earth

(unsaturated yellow, orange or red)

Key to the Paint Ratings

PIGMENT PIGMENT PAINT
MANUFACTURER CODE Tr St VR Gr Bl Df HA HS Lf
C.I. NAME CHEMICAL NAME MARKETING NAME

NOTE: The manufacture of most iron oxide artists' paints, including those with traditional names
such as "earth", "sienna", "umber" or "ochre", has changed from the use of natural iron oxide clays
— designated by the generic color index names PBr7 or PY43 — to the use of synthetic iron oxide
powders. Small supplies of artists' grade natural iron oxides continue to flow from mines in Europe
and the Middle East, but by 2002 there were no longer any suppliers of natural iron oxide pigments
registered with the Society of Dyer's and Colourists' (UK) Colour Index.

Many watercolors now labeled PBr7 or PY43 are actually made of mixed synthetic iron oxide
pigments, not natural ores. In fact, iron oxides used in watercolor paints today include pigments
formulated for use in wood or leather stains, or as plastic, ceramic or masonry colors, and are
available in a very broad range of colors and grades. See for example the page "earth tones dry
pigments" at the web site of Kama Art Materials (Montréal, Québec), the mineral and iron oxide
pigments available at Sinopia Pigments (San Francisco, CA) or Kremer Pigments (New York,
NY), and the pigment information pages at Société des ocres de France or their USA distributor,
The Earth Pigments Company (Tucson, AZ).

The use of natural oxides has dwindled so much that in 2001 the SDC considered eliminating the
color index names PBr7, PR102 and PY43 from the Colour Index, and reassigning these pigments to
the color index names for synthetic brown (PBr6), red (PR101) or yellow (PY42) iron oxides.
However, manufacturers lobbied to retain these color index names as convenient "color"
designations and desirable marketing labels. In 2007, the SDC reaffirmed to me that they were still
deliberating on the issue.

For the Daniel Smith line of Primatek™ "genuine" mineral pigment paints, which are not assigned
a color index name, see this page.

van dyke brown

PBr6 calcinated synthetic iron oxide (19th century) M. Graham 194 0 4 74 2 2 1 43 +22 6,8
[discontinued in 2000]
calcinated synthetic iron oxide + soot from
PBr6+PBk7 sepia Daniel Smith 045 0 4 71 2 3 1 48 +16 8,8
lamp burned petroleum or wax
Calcinated synthetic iron oxide black PBr6 is a lightfast, very opaque, very staining, near black,
near neutral brown pigment, available from 20 pigment manufacturers worldwide. Unrated by the
ASTM, my 2004 lightfastness tests gave it a "very good" (II) rating, with some fading in tints after
6 weeks of sunlight exposure. The CIECAM J,a,b values for iron oxide black (PBr6) are: 17, 5, 4,
with chroma of 7 (estimated hue purity of 7) and a hue angle of 38.

M. Graham van dyke brown was the only single pigment source in watercolors. The Daniel Smith
sepia adds black pigment to darken the paint; a touch of phthalo blue (PB15) will produce the
same result. A darker and slightly cooler alternative to burnt umber, and very interesting as a
diluted glazing paint — which is how Baroque artists used the original van dyke or cassel browns.
See also the section on red earth pigments.

monte amiata natural

PBr7 natural iron oxide (antiquity) Daniel Smith 197 3 2 30 1 1 1 66 +10 8,5
sienna
PBr7 raw sienna Utrecht 183 2 2 41 0 1 0 58 +8 8,8
PBr7 raw sienna M. Graham 160 2 2 46 2 1 2 61 +12 8,8
PBr7 raw sienna Daniel Smith 040 1 1 37 0 4 2 57 +10 8,8
PBr7 raw sienna MaimeriBlu 161 3 3 40 1 2 3 59 +17 8,8
PBr7 raw sienna DaVinci 273 1 2 33 1 1 2 64 +7 8,8
PBr7 italian earth Old Holland 322 3 0 43 1 2 2 62 +11 8,8
PBr7 brown ochre Winsor & Newton 059 3 2 34 0 2 2 58 +10 .,.
PBr7 calcinated natural iron oxide (antiquity) burnt sienna M. Graham 020 1 2 57 1 2 3 40 +8 8,8
monte amiata burnt
PBr7 Daniel Smith 198 2 3 59 0 3 2 37 +13 8,8
sienna
PBr7 italian burnt sienna Daniel Smith 106 2 2 51 0 1 0 39 +9 8,8
PBr7 pompeii red Daniel Smith 116 3 2 50 1 1 0 42 +13 8,8
PBr7 burnt sienna Utrecht 184 2 2 57 0 3 1 39 +10 8,8
PBr7 burnt sienna MaimeriBlu 278 2 3 53 1 3 1 41 +16 8,8
PBr7 burnt sienna Rembrandt 411 2 3 50 1 3 1 47 +11 8,8
PBr7 burnt sienna Daniel Smith 008 1 3 56 1 3 1 40 +10 8,8
PBr7 burnt sienna DaVinci 205 2 3 55 2 2 2 43 +12 8,8
PBr7 burnt sienna Holbein 334 3 2 50 1 4 2 46 +8 8,8
PBr7 burnt sienna light Blockx 141 2 3 61 1 2 0 39 +11 8,8
PBr7 burnt sienna deep Blockx 143 1 3 64 1 2 1 37 +12 8,8
natural iron manganese oxide
PBr7 raw umber Daniel Smith 041 2 3 66 1 3 1 59 +12 8,8
(12th century?)
PBr7 raw umber Winsor & Newton 554 3 2 47 3 1 2 64 +14 .,.
PBr7 raw umber M. Graham 170 3 3 62 0 2 1 64 +9 8,8
german greenish raw
PBr7 Daniel Smith 121 3 2 56 0 2 1 73 +9 8,8
umber
PBr7 raw umber MaimeriBlu 493 4 1 54 0 1 2 60 +13 8,6
PBr7 raw umber Rowney Artists 247 3 2 57 1 1 1 64 +11 8,8
PBr7 raw umber DaVinci 274 2 4 67 1 2 1 61 +6 8,8
PBr7 raw umber Rembrandt 408 3 2 46 1 1 1 65 +6 8,8
PBr7 raw umber Utrecht 187 3 2 62 1 1 1 57 +14 8,8
calcinated natural iron manganese oxide
PBr7 burnt umber Daniel Smith 009 1 3 66 0 3 3 44 +15 8,8
(12th century?)
PBr7 burnt umber M. Graham 030 4 3 54 1 3 1 49 +7 8,8
PBr7 burnt umber MaimeriBlu 492 2 4 65 0 1 0 46 +19 8,8
PBr7 burnt umber Rowney Artists 223 2 4 58 0 1 0 53 +9 8,8
PBr7 burnt umber Rembrandt 409 2 4 58 0 1 0 46 +10 8,8
PBr7 burnt umber Utrecht 188 3 3 66 1 3 1 42 +15 8,8
PBr7 burnt umber DaVinci 206 2 2 62 2 3 4 48 +13 8,8
calcinated natural iron maganese oxide +
PBr7+PR101
calcinated synthetic red iron oxide + burnt umber Winsor & Newton 009 3 4 57 0 1 1 50 +10 7,8
+PY42
synthetic yellow iron oxide
natural iron manganese oxide + quinacridone
PBr7+PR209 dragon's blood MaimeriBlu 270 3 4 48 1 4 3 36 +5 7,8
red
natural iron manganese oxide + synthetic raw umber
PBr7+PY42 Winsor & Newton 041 4 2 36 1 3 1 69 +7 7,8
yellow iron oxide [discontinued in 2005]
natural iron manganese oxide + beta
PBr7+PV19 raw umber violet Daniel Smith 090 2 4 65 0 3 2 23 +11 7,7
quinacridone
calcinated natural iron oxide + soot from
PBr7+PBk7 sepia M. Graham 178 2 4 71 1 1 0 46 +18 8,8
lamp burned petroleum
calcinated natural iron oxide + soot from
PBr7+PBk7 warm sepia Sennelier 440 2 4 62 0 3 0 55 +9 8,8
furnace burned petroleum
natural iron manganese oxide + soot from
PBr7+PBk9 sepia MaimeriBlu 486 2 3 61 1 3 1 70 +7 8,8
burned animal bone
PBr7+PBk11 natural iron manganese oxide + ferrite black
warm sepia Rowney Artists 486 2 3 69 1 3 1 51 +9 7,7
+PR101 iron oxide + red iron oxide
TOP 40 PIGMENT Natural iron oxides, all labeled PBr7, constitute a family of very lightfast
pigments that have played a long and important role in human art and crafts. Red and yellow
ochres were used as a ritual cosmetic in human burials as early as 20,000 years ago; the calcinated
forms were probably discovered when iron colored clays were first fired in kilns about 8,000 years
ago (6,000 BCE).

