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Atelier Color Range Discussion

Chroma is considering changes to the color range of Atelier Interactive and Archival Oils. For some colors, the pigments are no longer available. We also have received a number of requests for additions to the line, and in order to accommodate these requests, some less popular colors would be discontinued.

Colors considered for removal or replacement:

• Permanent Brown Madder – The pigment supply is no longer available, and the probable replacement color is Quinacridone Burnt Orange

• Permanent Alizarine – The pigment supply for this color is no longer available, and the probable replacement for this color will be Pyrrole Alizarine, a very rich color and the best modern Alizarine available

• Naples Yellow Reddish – One that can be easily mixed

• Orange – Transparent Perinone Orange is preferable

• Toning Grey Yellowish and Toning Grey Pinkish -It is easy to mix replacements colors for these and they make way for the more interesting greens

• Brown Black - To be replaced by a reddish shade of umber pigment which could be called “Van Dyke Brown”

• Napthol Crimson – Very similar to Pyrrole Crimson, which is a superior color.

Colors being considered for introduction include:

• Lemon Yellow - The greenest possible yellow, greener than Transparent Yellow

• Pyrrole Alizarine - As replacement for Permanent Alizarine

• Viridian - A popular green for which we have had a number of requests

• Yellow Green – A highly saturated Yellow Green

• Quinacridone Burnt Orange - As a replacement for Permanent Brown Madder

• Van Dyke Brown or Brown Earth - Possible replacements for Brown Black

• Micaeous Oxide - A dark metallic grey. Many artists have asked for this to mix their own blends and particularly good for grounds

• Toning Grey Mid - Stays, but the mica component would be removed
.

This means that there are only eight out of seventy five to be replaced or re-considered. Do you have any ideas on what colors you would like to see included and which ones you think we could do without? Please add comments and suggestions below, as we are always interested in feedback from users of our paints.

There are (48) Comments, Comments are now closed for this discussion?
  1. comment_1_8423

    Serena commented on October 22, 2009, at 4:58 pm.

    Colours Being Replaced or Discontinued

    1. Permanent Brown Madder

    2. Permanent Alizarine

    3. Naples Yellow Reddish

    4. Orange

    5. Toning grey Yellowish

    6. Toning Grey Pinkish

    7. Brown Black

    8. Napthol Crimson

  2. comment_2_8423

    Serena commented on October 22, 2009, at 5:04 pm.

    Colours Being Considered For Introduction:

    1. Pyrrole Alizarine

    2. Quinacridone Burnt Orange

    3. Lemon Yellow

    4. Viridian

    5. Yellow Green

    6. Van Dyke Brown or Brown Earth

    7. Micaceous Oxide

    8. Toning Grey Mid without the metallic component.

  3. comment_3_8423

    Diaedwards commented on October 23, 2009, at 10:45 am.

    I like Lemon Yellow, and the greenish yellow color is great. I find Brownish Madder to be a useful color, does this mean Brown Madder will be discontinued in JoSonja's Acrylic Gouache also? I really like that color. the Naples and toning colors are not important. I love the burnt orange.

  4. comment_4_8423

    jgibson657 commented on November 5, 2009, at 4:40 pm.

    I think that the colors you are thinking about removing can be lived without easily. the new colors i think woulbe be a great addition. I would like to see a hookers green dark, not black green but a dark hookers. I also would like to see a good basic flesh tone that would be easily darker or lighter....

  5. comment_5_8423

    Karen's Country Cottage commented on November 6, 2009, at 4:04 pm.

    It is great to see the colour range constantly being updated. The colours on the cutting room floor ro to speak are little used or as you say easily mixed. Their replacements also sounds a great combination. I would however like to see a transparent Australian Red Gold included in the series.

  6. comment_6_8423

    Brian commented on November 7, 2009, at 1:27 am.

