I just made a page for visitors to post questions—you can see a link to it in the navigation bar at the top of each page. I get a fair number of questions, sometimes attached to a random post because the visitor didn’t really know where else to post the question. So now there’s a place.
If you put a relevant question into the comments there, I will respond. Of course, my response may be simply to tell you that I don’t know. But feel free to give it a try. It’s not exactly an internet forum, but it will serve for now.
Update
21 June 2008: Of course, the first question (an excellent one) stumped me. More, please. I’ll have a good answer to someone’s question eventually.
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Tags: All the Strange Hours
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29 June 2008 at 4:15 PM
Albert Edward
After years of studying oil painting, all my teachers were proponents of the placement of Alizarin Crimson on a decent palette. This is color not permanent, yet the use of it seems essential, as I know of no deep rose that can replace it. In my search for an excellent replacement, at various quarters I’ve had a few supposedly permanent replacements espoused: Quinacridone Violet, Gamblin’s Alizarin Permanent, Winsor & Newton too make’s a special replacement, Rembrandt’s Permanent Madder Deep, and doubtless there are others.
My Question: know you a permanent Alizarin Crimson replacement that’s inseperable, or almost inseperable, from Alizarin Crimson in hue, value, chroma, and transparency, yet permanent? I really would prefer not to use an impermanent color, yet really need the affects Alizarin Crimson provides.
Much Thanks.
29 June 2008 at 7:05 PM
David
@Albert Edward -
Albert,
I don’t know of any color that is exactly like alizarin crimson. No two pigments ever perform identically, so there can be no “perfect” alizarin replacement. On the other hand, many of the great paintings of history were made without it; therefore it is by no means indispensable.
I don’t use alizarin and never became addicted to it. I am a big fan of pyrol ruby, myself. It is similar to alizarin, but not the same. If you can find a genuine rose madder (light fastness rating II while alizarin is III) that can be an excellent choice (Doak makes it, as does Blue Ridge).
30 June 2008 at 11:07 AM
Albert Edward
David,
Thanks for your response. I have in fact used Genuine Rose Madder. I’ve done W&N’s, and theirs is, in fact virtually inseperable from Alizarin Crimson, however the grapevine tells me that this too isn’t lightfast, so if my source is correct, I’m in the same boat I was with the Alizarin!!
At any rate, I now have your Pyrol Ruby on my list of colors to investigate, and do thank you for your time and knowledge. Meanwhile, if there be anyone else out there that knows of effective Alizarin Crimson replacements, jump aboard.
30 June 2008 at 9:16 PM
David
@Albert Edward -
Albert,
If I recall correctly, W&N’s “permanent” alizarin is made with anthraquinone red (PR 177), which is a chemical relative of alizarin. I have read that it is not a great performer in terms of lightfastness.
Among the modern organic pigments, you may also want to look into perylene maroon (PR179) and benzimidazolone carmine (PR176). They are both similar to alizarin but demonstrate better lightfastness than PR 177. And again, I’d also strongly suggest looking into pyrrol/irgazine ruby (PR 254).
30 June 2008 at 10:09 PM
Albert Edward
David,
Thanks, but again, I didn’t use W&N’s Permanent Alizarin (which I have) as the Alizarin replacement on my palette. It was W&N’s Rose Madder Genuine- not Genuine Rose Madder, presumably, somewhat different from Alizarin. That notwithstanding, as pleased as I am with it’s performance, else wise my source does indicate that it too isn’t lightfast.
Needless to say, I’ll find some time to look into the two additional colors you recommend as well.