Iron oxides can be any of several colors, including earth yellow, earth orange, earth red,
brown or black, depending on (1) the quantity of trace manganese, aluminum or silica in the
pigment; (2) the size of the pigment particles; and (3) whether the pigment is in its hydrated form
(contains some water in the iron oxide crystal) or is calcinated ("burnt" or roasted) in kilns or
foundry ovens, which drives off the water. This means that two paints made with PBr7 can have
very different color appearance, and any paint containing PBr7 may actually be a mixture of two,
three or four iron oxides pigments, each with a different color, blended to match a specific color
target. If you want to geek out on these color variations, this earth pigments tour should do the
trick.

The many shades of PBr7 pigments have been rated with "excellent" (I) lightfastness by the ASTM,
and all manufacturer tests agree. My 1998 tests found problems with a few synthetic iron oxides,
as discussed below, but (with one exception) not with the natural oxides listed here. Otherwise
they vary widely in handling characteristics (opaque to semitransparent, nonstaining to heavily
staining, very dull to moderately intense, mid valued to very dark valued) depending in part on
particle size, composition and vehicle formulation.

Paints made with these pigments can undergo a small to very large drying shift, losing saturation
by more than 20% and lightening up to 30% in the darker pigments (burnt umber and dark raw
umbers); light shades of raw umber or burnt sienna show moderate to very small drying shifts.
They also make a substantial hue shift toward yellow from masstone to undertone.

Historically, the highest quality artists' pigments came from clays collected in Italy (especially
around Siena), Cyprus and the Middle East (imported to Europe by Venetian merchants); the origin
of the ores often gave specific colors their geographic names. (See the section on natural iron
oxides for details on current sources of the pigments.)

These early pigments converged on a quartet of traditional natural iron oxide hues that are very
useful and still manufactured today:

• RAW SIENNA. Traditionally a mid valued, moderately dull earth yellow, slightly granulating,
nonstaining and semiopaque to semitransparent. In the brands rated here the average CIELAB LCh
(lightness, chroma, hue angle) values are 63, 56 and 66. This earth color varies substantially
across manufacturers; some paints are a pale yellow trivially different from yellow ochre (PY43),
while others are a grayish brown. Daniel Smith monte amiata natural sienna is a warm mid
valued yellow brown, my favorite single pigment example of the raw sienna color, with a slight
tendency to darken in masstone. MaimeriBlu raw sienna is a rich color that is uncharacteristically
staining; either it is a finely divided pigment or a synthetic organic yellow has been added. The
Rembrandt raw sienna is also warm and light. Other single pigment brands of raw sienna are
various shades of brown — to my taste too brown to be a good raw sienna. These include a
greenish dark brown close to a yellow ochre (Rowney Artists and, darker still, M. Graham), a warm
light brown (Daniel Smith and DaVinci), a toffee brown (Utrecht, still a lovely color full strength), a
middle grayish brown (Old Holland). The average CIECAM J,a,b values for raw sienna (PBr7) are:
55, 23, 42, with chroma of 48 (estimated hue purity of 39) and a hue angle of 61. See also the raw
siennas listed under PY42 and PY43.

• BURNT SIENNA. A dark valued, moderately dull earth orange, lightly staining, and semiopaque
to semitransparent. The average CIELAB LCh values are 45, 46 and 42. The less intense versions of
this earth color have typically deepened to a warm, moderately dark brown, and are more opaque.
This is one of the most versatile and useful paints, an excellent mixing complement for blues
from ultramarine blue to cerulean blue, and a great partner with blue green and green pigments for
mixing natural, dull yellow greens. M. Graham burnt sienna is an especially rich but regrettably
opaque example of the light chocolate brown that is characteristic of most modern burnt siennas
(MaimeriBlu, Daniel Smith, Utrecht, Holbein are all very similar). Daniel Smith monte amiata
burnt sienna is a lighter, more saturated orange variation of burnt sienna that is very versatile in
mixtures, particularly for greens and muted yellows; their "burnt sienna," "italian burnt sienna" and
"pompeii red" are minor variations on the basic color. The Rowney Artists burnt sienna is an overly
bright and warm color, uncharacteristically staining (probably a finely divided wood stain pigment)
but also transparent. The average CIECAM J,a,b values for burnt sienna (PBr7) are: 37, 40, 27,
with chroma of 48 (estimated hue purity of 36) and a hue angle of 35. To get the optimal
transparency and chroma, some companies opt for synthetic iron oxides, listed as burnt sienna or
transparent red iron oxide under PR101.

• RAW UMBER. Originally the umber ores came originally from Turkey. The name probably derives
from the Latin ombra or shadow, referring to their use as shadow pigments in Renaissance
painting, and not from the Italian city of Umbria. The best color is a transparent, dark valued,
grayish or greenish (very dull) earth brown close to the hue of yellow ochre (yellow orange). The
average CIELAB LCh values are 42, 26 and 64. Today raw umbers is manufactured to a consistent
deep yellow hue, but with large brand variations in chroma and lightness, from a dull olive color to
a warm light gray to a dark cool gray (as discussed in the earth pigments tour). Modern brands
tend to be staining and semitransparent (indicating very small particle size), and most make an
excellent neutralizing complement for ultramarine or indanthrone blue. I feel this paint should
not have a distinct yellow or brown appearance, but instead present a greenish, medium to dark
gray: the raw umbers by Daniel Smith, M. Graham, Rowney Artists and Utrecht all meet this
expectation. The new Winsor & Newton raw umber is lighter, with a warm fawn color that lacks the
characteristic raw umber coolness of the discontinued in paint. The average CIECAM J,a,b values
for raw umber (PBr7) are: 34, 12, 20, with chroma of 23 (estimated hue purity of 24) and a hue
angle of 59.