    Will miss Permanent Madder Brown and Napthol Crimson; both I find useful here in the Mediterranean. The only new colour I would find of use possibly is the Lemon Yellow, although here in the Med I use much more Jaune Brillant than Lemon Yellow. The rest do not interest me especially as I mix all my greens and the burnt orange is easily achieved in the tonal range I use.

  7. comment_7_8423

    Shanipants commented on November 8, 2009, at 4:46 am.

    I recently fell in love with permanent brown madder, but I think that quinacridone burnt orange will be a great substitution. I love Golden's quin. burnt orange.
    As for the naples yellow reddish and toning grays, I always mixed my own.
    I am excited about yellow green!

  8. comment_8_8423

    Jeanne Lafferty commented on November 12, 2009, at 7:28 am.

    I love the new colors--the Yellow Green looks enticing-- but oh my God if you get rid of Brown Black I may have to jump. I've heard rumors of the demise of my good friend, Brown Black, and have bought up all the tubes available in my area along with a jar of this color special ordered by my art supply store--Artist and Craftsman Supply in Massachusetts. I guess I'll have to learn to live without my old best friend. What a great way it has been to tone a canvas for a certain kind of look that I like when I paint, say, fruit. Fruit tends to be altogether too jolly all by itself. Use Brown Black and you've got Sturm und Drang style fruit. So long, friend. I supposed it would be over-the-top to hold a memorial service. I'll become a Brown Black widow.But who knows, maybe if I fall in love with the Van Dyke I'll re-marry .

  9. comment_9_8423

    Pam commented on November 18, 2009, at 8:41 am.

    Please! Can we have a colour similar to Australian Red Gold, or Australian Sienna. A wonderful colour for underpainting, to show through when scaping back and also suitable for our Australian landscape.

  10. comment_10_8423

    Lee Clements commented on November 18, 2009, at 1:37 pm.

    I must say that I am a Brown Black fan too. It was a good basic dark brown without being flat or too brassy. I am also a Permanent Alizarine fan but the replacement looks quite close. But as they say, things must change to move forward..... The other colour replacements look good as well as the new colours to be added particularly Viridian, another favourite of mine.

  11. comment_11_8423

    Jim Cobb commented on December 7, 2009, at 12:07 pm.

    For jgibson from Winter Park, Florida, USA.

    Your request for Hooker's Green sounds reasonable. Bear in mind that it is not a single pigment colour but a mixture. Please post an image of the particular shade of Hooker's that appeals to you.

    In doing so you could consider that it is fairly close to Forest Green in the Atelier range and also similar to Jenkins Green in Golden paints.I suggest that playing around with paint samples is a good way to make colour and mixing comparisons. Here is one that I have done.

    best regards
    JIM COBB

  12. comment_12_8423

    Jim Cobb commented on December 7, 2009, at 12:11 pm.

    Karen's Country Cottage, Landsborough, Queensland Australia

    We do have a transparent red gold in the Atelier Interactive series. We sell our paints internationally therefore when naming them don't refer to particular colours as Australian

    We may adjust our present Red Gold to make it a warmer, more reddish mixture as in the swatch below. Notice that if we do this a fairly close match to the existing red gold can be made by simply mixing Crimson S1 with Transparent yellow.

  13. comment_13_8423

    Jim Cobb commented on December 7, 2009, at 12:24 pm.

    I have noticed that the green yellow we are thinking of introducing is fairly close to the already existing Olive green in the Archival oils range. We will possibly correct the Olive Green in Atelier Interactive to match its namesake in oils.

    Di Edwards please note this colour response.

    The first swatch below shows the Interactive acrylic Olive Green on the right, Archival oils Olive Green in the middle and the originally proposed Yellow Green colour on the left. Below each of the variations I have demonstrated its undertone and white.tints

    Interesting to note that some other very close mixtures to the originally proposed yellow green can be achieved with Permanent Sap Green and Transparent Yellow. This can be seen in the second image swatches top and bottom with their tints A variation with Forest Green added to Perm. Sap Green and also a tint is shown at the bottom. After this investigation it appears that if we were to introduce a new yellow green as originally proposed that may eradicate difference between colours which we are aiming for.

