|Colour Index||PY 150, PR 209, PV19|
|Opacity Covering and Tint Power||High|
|Conforms to||ASTM D-4236|
My Quinacridone Gold is made from nickel azo and quinacridone. It is organic, transparent, with an average drying time, and possesses excellent light fastness and high tint power.
I have been very patiently waiting for the right moment to reveal this new oil colour. It’s beautiful, perfect in every way, particularly for artists who like either glazing or just having a crazy time with colour. You might find yourself in rehab to cure your addiction to it. Perhaps I should put a health warning on my tube Quinacridone Gold: Danger! Addictive!I, myself am particularly fond of Quinacridone Gold. I often wonder what the Old Masters would have thought of the new, marvelous colours that we have today. Specifically, if I could go back in time and ask Mr. Turner what he would have thought of Quinacridone Gold. I would enjoy seeing how he could have used Quinacridone Gold in “The Fighting Temerarie” or one of his other glowing skies.
This is a rich, amber, golden yellow that is transparent and ideal for glazing or mixing to produce interesting hues. It’s shift from masstone to undertone is very pronounced with a rich very transparent orange brown in mass tone through to brighter yellow golden undertones when glazed.
Similar to Gamboge Deep or the original Quinacridone Gold pigment, it is ideal for glowing skies, sunsets or warm underpainting. It produces rich, clean, transparent sap greens when mixed with deep blues and produces great mixes for botanical work. It is useful for a palette that is reminiscent of that used by the early Flemish painters or those who seek to produce a sky in the style of Turner.
This Quinacridone Gold is made from Nickel Azo and two Quinacridone pigments. The yellow base is formed by the inclusion of PY150, Nickel Azomethine Yellow which is, as mentioned earlier, a light valued, transparent, orange yellow. It is this pigment that gives this colour its two toned appearance: the deepness in mass tone and the sunny yellow in tints. Added to this is PV19, Quinacridone Rose, a semi-transparent dark valued deep red that helps approximate the colour of the original Quinacridone Gold pigment, PO49, without cooling the yellow too much. The other Quinacridone pigment added is Quinacridone Red, PR209, which is again a dark valued red but is transparent. It’s a mid range red that has a touch of violet to it, making it stick out less and giving it an undertone that is harmonious with the Nickel Azo and helps Michael Harding’s Quinacridone Gold produce greens that can be found in landscapes or botanical studies.
The Quinacridone Gold straight out of the tube was incredibly buttery and soft, holding brush marks much more softly. It’s highly transparent even when used in mass tone and the colour shift between a dark mass tone and the varied undertones in glazes is immediately obvious in these tests. During the tinting test, you can also see how the extent of white added dramatically changed what undertones were prominent. The middle of the scale was a remarkably dull ochre yellow, whereas the darker swatches had a much stronger orange hue and the light swatches had a warm yellow coming through.
Author Tegen Hager-Suart