• BURNT UMBER. The darkest of the four earths, a very dark, very dull earth brown, staining
and semiopaque, with a color resembling dark chocolate (orange hue). The average CIELAB LCh
values are 36, 24 and 48. Currently this earth color is manufactured to a consistent yellow orange
hue, and varies across brands on chroma and value. Daniel Smith burnt umber is an almost
black coffee brown that runs an enticing span of colors as it is diluted into tints; Utrecht and
MaimeriBlu are similar colors, but differ in handling characteristics. Winsor & Newton burnt umber is
the same hue but lightened with the addition of synthetic red and yellow iron oxides, which makes
the brown more saturated; M. Graham burnt umber nearly matches it using only pigments labeled
PBr7. The average CIECAM J,a,b values for burnt umber (PBr7) are: 28, 18, 16, with chroma of 25
(estimated hue purity of 21) and a hue angle of 42.

These earth blends, along with pure red iron oxide (PR101) and yellow iron oxide (PY42) have
been important paints in the watercolor tradition. These "colors" differ substantially from one
watercolor brand to the next, so sampling these pigments on your own is necessary to understand
their range and capabilities.

As a group, the iron oxides are usually easy to apply but sometimes take a longer to rinse from a
brush. Mixtures with earth paints are easier to edit by rewetting and reworking with the brush, and
staining pigments painted over them are also easier to lift or edit, making the iron oxides an
excellent foundation mixture for flesh tones in portraits or figures. They harmonize and blend well
with almost any other type of pigment, and buffer or reduce the tinting strength of synthetic
organic pigments (quinacridones, phthalocyanines) and the strident color of cadmium paints. Just
remember to stir the mixtures with each brush load, as the iron oxides tend to sink to the bottom.
Applied in dilute washes, they make effective and very reliable landscape foundation tints. The
more transparent brands (such as Winsor & Newton and Maimeri) are also effective as glazes to
adjust existing color areas. (Note that some of the "transparent" red or yellow iron oxides, for
example those by Rembrandt or Daniel Smith, are actually semiopaque and granulating.) As with
any dark or dull pigment, you should experiment with the full range of paint dilutions and color
mixtures to evaluate the paints' color and handling attributes.

I suggest you start by buying all four earth colors from a single manufacturer, as the better brands
contrast the earth paints interesting ways; then after working with those paints add or replace
paints as you prefer from other brands. The Winsor & Newton and MaimeriBlu are especially colorful
(well contrasted in hue and value), but the M. Graham and Rembrandt versions are also well
designed and worth investigating for a darker interpretation of the colors.

Since 2002 Daniel Smith has substantially augmented their selection or iron oxide pigments, which
is now the largest earth color range available in watercolors and worth careful review, although
most are variations on the color concepts described here and under the red (PR101) and yellow
(PY42, PY43) iron oxides. In addition to the natural earth quartet, natural iron oxides have been
used for their color and lightfastness to simulate a variety of historical but fugitive natural organic
pigments — sepia and van dyke brown in particular. These paints are usually made with carbon
black, are very staining, and can be dull in heavy applications. See also the section on red earth
pigments.

NOTE: See the comments at the top of this page regarding natural iron oxide pigments.

PBr11 magnesium ferrite (1962) lunar earth Daniel Smith 019 1 1 48 2 1 2 49 +4 8,8
Magnesium ferrite PBr11 is a very lightfast, opaque, lightly staining, moderately dark valued,
moderately dull earth orange pigment, available from only two pigment manufacturers worldwide.
Unrated by the ASTM, my own and manufacturer lightfastness tests give it an "excellent" (I) rating.
It is a slightly chalky light brown similar to many burnt siennas, but with very noticeable
flocculation or channeling in wet applications. (For a similar color see the zinc magnesium ferrite
PY119.) The CIECAM J,a,b values for magnesium ferrite brown (PBr11) are: 40, 36, 32, with
chroma of 48 (estimated hue purity of 35) and a hue angle of 42.

Daniel Smith lunar earth is apparently the only commercial source; the paint is relatively inert
wet in wet, and blossoms lightly when rewetted. A remarkable texturing brown pigment, and an
excellent complement to ultramarine blue (PB29): the two mix to make stunning, very textural
browns, grays and moody dark blues. See also the section on magnesium pigments.

PBr24 chrome titanium oxide (1946) naples yellow deep Winsor & Newton 203 1 3 23 0 2 1 68 +7 8,8
PBr24 titanate gold ochre Schmincke 659 1 2 23 0 1 0 67 +8 8,8
paint introduced after my last pigment
PBr24 naples yellow deep DaVinci 260
tests
PBr24+PW6 naples yellow [hue] Winsor & Newton 422 2 1 15 1 2 2 73 +9 .,.
Chrome titanate PBr24 is a very lightfast, opaque, staining, moderately light valued, moderately
intense earth yellow pigment, available from about a dozen pigment manufacturers worldwide in
shades ranging from green yellow through orange yellow (the shade currently used in watercolors)
to dull red. The ASTM (1999) rates its lightfastness as "excellent" (I), and my own and
manufacturer lightfastness tests agree. It was originally developed as a vinyl siding pigment that
would weather gracefully under prolonged sunlight exposure. In watercolors PBr24 undergoes a
very small drying shift, darkening by 5% and losing saturation slightly. The average CIECAM J,a,b
values for chrome titanate (PBr24) are: 68, 24, 48, with chroma of 53 (estimated hue purity of 39)
and a hue angle of 64. In watercolor paints described here the pigment is consistently a warm pale
yellow; paints differ only in the milling and vehicle formulations.

Of the brands tested, Winsor & Newton naples yellow deep is slightly smoother textured, more
saturated, more staining, and is more active in wet applications; the Schmincke pigment shows a
subtle flocculation in washes. — This is a very beautiful, pale golden yellow, lighter and slightly less
saturated than (but exactly the same hue as) hansa yellow deep (PY65). It retains its glowing
character from full strength to tints. It has naturally whitened color and can be used as a weak
bodycolor for any mixtures requiring an opaque yellow. I prefer it to raw sienna, which in modern
formulations may have permanency problems. Definitely worth trying for florals, botanicals, and
warm landscapes; also mixes very interesting, intense flesh tones. See also the section on
titanium pigments.

PBr25 benzimidazolone brown (1960) permanent brown Daniel Smith 032 4 4 58 1 2 2 39 0 8,8
Benzimidazolone brown PBr25 is a very lightfast, transparent, heavily staining, dark valued,
moderately dull brown pigment, available from two pigment manufacturers worldwide. Unrated by
the ASTM, my own and manufacturer lightfastness tests give it an "excellent" (I) rating. As it is a
dark valued, finely divided synthetic organic, it shows a fairly large drying shift. The average
CIECAM J,a,b values for benzimidazolone brown (PBr25) are: 31, 34, 21, with chroma of 40
(estimated hue purity of 32) and a hue angle of 32.