    Centre blobs show mixtures that can be achieved with Sap Green, Trans yellow, Ultramarine Blue and white.

  14. comment_14_8423

    Jim Cobb commented on December 7, 2009, at 1:18 pm.

    Brian (Mediterranean), there are a couple of colours which we just have to replace. The pigment has run out for Permanent Brown Madder so we have no option. The closest we can get to it is Burnt Orange Quinacridone.

    Di Edwards, this doesn't mean it will change in Jo Sonja's because the JS Brown Madder is made from a different pigment than Ateleir Interactive, shaded back with orange. The changes being discussed refer to the Atelier Interactive and Archival Oils range.

    We would also like to have greater differentiation between colours. If you look at Napthol Crimson and Crimson, Series 1 you can see that they are close and how close Napthol Crimson is to the Quin. Burnt Orange. For this reason we are considering dropping Napthol Crimson.

    The third images shows which bluish reds it looks like we will possibly end up with. I have illustrated a proposed Alizarine Permanent (Benzimidazolone) PR176, the current S1 Crimson and Permanent Alizarine which must be replaced. Their tints clearly demonstrate the liveliness of Crimson and Alizarine Permanent (Benzimidazolone) by comparison with existing Perm. Alizarine.

    See the colour swatch for a comparison between Quinacridone Burnt Orange and Brown Madder This is what the substitution would be like. The colour to the bottom left is a mixture of Brown Madder and Crimson.

    best regards

    JIM COBB

  15. comment_15_8423

    Jim Cobb commented on December 7, 2009, at 1:30 pm.

    Shanipants and Jeanne.

    Take a look at the yellow green swatches above and below. A good mixture for the Yellow Green we were thinking of can also be achieved with Permanent Sap Green and Orange (to the left) and mixed with Transparent Yellow (to the right) as seen below.

    Jeanne, also please notice my response to Brian (above) about the mixtures which can be achieved with Crimson and French Ultramarine Blue to get dark browns. Alternatively what do you think of the current Jo Sonja Burgundy as illustrated below? it's another bluish red, not as dark as the other mixtures.

    Note that the current Pyrrole Red produces a very rosy tint, quite different to the crimsons and therefore will have other uses.

    best regards
    JIM COBB

  16. comment_16_8423

    Jim Cobb commented on December 7, 2009, at 2:43 pm.

    Pam, as I mentioned in my response to Karen's Country Cottage we already have a red Gold in our range.Australian Sienna is not made with true Sienna pigment but is a mixture of PY83,PR101 and PY42. It contains yellow Ochre, transparent Red Oxide and a transparent bright yellow which could be Indian Yellow or there could be a bit of red gold in it as well.

    You could get a mixture close to Australian Sienna by using red gold with a bit of Transparent Red Oxide.

  17. comment_17_8423

    Jim Cobb commented on December 7, 2009, at 3:00 pm.

    Hello Lee:

    My feeling is that Brown Black is too close to Burnt Umber to have a useful distinction although Brown black is transparent where as Burnt Umber is semi-transparent. We are looking for differentiation between colours within our range which would exist between Burnt Sienna, new Brown Earth and Burnt Umber. The first image shows the close comparison between these Burnt Umber and Brown Black so I feel that Brown Black can be removed.

    As an alternative, Brown Black can be mixed by using Carbon Black with some Transparent red Oxide to get various shades of black useful for glazing. Another useful way of using the new Brown Earth colour is to mix it with French Ultramarine blue or Pthalo Blue which will give a variety of different grays when white is added. The second swatch demonstrates this.

    The colour we are considering as it's replacement is actually an umber pigment mixed with a redder shade than Burnt Umber. This may already be familiar to you as Brown Earth in the Jo Sonja range.

