a couple of strokes. Useful for plein air painters, it is equally useful for contemporary abstract painters, as it is a bold colour that can be toned down or used neat.
Michael Harding developed this colour by taking inspiration from the gemstone turquoise, its history of being used in adornments by the ancient Egyptians and carved by Chinese artisans more than 3000 years ago, as well as drawing on the colour’s association with good fortune, beaches and warm oceans off tropical islands.
It’s made with a mixture of pigments. The PB 15.3, Phthalocyanine Blue BGS, I’d say is fairly strong in it and contributes to its high tinting ability. Phthalocyanine Blue is a transparent, dark-valued, strong, intense blue that is the base for many modern blue paints, the green shades of this pigment are drawn out and quite apparent in this mixture. The PG7, Phthalocyanine Green, included, is heavily staining, transparent and moderated dull but gives an appealing blue green shade to the overall mix. It is chemically and visually similar to PB 15.3 so works well with it and they both have a similar strength. The PY150, Nickel Azomethine Yellow, lightens and brightens the turquoise tones of the two Phthalocyanine pigments. It is a light valued, intense, slightly orange yellow pigment that has brighter undertones and adds to the luminosity of the Caribbean Turquoise.
Straight out the tube the paint was buttery, as is typical with Michael Harding paints, and was very smooth, drawing out well while keeping fairly pronounced brush marks. Although, not very visible in the photograph of the test even when used thickly in masstone the Caribbean Blue was still very transparent. The Phthalos undergo very little shift from mass tone to undertone which was evident with the glazing tests I did with the Caribbean Turquoise where only a very slight greener undertone came out in the stroke with the most medium (at the bottom).
In the tinting test at it’s darkest the Caribbean Turquoise looks almost dark green but as it is lightened it shifts towards a softer blue with a greenish tinge. The variety of shades produced just by mixing it with white makes this a versatile turquoise to be used by seascape and landscape painters who want to produce harmonious, different tones throughout the work.
Author – Tegen Hager-Suart