Daniel Smith permanent brown is the only commercial source in watercolors; the paint is
moderately active wet in wet but has only moderate tinting strength. There is a reddish tint to this
pigment that makes it resemble a diluted indian red in moderately light applications; the lightest
tints take on a pinkish flesh color.

An interesting pigment, with good mixing potential with blues, violets and all warm colors, but most
of its mixing potential can be found in other paints, most obviously with a dark burnt sienna. Not an
essential pigment, but its transparency and tinting strength make it worth exploring for landscape
and portrait palettes. See also the section on benzimidazolone pigments.

PBr33 zinc iron chromite (1974) walnut brown Schmincke 041 0 3 64 2 4 1 40 +15 8,8
Zinc iron chromite brown PBr33 is a very lightfast, very opaque, staining, very dark valued, very
dull brown pigment, available from about 7 pigment manufacturers worldwide. Unrated by the
ASTM, my own and manufacturer lightfastness tests give it an "excellent" (I) rating. It is a
handsome blackish brown in masstone with an ethereal bluish gray glow, caused by the separation
of differently colored coarse and fine pigment particles, in tints or backruns. The average CIECAM
J,a,b values for zinc iron chromite brown (PBr33) are: 25, 12, 8, with chroma of 14 (estimated hue
purity of 12) and a hue angle of 33.

Schmincke walnut brown is the only commercial source; the paint is inert wet in wet but
blossoms energetically when rewetted, with interesting textural effects in dilute washes. An
interesting pigment, similar to a cool burnt umber, but with greater textural possibilities and a very
large hue shift in tints. Even so, its distinctive character makes it hard to work into a painting.
Harmonizes well with ultramarine blue and lunar earth (see above under PBr11) in limited palette
paintings. But otherwise not an essential pigment. See also the section on zinc pigments.

PBr41 disazo condensation brown (1951) translucent brown Schmincke 648 3 4 60 1 2 1 38 +6 7,8
Disazo condensation brown PBr41 is a very lightfast, semitransparent, heavily staining, very dark
valued, moderately dull brown pigment, available from only one manufacturer worldwide, Clariant
GmbH. Unrated by the ASTM, my own and manufacturer lightfastness tests give it "excellent" (I)
lightfastness, with slight fading in the tint. The average CIECAM J,a,b values for disazo
condensation brown (PBr41) are: 29, 33, 21, with chroma of 39 (estimated hue purity of 31) and a
hue angle of 32.

Schmincke translucent brown is the only commercial source. The paint is relatively inert in wet
applications. The pigment is almost identical in all respects to benzimidazolone brown (see above
under PBr25), except that it bronzes slightly in masstone. See also the section on disazo
condensation pigments.

NBr8 coal residue (antiquity) van dyke brown Holbein 139 2 4 73 2 2 1 52 +14 5,6
Van Dyke brown NBr8 is a marginally lightfast, semiopaque, heavily staining, black valued, neutral
dark earth brown pigment, one of many pigments (Cologne earth or Cassel earth) traditionally
made from surface deposits of peat or lignite (brown coal). Unrated by the ASTM, it's widely
recognized as a fugitive pigment; my tests put it in the "fair" (III) category, making it unsuitable for
watercolors. Holbein van dyke brown is the only commercial source; the color consists of a dark,
brownish gray pigment with a grayish black ash; the two pigments separate slightly in wet
applications, and the brown fades in light, leaving the gray ash.

AVOID. Most companies match this antiquated pigment with a natural iron oxide mixed with lamp
black (PBk6); but excellent single pigment alternatives include M. Graham vandyke brown,
MaimeriBlu burnt umber, or the raw umbers by Daniel Smith, Rowney Artists, Utrecht or M.
Graham. Many of the modern convenience substitutes, such as Winsor & Newton van dyke brown,
offer a color that is too intense and homogenous to make a good match. See also the section on
natural organic pigments.

earth color paints made with pigments in a different color index category

quinacridone burnt
PO48 quinacridone orange (1958) Daniel Smith 091 4 3 47 0 2 1 45 +9 7,8
orange
paint introduced after my last pigment
PO48 quinacridone rust M. Graham 091
tests
quinacridone burnt paint introduced after my last pigment
PO48 DaVinci 2712
orange tests
TOP 40 PIGMENT Quinacridone orange PO48 is a lightfast, transparent, staining, moderately dark
valued, moderately intense earth orange pigment, available from 3 registered pigment
manufacturers worldwide, and primarily used as an automotive color. The ASTM (1999) rates its
lightfastness in watercolors as "very good" (II); however, manufacturer and my own tests rate it
"excellent" (I). In watercolors PO48 undergoes a moderately large drying shift, lightening by 10%
but dropping almost 30% in saturation. The average CIECAM J,a,b values for quinacridone burnt
orange (PO48) are: 42, 52, 37, with chroma of 63 (estimated hue purity of 48) and a hue angle of
35.

This quinacridone is a mixed crystal phase of beta quinacridone (PV19) and quinacridone quinone,
nearly identical to the hue of "dull orange" (rather than brown) burnt siennas by Winsor & Newton
or Rowney Artists (see the color comparisons in the earth pigments tour for more details).

The pigment provides a transparent alternative to orange iron oxide earths (e.g., burnt siennas)
that mixes well with a wide range of other paints. Full strength it has a dark orange color that
lightens to a dull scarlet, marvelous for sunset skies, desert cliffs and tanned skin; it shifts toward a
pastel deep yellow in tints. It is relatively unresponsive in wet applications, and its transparency
makes it marvelous for mixing subdued sap greens and dark blues. Well worth investigating. See
also the section on quinacridone pigments.

Initially, Daniel Smith quinacridone burnt orange was the sole source for this pigment in
watercolors, but now several paint brands, including DaVinci, M.Graham and Winsor & Newton
include it as a single pigment paint.

Substitutes: The color, transparency, lightfastness and handling characteristics of both PO48 and
PO49 can be matched very closely by a suitable mixture of nickel azomethine yellow (PY150) and a
synthetic organic red or red violet such as perylene maroon (PR179), quinacridone rose (PV19) or
quinacridone violet (PV19). A close substitute can also be mixed from green gold (PY129) with
quinacridone magenta (PR122).

In 2004, based on information from a paint chemist, I alerted that the last manufacturer of PO48
may cease production because of insufficient demand. Eight years later, pigment retailers, such as
Kremer Pigmente, continue to carry PO48, and paint manufacturers report no change in supply
from their manufacturers.

PO49 quinacridone gold (1958) quinacridone gold Daniel Smith 096 4 3 38 2 4 3 61 +14 7,8
golden lake
PO49 MaimeriBlu 128 4 2 38 2 2 3 59 +16 7,8
[discontinued in 2005]
quinacridone gold
PO49 Winsor & Newton 228 3 4 34 1 2 3 60 +15 7,8
[discontinued in 2005]
quinacridone sienna
PO49+PR209 quinacridone gold + quinacridone red Daniel Smith 095 4 4 45 0 3 2 40 +11 7,8
[discontinued in 2005]
Quinacridone gold PO49 is a lightfast, transparent, staining, mid valued, moderately intense
earth yellow pigment. Manufacture of PO49 ceased in 2001 because there was insufficient
demand for the pigment from automobile manufacturers, its principal consumers. Most artists'
paints made with this pigment were discontinued in 2005. See the note below on substitute
mixtures.