    My feeling about the usefulness of Brown Earth is that it is a much stronger, more definite colour and distinctly different from Burnt Umber. Please have a look at the replies above to Brian and Jeanne and you may be intrigued to find alternative dark browns which can be mixed from Crimsons.

    We have no choice in changing Permanent Alizarine. One of its component pigments is extinct. The single pigment Red TR, pigment PR264 is, we feel sure you will agree,a more attractive colour. However recently I have become aware of a new pigment Benzimidazolone PR176 which is even closer to Permanent Alizarine which we need to replace. What do you think?

    best regards
    JIM COBB

  18. comment_18_8423

    Jim Cobb commented on December 17, 2009, at 3:07 pm.

    Please take a look at the 1st paint swatch below and add your ideas about the usefulness of introducing Hookers Green into our range? Comparing the three colours I would say to thiose people who hjave requested a Hookers Green that the Forest Green is very similar in colour and simply has a different name. Therefore I would ask everyone to consider this sample which at least has a differentation within our range from ther Forest Green which we already carry. Can I have everyone's comments please?

    Viridian is another often requested colour.Pthalo Green is a fairly close match. the second swatch below makes this comparison. I always find it useful to do a white tint when talking about colour as it really brings out the distinctive qualities in a hue which you may not be able to tell at full strength.

  19. comment_19_8423

    Jim Cobb commented on December 17, 2009, at 3:28 pm.

    As I already stated we are trying to achieve differentiation between the colours in our range to maximise their usefulness.We have a few standard Blues in the range which could be improved with the substitution of Real Prussian Blue for Prussian Blue Hue.

    The two colour swatches below illustrate this and may help you to add your comments about the significance of these colours.

  20. comment_20_8423

    Jim Cobb commented on December 17, 2009, at 3:42 pm.

    We are considering whether to introduce a Gold Oxide and Yellow Oxide. it is not as saturated as Burnt Orange Quinacridone or Transparent Red Oxide and therefore may be useful for quickly mixing flesh tones.

    The swatch below demonstrates this. it also sets out a comparison between our existing Yellow Ochre and a possibly introduced Yellow Oxide. Again the tints demonstrate that one may be more useful than the other for making flesh tones.
    Could I have your comments please on their usefulness?

  21. comment_21_8423

    Jim Cobb commented on December 17, 2009, at 3:59 pm.

    Di Edwards,
    here is a clearer demonstration of what we are thinking of. Below we have a series of light yellows for comparison.

    This sample shows also shows comparative glazes done with Hansa Yellow Light (Lemon Yellow) and Transparent Yellow. The black line underneath the paint gives an indication of the difference in transparency.

    As you can see the Transparent Yellow is much more transparent than Hansa Yellow LIght while interestingly even Cadmium Yellow Light has some degree of transparency when diluted with the Clear Painting Medium.

    It is in fact easy to make a colour swatch using the human finger method and everyone has a digital camera these days so it would be interesting to see people's suggestions illustrated by a digital colour swatch in cases where the actual character of the colour could be better revealed by showing it on the screen.

  22. comment_22_8423

    painter commented on January 15, 2010, at 1:59 am.

    I was very sad when I saw you were discontinuing the various colors but the new colors look even better as they look a little more like the oil colors I liked so well in the past and are rather hard to acheive with acrylic. I am excited in what 2010 will bring. Marlene

  23. comment_23_8423

    Jim Cobb commented on January 20, 2010, at 10:36 am.

    We have had a call to the office from an artist who really loves the convenience of the toning grey yellowish and toning grey pinkish.

    If you really like these colours, please let us know because we are considering replacing them. Chroma needs to know if there are many other people who would like them retained, before we finalise our decision.

  24. comment_24_8423

    star commented on January 20, 2010, at 6:47 pm.

    can somebody help me??
    1.Im looking for something to make my atelier acrylic paint more glossy with heaps of shine. I want to be able to add this gloss straight into my paint while still working on my painting. Im getting confused to what atelier product to use for this....