PO49 is another mixed crystal form of PV19 alpha and beta. The ASTM (1999) rates its
lightfastness in watercolors as "very good" (II); manufacturer and my own tests rate it "very good"
to "excellent" (I). In watercolors PO49 undergoes a moderate drying shift, darkening slightly and
losing roughly 20% saturation. The average CIECAM J,a,b values for quinacridone gold (PO49)
were: 52, 33, 50, with chroma of 60 (estimated hue purity of 47) and a hue angle of 56. Most
paints show active diffusion of fine particles and subtle granulation in wet applications. The paints
redissolve and lift fairly easily, making the natural earth pigments preferable for foundation tints.

Beacuse PO49 is a proprietary pigment, all the paints listed here were very similar in color with a
finely divided consistency. In masstone the Daniel Smith paint darkens almost to a glowing orange
(a hue similar to benzimida orange PO62 but less saturated), and in tints the hue shifts to a warm
middle yellow (hue angle 75, the color of "yellow" raw siennas). In 2005 Maimeri replaced the
quinacridone pigment with a gold iron oxide (PY42), although their web site and paint packaging
continue to assert the ingredient is PO49; Winsor & Newton has replaced their PO49 with a mixture
based on nickel azomethine yellow as described under PY150.

Quinacridone gold is an excellent alternative to gold ochre (PY42) and moderately dull yellows such
as nickel azomethine yellow (PY150) or the less lightfast anthrapyramidine yellow (PY108). It
mixes well with nearly all other paints and produces transparent sap green mixtures. See also the
section on quinacridone pigments.

Substitutes: The color, transparency, lightfastness and handling characteristics of both PO48 and
PO49 can be matched very closely by a suitable mixture of nickel azomethine yellow (PY150) and a
synthetic organic red or red violet such as perylene maroon (PR179), quinacridone rose (PV19) or
quinacridone violet (PV19). A close substitute can be mixed from green gold (PY129) with
quinacridone magenta (PR122).

PO65 methin nickel complex golden barok red Old Holland 136 2 0 56 2 4 1 30 +13 7,8
Nickel red PO65 is a lightfast, semiopaque, nonstaining, dark valued, moderately intense earth red
pigment, offered by only 2 pigment manufacturers worldwide. Unrated by the ASTM, industry and
my own lightfastness tests give it an "excellent" (I) rating. The average CIECAM J,a,b values for
methin nickel scarlet (PO65) are: 33, 59, 25, with chroma of 64 (estimated hue purity of 55) and a
hue angle of 23.

Old Holland golden barok red is apparently the only source in watercolors; their paint has a
lovely clumping granulation in wash applications and is fairly inert wet in wet, but it blossoms
readily and easily lifts or bleeds if rewetted. This is another of those unique pigments that the
chemists at Old Holland delight in bringing to watercolor paints. Its dark brownish red is not unlike
blood as it begins to coagulate, though the comparison slights its beauty. Much less brown than
PR175, and tending toward PR176 in masstone. A very lovely pigment worth trying for yourself.
See also the section on metal complex pigments.

calcinated synthetic red iron oxide

PR101 venetian red [mars red] Winsor & Newton 051 0 4 54 0 2 2 38 +2 8,8
(19th century)
PR101 venetian red Daniel Smith 051 0 3 59 1 3 2 35 +1 8,8
PR101 italian venetian red Daniel Smith 122 1 3 47 1 3 2 40 +5 8,8
PR101 venetian red MaimeriBlu 262 0 4 59 0 2 2 35 +7 8,8
PR101 venetian red Rowney Artists 583 0 4 58 0 2 2 36 +4 8,8
PR101 venetian red Utrecht 005 1 3 60 0 3 2 28 -1 8,8
PR101 venetian red DaVinci 288 0 4 62 1 2 2 32 +4 8,8
PR101 venetian red Rembrandt 349 1 3 56 0 3 2 36 +2 8,8
PR101 english red Rembrandt 339 1 3 53 0 3 2 38 +5 8,8
PR101 english red earth Daniel Smith 137 2 2 54 2 3 2 38 +12 7,8
PR101 english red ochre Daniel Smith 136 2 1 54 1 4 3 34 -1 7,8
PR101 light red Rowney Artists 527 1 3 56 0 3 2 38 +5 8,8
PR101 indian red Utrecht 006 3 3 45 0 3 1 34 +3 8,8
PR101 indian red Daniel Smith 044 1 4 58 0 1 2 29 +2 8,8
PR101 indian red Winsor & Newton 023 0 4 62 0 1 2 30 +3 8,8
PR101 indian red Rowney Artists 523 0 4 61 0 1 2 38 -1 8,8
PR101 burnt sienna Winsor & Newton 008 4 3 39 1 2 2 45 +13 7,8
PR101 burnt sienna Rowney Artists 221 4 3 56 1 2 2 38 +14 7,8
PR101 transparent mars red MaimeriBlu 250 3 2 48 2 1 2 42 +20 7,8
PR101 transparent oxide red Rembrandt 378 1 3 47 0 3 2 41 +5 8,6
PR101 transparent red oxide Daniel Smith 128 4 2 58 2 3 3 33 +15 8,8
PR101 transparent mars brown MaimeriBlu 477 4 3 43 1 3 4 52 +10 7,7
PR101 transparent brown oxide Daniel Smith 129 3 2 63 1 3 4 35 +18 8,8
PR101 mars brown Old Holland 346 1 1 61 2 3 4 41 +7 7,7
caput mortuum violet
PR101 Winsor & Newton 215 0 4 66 2 4 2 27 +3 7,8
[mars violet]
mars violet
PR101 Daniel Smith 102 0 3 65 1 3 2 26 +7 7,8
[discontinued in 2002]
PR101 mars violet Rowney Artists 411 1 3 62 0 3 2 24 +6 7,8
paint introduced after my last pigment
PR101 burnt sienna deep DaVinci 2051
tests
paint introduced after my last pigment
PR101 transparent red oxide M. Graham 187
tests
paint introduced after my last pigment
PR101 terra rosa M. Graham 179
tests
calcinated synthetic red iron oxide + diketo-
PR101+PR264 indian red Rembrandt 347 1 2 57 0 1 1 31 +2 7,7
pyrrolo pyrrole carmine
calcinated synthetic red iron oxide + light red
PR101+PY42 Winsor & Newton 029 1 2 48 0 1 1 39 +8 7,7
synthetic yellow iron oxide [discontinued in 2005]
calcinated synthetic red iron oxide +
PR101+PBr7 terre ercolano Daniel Smith 117 3 2 46 1 1 1 42 +3 7,7
calcinated natural iron oxide
calcinated synthetic red iron oxide+copper
PR101+PG7 transparent oxide brown Rembrandt 378 1 3 44 0 3 2 51 +5 7,7
phthalocyanine
calcinated synthetic red iron oxide + copper
PR101+PG36 brown stil de grain MaimeriBlu 488 4 4 43 2 2 3 45 +8 7,7
phthalocyanine
calcinated synthetic red iron oxide + soot
PR101+PBk6 van dyke brown Winsor & Newton 050 1 4 63 0 3 2 49 +11 7,8
from lamp burned petroleum or wax
PR101+PBk6 sepia Winsor & Newton 045 2 4 72 0 1 0 59 +4 7,8
TOP 40 PIGMENT Synthetic red iron oxide PR101 is a very lightfast, opaque to transparent,
staining, dark valued to very dark valued, moderately dull to dull earth orange, earth red or
brown pigment (the variations in color and transparency arise from differences in pigment particle
size, metal additives and hydration). Widely used in cosmetics, pharmaceuticals, construction (it's
the red in red bricks), industrial paints, automotive finishes, plastics and artists paints, it is offered
by more than 30 pigment manufacturers worldwide in a broad range of formulations.

Synthetic red (PR101) and yellow (PY42) iron oxide pigments are refinements on the natural iron
oxides (see PBr7, above), apparently first manufactured by alchemists but not used in artist
materials until the 17th century and not manufactured in large quantities until the 18th century.
Because they are made of iron (the metal of war), alchemists gave them the generic name "Mars"
— including mars violet, mars brown, mars red and mars yellow (PY42). The synthetic red iron
oxide pigments vary widely in hue, from brick red to dull purplish brown; some are calcinated
(burnt or roasted) in foundry ovens to modify their color. (If you want to geek out on the color
variations, this earth pigments tour should do the trick.)

In watercolors PR101 undergoes a moderate drying shift, holding its lightness but losing
saturation by 20% or more. The extremely small and consistent particle sizes possible with
synthetic materials makes the dull (concentrated) pigments very opaque and the intense (diluted)
pigments very transparent, and all are smooth and usually staining. Added chemicals such as
manganese can be controlled precisely, so there tends to be less variation in the standard PR101
hues across manufacturers than there is in the natural earths; and manufacturing variation of the
color has induced paint makers (Daniel Smith in particular) to add several new hues to the red
earth range. Indeed, this ample selection makes "hue" paints adjusted with synthetic organic
pigments superfluous, and I suggest you avoid them: the pigments can separate wet in wet or in
the tube after long storage.

The ASTM (1999) has rated the lightfastness of all shades of PR101 as "excellent" (I), and all
manufacturer and my own tests agree. However, my 1998 tests suggest that some synthetic iron
oxides may present problems. After six weeks of summer sunlight exposure, my samples of
Winsor & Newton raw sienna (listed under PY42 below) and both MaimeriBlu transparent mars red
and transparent mars brown had all grayed noticeably; Daniel Smith raw sienna blackened in
masstone.

These problems may arise because of unusual impurities in the manufacturers' pigment stock, or
they may be a consistent attribute of these pigments. But as the samples indicate, they appear
across too many paint brands to ignore. If you have any concerns, conduct your own lightfastness
tests.

The red iron oxide pigments are marketed in a few standard color categories or color concepts, with
some fanciful marketing variations. The main types are:

• VENETIAN RED. A reliable dark, dull orange red, moderately to very opaque, and formerly made
with natural red iron oxide. In the brands listed here the average CIELAB LCh (lightness, chroma,
hue) values were 39, 38 and 33. (The names English red and light red traditionally referred to
slightly yellower pigments made from synthetic red iron oxide; now all pigments are synthetic and
these names have mostly a marketing purpose. See PR102.) The hue of this paint is extremely
consistent across manufacturers; nearly all the color variations are limited to value, chroma and
opacity. Winsor & Newton venetian red is reliable and not too opaque, but offers more body and
a pinker color than a transparent burnt sienna. This is the dead on best neutralizing complement
for iron [prussian] blue (PB27), a traditional combination especially preferred by Winslow Homer.
Venetian red (or indian red) is also interesting in mixtures with cerulean blue, which produce an
interesting range of violet tinged grays. The average CIECAM J,a,b values for venetian red (PR101)
are: 31, 37, 19, with chroma of 42 (estimated hue purity of 34) and a hue angle of 28; for light red
(PR101) are: 33, 38, 24, with chroma of 44 (estimated hue purity of 35) and a hue angle of 32.

• INDIAN RED. A slightly duller and more violet version of the red iron oxide, also very opaque.
The average LCh values were 41, 37 and 32. In good paints the hue takes on a purplish cast, on
the road to mars violet. Winsor & Newton produces perhaps the largest contrast between this paint
and venetian red. The average CIECAM J,a,b values for indian red (PR101) are: 33, 37, 18, with
chroma of 41 (estimated hue purity of 34) and a hue angle of 26.

• TRANSPARENT RED. A slightly darker valued and more intense color, with an appearance close
to a burnt scarlet. Offered by few paint manufacturers, the actual transparency of this "transparent"
pigment depends on the brand; some paints are semiopaque. A few brands of burnt sienna,
including Rowney Artists and Winsor & Newton, are also made with a transparent red iron oxide.

• TRANSPARENT BROWN. A dark valued brown close to many burnt umbers. Again, the actual
transparency of this "transparent" pigment depends on the brand; some paints are semiopaque.

Because the pigment particles are so fine, PR101 pigments tend to stick in a brush and can be
strongly staining. A thick layer of paint will lift and muddy a second paint layer glazed over it, but
dilute applications produce a reliable, rosy or fleshy foundation tint. They can be dulled when mixed
with staining pigments such as the phthalo blues. They work well with other opaque pigments,
especially the cadmiums or chromium oxide green, but tend to separate from the cobalts when
applied in juicy mixtures. Use them in tints up to moderate dilution; lay down the earth colors (such
as venetian red or gold ochre) before the granulating pigments (such as cobalt blue or viridian);
work with lighter, yellower colors first, then the darks; and use plenty of water — these paints can
glow when sufficiently diluted! See also the section on iron pigments.

PR102 calcinated natural red iron oxide (antiquity) yellow ochre burnt Old Holland 060 4 0 47 1 2 1 49 +10 8,8
PR102 yellow ochre half burnt Old Holland 059 2 0 39 0 3 1 55 +11 8,6
PR102 light red Winsor & Newton 362 . . . . . . . . .,.
Natural red iron oxide PR102 is a very lightfast, semiopaque to transparent, nonstaining,
moderately to very dark valued, moderately to very unsatured earth orange pigment (the
variations in hue and value arise from different pigment formulations). Unrated by the ASTM, my
own and manufacturer lightfastness tests give it an "excellent" (I) rating. It is another calcinated
natural iron oxide that is a completely lightfast, semitransparent, nonstaining, mid valued,
moderately dull earth orange pigment; the burnt version is warmer than the half burnt.

This pigment was once known under the name light red, which Winsor & Newton reintroduced in
2005 to replace the former paint made by mixture. The Old Holland versions have the trademark
near complete lack of staining, but otherwise resemble pale burnt siennas with poor tinting
strength. Useful to replace light red or burnt sienna when complete lifting is required, but otherwise
not preferable to the iron oxide paints discussed under PBr7 and PR101. See also the section on
red earth pigments.