    2. And Im also looking for a high gloss finish varnish to use as the finishing touch, from the ateliers range... please any suggestions???

  25. comment_25_8423

    Val commented on January 24, 2010, at 5:16 pm.

    Hi when are you going to give us back our old sap green,the new one is nothing like the lovely old one we had,I know several artists who refuse to buy this color anymore,the closest we can get is matisse

  26. comment_26_8423

    Jim Cobb commented on January 25, 2010, at 11:04 am.

    Hello Star,

    To add gloss to your painting you can use the Atelier Gloss medium and Varnish as you paint. This will however remove the re-wetting quality of Interactives.

    Alternatively Atelier Impasto Gel is very glossy. It dries fast so it will reduce the time you have for re-wetting but you will have more of a window than with the A. Medium Varnish. Keep in mind it is designed for exaggerating structure in the paint but can also be applied in thin layers.

    We recommend Chroma Solvent Finishing Varnishes for use over Atelier Interactive paints. It comes in Gloss, Matte and Satin.Build up the varnish according to sheen level required.

  27. comment_27_8423

    star commented on January 26, 2010, at 1:28 pm.

    thanx Val

    Star

  28. comment_28_8423

    star commented on January 26, 2010, at 1:29 pm.

    thanx JIm:)

  29. comment_29_8423

    star commented on January 26, 2010, at 10:59 pm.

    can atelier interavtive acrylic paint be mixed with other acrylic medium brands and visa versa?

  30. comment_30_8423

    Jim Cobb commented on January 27, 2010, at 9:55 am.

    Yes Star,

    Interactive acrylics can be mixed with other acrylics and other medium brands and it will preform just like a standard acrylic. When combined this way however it loses its re-hydrating ability.

  31. comment_31_8423

    Jim Cobb commented on January 27, 2010, at 4:30 pm.

    Hello Val,

    We need to know which colour you mean by "the old" sap green? We are not sure to how many colour range changes you are referring. Could you please look on the back of any old tube you may have for the pigment number/s. Is it possible that you could make a paint out of the colour you mean and take a digital photo of it?

    In the mean while we will check our old stores with our operations paint maker for any superceeded versions of acrylic Sap Green.

    Lets see if we can get to the bottom of this one!

  32. comment_32_8423

    jade commented on January 28, 2010, at 10:25 pm.

    Hello:)

    What atelier medium can be used as a glaze?

    From reading I understand binder medium is really good and blocks layers, just want to know will it be alright to paint over a binder layer ?


    Can Impasto gel be re-wet , is it similar to binder medium ?
    Thankss:))

  33. comment_33_8423

    Jim Cobb commented on February 4, 2010, at 12:58 pm.

    Jade,

    it's the paint that can be re-wet. Using the slow mediums or unlocking formula with the paint allows this to take place over a longer time. Impasto gel is fast drying and toughens up the paint if used together. Used separately it won't re-wet.

    It is similar to binder medium in that it is fast drying.

    Yes, paint over binder Medium. That's what it is designed for. You seal between layers whilst painting so that you can paint over it without re-activating the paint underneath.

  34. comment_34_8423

    iank commented on March 31, 2010, at 4:12 am.

    I do like all the new colours, the burnt orange especially.

    Q: I have a dwindling supply of a much used and loved discontinued colour, (permanent purple madder) a fantastic glazing colour that I've used in my work for five years and was wondering if there was a formula within the existing colour range that I could mix to achieve Permanent Purple Madder?

  35. comment_35_8423

    Paige commented on April 21, 2010, at 1:16 pm.

    I'm a big fan of the interactive range, I do like the new colours although a little disappointed about the permanent alizarin, but excited about the vandyke brown as I am a portrait painter. The one thing I would really like to see is an unbleached titanium, It's the only colour I have to go elsewhere for and would much rather just use all Atelier is this a possibility Jim?

    Paige

  36. comment_36_8423

    Jim Cobb commented on April 28, 2010, at 2:29 pm.