NOTE: See the comments at the top of this page regarding natural iron oxide pigments.

PR175 benzimidazolone red (1960) deep scarlet Daniel Smith 046 3 3 58 0 4 1 34 -5 8,8
Benzimidazolone red PR175 is a very lightfast, semitransparent, staining, dark valued, moderately
intense earth red pigment, manufactured by Clariant GmbH. Unrated by the ASTM, manufacturer
and my own tests show "excellent" (I) lightfastness. Despite the name, I've classified it with the
earth colors because it has a reddish brown color from masstone to tints. The average CIECAM
J,a,b values for benzimidazolone scarlet (PR175) are: 31, 50, 26, with chroma of 56 (estimated
hue purity of 47) and a hue angle of 27.

Daniel Smith deep scarlet is apparently the only commercial source of this pigment. The paint
has a lovely rich color in masstone, transparent and moderately active in wet applications. — A
darker and slightly more chromatic alternative to the umber earths, roughly in between the value,
saturation and hue of perylene maroon (PR179) and quinacridone maroon (PR206). Not an
essential pigment, but probably useful to landscape and portrait/figure painters. See also the
section on benzimidazolone pigments.

quinacridone burnt
PR206 quinacridone maroon (1958) Daniel Smith 007 3 4 54 0 4 4 31 +2 7,8
scarlet
PR206 brown madder [hue] Winsor & Newton 201 3 2 50 1 3 1 34 0 7,8
PR206 transparent red brown Rowney Artists 261 3 2 54 1 3 1 32 +1 7,8
PR206 avignon orange MaimeriBlu 053 3 3 55 0 3 4 30 +4 7,8
PR206+PR122 quinacridone maroon + quinacridone
crimson lake MaimeriBlu 053 3 4 53 0 3 4 28 -2 7,7
+PR254 magenta + diketo-pyrrolo pyrrole red
TOP 40 PIGMENT Quinacridone maroon PR206 is a lightfast, semitransparent, moderately
staining, dark valued, moderately intense earth red pigment, available from only two pigment
manufacturers worldwide (primarily as an automotive color). It is a mixed crystal of PV19 and
quinacridone quinone, very close to the hue of the traditional and fugitive pigment brown madder.
The ASTM (1999) rates its lightfastness in watercolors as "very good" (II), but in my own 2004
lightfastness tests it showed "excellent" (I) lightfastness. In watercolors PR206 undergoes a
moderate drying shift, lightening slightly but losing over 20% of its saturation. The average
CIECAM J,a,b values for quinacridone maroon (PR206) are: 36, 54, 25, with chroma of 60
(estimated hue purity of 50) and a hue angle of 25.

Daniel Smith quinacridone burnt scarlet is the darkest and strongest tinting paint tested here,
a beautiful scarlet brown; it is very similar to the MaimeriBlu avignon orange, which tends to bronze
slightly when applied full strength. The Winsor & Newton paint stains less and is slightly more
saturated, but is also lighter and seemingly less concentrated.

PR206 is a very attractive color for botanicals, portraits, or landscapes. It is an unusually versatile
neutralizing complement with a wide range of blue and blue green pigments, from iron blue
(PB27) to viridian (PG18). It adds a slight granular texture to the phthalocyanines and
complements the granular texture of the cobalts; it creates evocative dark mixtures with dioxazine
violet, hansa yellow, and indanthrone blue. Its major drawback is its relatively weak tinting
strength; other dark pigments can overpower it; for that reason I prefer perylene maroon
(PR179). An excellent glazing pigment to cut the saturation of cool hues or to build warm
shadows; very easy to handle overall. See also the section on quinacridone pigments.

PR233 chrome aluminum stannate (c.1780) potter's pink Winsor & Newton 537 2 1 42 0 2 2 15 +3 .,.
Chrome aluminum stannate PR233 is a lightfast, semitransparent, moderately staining, moderately
dark valued, dull earth red pigment, manufactured as a decorative ceramics colorant under the
trademark Sicocer F Pink by BASF (Germany) and sold to the artist's trade by Kremer Pigments.
Unrated by the ASTM, chemistry and prior use plausibly puts it in the "excellent" (I) lightfastness
category. The CIECAM J,a,b values for pinkcolor (PR233) are: 42, 34, 16, with chroma of 38
(estimated hue purity of 31) and a hue angle of 25. Historically used since the 18th century as a
watercolor pigment, under the name "pinkcolor".

PY42 synthetic yellow iron oxide (19th century) gold ochre Winsor & Newton 059 2 3 39 0 2 2 56 +9 8,8
PY42 mars yellow Daniel Smith 060 1 1 38 0 3 1 64 +7 8,8
PY42 yellow ochre Rowney Artists 663 1 3 30 0 2 3 69 +7 8,8
PY42 yellow ochre MaimeriBlu 131 1 3 38 0 2 3 68 +5 8,8
PY42 raw sienna Lukas 1039 1 3 38 0 2 3 68 +5 8,8
PY42 burnt sienna Lukas 1109 1 3 38 0 2 3 68 +5 8,8
PY42 transparent yellow oxide Rembrandt 265 1 3 34 0 2 3 65 +9 8,6
PY42 transparent yellow oxide Daniel Smith 121 4 1 43 1 3 2 61 +10 8,6
PY42 mars yellow Old Holland 319 2 0 33 0 3 2 66 +9 8,8
paint introduced after my last pigment
PY42 raw sienna deep DaVinci 2731
tests
paint introduced after my last pigment
PY42 transparent yellow oxide M. Graham 188
tests
synthetic yellow iron oxide + calcinated
PY42+PR101 raw sienna Winsor & Newton 040 3 0 19 0 2 1 73 +8 8,8
synthetic red iron oxide
PY42+PR101 raw sienna Rowney Artists 667 3 0 45 0 2 1 63 +8 8,8
TOP 40 PIGMENT Synthetic yellow iron oxide PY42 is a very lightfast, opaque, staining, light
valued to moderately dark valued, moderately intense to dull earth yellow pigment, available from
about 30 pigment manufacturers worldwide. Rated as having "excellent" (I) lightfastness by the
ASTM and paint manufacturers, I found in my 1998 lightfastness tests that several brands of
synthetic yellow iron oxides turned slightly dark or gray in masstone (see the color notes under
PR101 for more information). The color varies widely across watercolor manufacturers due to
variations in the impurities included in the iron and in the raw pigments used; see the earth
pigments tour for clarification. In watercolors PY42 undergoes a very small drying shift, holding
its value and losing 10% or less in saturation. The average CIECAM J,a,b values for mars yellow
(PY42) are: 53, 24, 44, with chroma of 50 (estimated hue purity of 41) and a hue angle of 61; for
gold ochre (PY42) they are: 50, 37, 45, chroma 58 (estimated hue purity 44), and hue angle 51.

The manufactured variations in this pigment have produced some interesting paints. Winsor &
Newton gold ochre is a distinctive, reddish gold color (the same hue as benzimida orange, PO62,
at lower chroma) that lends a subtle texture to wet in wet passages, a fabulous landscape and
figure nude paint. The Winsor & Newton raw sienna is a warm, light yellow that is one of the most
transparent versions of this color. Daniel Smith transparent yellow oxide really is transparent,
and nonstaining as well, a subtly granulating, dark, toasted yellow color — but test its lightfastness
for yourself. Daniel Smith mars yellow or MaimeriBlu yellow ochre are a different color entirely:
darker, almost greenish, and much more opaque (note the MaimeriBlu bronzes when applied full
strength). I like any of these paints in place of other raw siennas or the more opaque yellow ochre,
which are more common watercolor artists' choices for an earth yellow. All resemble raw sienna in
tints, but at full strength show a distinctive character; all mix very well with phthalo greens or blues
to produce natural, dull greens. See also the section on iron pigments.

natural yellow iron oxide [limonite]

PY43 yellow ochre Winsor & Newton 216 3 2 25 0 2 2 69 +10 8,8
(antiquity)
PY43 yellow ochre light Winsor & Newton 745 3 0 19 3 4 2 76 +5 .,.
PY43 yellow ochre Daniel Smith 059 2 1 29 1 2 2 66 +7 8,8
PY43 verona gold ochre Daniel Smith 123 3 1 26 1 2 2 72 +7 8,8
PY43 french ochre Daniel Smith 134 3 1 27 0 2 3 69 +5 8,8
PY43 italian deep ochre Daniel Smith 135 4 1 37 0 2 2 55 +7 8,8
PY43 yellow ochre Utrecht 181 2 1 25 0 1 0 69 +8 8,8
PY43 yellow ochre M. Graham 200 1 3 36 1 2 1 68 +7 8,8
PY43 yellow ochre DaVinci 292 1 1 32 1 2 0 66 +12 8,8
PY43 gold ochre Rembrandt 231 1 3 38 1 2 1 59 +9 8,8
PY43 raw sienna Rembrandt 234 1 3 26 1 2 1 66 +11 8,8
PY43 yellow ochre Blockx 111 2 2 32 0 2 1 68 +6 8,8
natural yellow iron oxide + synthetic yellow
PY43+PY42 yellow ochre Rembrandt 227 1 3 31 1 2 1 68 +6 8,8
iron oxide
Natural yellow iron oxide PY43 is a very lightfast, semiopaque to semitransparent, nonstaining
to moderately staining, mid valued to moderately dark valued, moderately dull to dull earth yellow
pigment, now available from only 2 registered pigment manufacturers worldwide. The variations in
transparency, staining, granulation and activity wet in wet across the the brands listed here are
reflected in color variations as well, which is not captured in the average CIELAB LCh (lightness,
chroma, hue) values, 67, 59 and 69. These paints are all a deep yellow hue identical to nickel
dioxine yellow (PY153). The ASTM, paint manufacturers and my own tests rate this pigment as
having "excellent" (I) lightfastness. In watercolors PY43 undergoes a very small drying shift,
decreasing slightly in saturation. The average CIECAM J,a,b values for yellow ochre (PY43) are: 58,
22, 45, with chroma of 50 (estimated hue purity of 40) and a hue angle of 64.

This has been the most popular choice for an earth yellow for the past two centuries at least. I
suggest approaching the paint offerings as consisting of four basic color choices:

• My prejudice is that the classic yellow ochre should be rather dark and have almost a greenish
cast; this separates it from the warmer, sunnier raw sienna. The M. Graham, Rowney Artists,
DaVinci and Rembrandt paints represent this style; Maimeri's yellow ochre (under PY42) is also in
this group. These paints are often the most opaque but brighten nicely in tints.

• Some paints take on a warmer, lighter yellow color, including the yellow ochres by Utrecht,
Winsor & Newton and Daniel Smith.

• Other paints are warm and dull enough to appear almost reddish brown, such as Daniel Smith
italian deep ochre. This paint is rather thin and is the most transparent.

• Finally there are a few pale, weakly tinting ochres, including two relatively new paints, Winsor &
Newton yellow ochre light and Daniel Smith verona gold ochre, which appear to contain the same
pigment (though the Daniel Smith has a slightly better tinting strength).

These various yellow ochres, though traditional and still common in oil painting, have less to
recommend them in watercolors. Some artists find natural yellow iron oxide is oily or sticky on the
brush, hard to rinse, and tends to sink out of wash mixtures (especially greens mixed with phthalo
green), requiring frequent stirring. For those reasons they prefer synthetic yellow iron oxide (PY42)
or raw sienna (which has, however, a weaker tinting strength). I tend to share this view. However,
ochre is a remarkable foundation pigment, providing a warm glow to paints glazed over it, and an
earth yellow works exceptionally well with a synthetic organic crimson and synthetic inorganic blue
to create glowing and easily adjusted flesh mixtures. Also, there is an interesting variety in the
earth yellow pigments not called "yellow ochre," and it may be worth the time to try such paints
from different brands. See also the section on yellow earth pigments.

NOTE: See the comments at the top of this page regarding natural iron oxide pigments.

PY119 zinc magnesium ferrite mars yellow Holbein 328 0 1 45 1 2 2 55 +8 8,8

PY119 magnesium brown Winsor & Newton 381 1 3 50 2 3 2 50 +3 8,8
Zinc magnesium ferrite PY119 is a very lightfast, very opaque, slightly staining, moderately dark
valued, moderately dull earth orange pigment, available from 7 pigment manufacturers
worldwide. Unrated by the ASTM, my own and manufacturer lightfastness tests give it an
"excellent" (I) rating. The average CIECAM J,a,b values for mars yellow (PY119) are: 43, 34, 38,
with chroma of 50 (estimated hue purity of 39) and a hue angle of 48.

The two paints listed here are very similar, although I much prefer the new Winsor & Newton
vehicle formulation. The color is a unique caramel brown, yellower than a burnt sienna but much
warmer than an ochre, that shifts in tints to a hue resembling gold ochre; the paint is moderately
active in wet applications. The main drawback to this pigment is its opacity, which rivals that of
venetian red. In tints it is a lovely color and can replace burnt sienna in some situations provided
transparency is not an overriding requirement. See also the section on iron pigments.

KEY TO THE PAINT RATINGS. Summarized as numbers: Tr = Transparency: 0 (very opaque) to 4 (transparent) - St = Staining: 0 (nonstaining) to 4
(heavily staining) - VR = Value Range: the value of the masstone color subtracted from the value of white paper, in steps of a 100 step value scale - Gr =
Granulation: 0 (liquid texture) to 4 (granular) - Bl = Blossom: 0 (no blossom) to 4 (strong blossom) - Df = Diffusion: 0 (inert) to 4 (very active diffusion)
- HA = Hue Angle in degrees of the CIELAB a*b* plane - HS = Hue Shift as the undertone hue angle minus the masstone hue angle, in degrees of the
CIELAB a*b* plane - Lf = Lightfastness: 1 (very fugitive) to 8 (very lightfast) for paint in tint,full strength - Mentioned in pigment notes: Chroma: For
the masstone paint on white watercolor paper. - Drying Shift: Change in masstone color appearance from a glistening wet to completely dry paint swatch, in
units of lightness, chroma and hue angle in CIELAB. For more information see What the Ratings Mean.

Last revised 07.I.2015 • © 2015 Bruce MacEvoy