    Sap Green- Val,

    In your comment of 24th January were you referring to Permanent Sap Green from the Atelier rang which was replaced by Atelier Interactive? We know what these pigments are of course and also which ones Matisse use. The colour swatch below makes a comparison of the present Sap Green and these others.

    Are there many other people for which this colour is an issue?

    We are also considering replacing the existing Olive Green with Viridian Green. The colour swatch for this comparison was done late last year. Please see comment of 17th December 2009 and colours for introduction and discontinuation at the top of the discussion.

    Could we have some feedback from our artist and student customers on the discussion so that we can more fully consider changes to introduce?

    best wishes- Jim

  37. comment_37_8423

    Jim Cobb commented on April 28, 2010, at 2:53 pm.

    Iank in response to your question about Permanent Purple Madder, we do have a colour mixing guide which gives Permanent Brown Madder + a touch of Pthalo Blue and a touch of Quinacridone Magenta as a substitute. However Perm. Brown Madder is soon to be discontinued when these changes take effect later in the year.

    When this happens Permanent Alizarine will be replaced by an Alizarine like hue called Benzimidazalone. You will need to mix the Benzimidazalone Alizarine with a touch of Dioxazine Purple to achieve the old Perm. Purple Mad. colour.

    Alternatively Permanent Purple Madder, with the same pigments is available in our Jo Sonja range if that suits you.

    A third option if you aren't able to use the above suggestions is to mix 1.5 parts French Ultramarine Blue to 1 part permanent Alizarine and a touch of Cadmium Yellow Deep. This gives a very similar colour though not quite as saturated as the old Permanent Purple Madder.

    regards

    Jim

  38. comment_38_8423

    Jim Cobb commented on April 28, 2010, at 3:19 pm.

    Hi Paige,

    I'm so glad you like our Interactive range. permanent Alizarine is a great colour but we have no choice but to replace it as there is no more supply of the pigment which makes it up. Please have a look at my comments in January about it's replacement colour and see what you think?

    Unbleached Titanium is simply a mixture of Titanium White with a touch of light brown pigment PBr. 7. such as Raw Sienna Dark. Try mixing this up for yourself, varying the proportion of Raw Sienna Dark according to depth of tone you need.

    Many people are not aware that we also manufacture the Jo Sonja range of paints which is a flow style acrylic without the re-hydrating affects of Interactive. If you don't need this blending, re-wetting capability you could get some Jo Sonja Unbleached Titanium.

    We haven't been asked for this before. Are there any others who would like to see this change?

    Jim

  39. comment_39_8423

    NJ Artist 73 commented on April 28, 2010, at 7:33 pm.

    I just wanted to say that I find that the Toning Grey-yellow and pinkish to be very useful for toning the canvas, helping to unify the painting and mixing in with other colors. Please do not discontinue these two colors.At least the Toning Grey will be adjusted and not discontinued. Regarding Permanent Alizarine- I enjoyed using this color and I am hoping that the replacement will be close to the traditional alizarin but of course lightfast. Sorry to see Orange go-it was great to have an orange that was mid-range in price but the replacement Transparent Perinone Orange sounds interesting. I wonder though why transparent and not opaque? I have not used Permanent Brown Madder but a Van Dyke Brown similar to Golden's would be for me a welcome addition. Atelier has the right palette but it is great that adjustments are made when needed and comments sought from artists. I am glad that Indian Yellow and Forest green are staying. Will Atelier introduce a Zinc White or Parchment and when will the final decisions be made and the new colors introduced?
    NJ Artist

  40. comment_40_8423

    NJ Artist 73 commented on April 28, 2010, at 8:00 pm.

    Hi Jim,
    I forgot to request one color that I would love to see added to the Atelier palette- a true traditional Indian Red which has a blue undertone and is cooler than Venetian Red. Sometimes one can find an Indian Red in oil paints but most lines of acrylics including Atelier have an Indian or Red Oxide composed of the pigment PR101 or similar

  41. comment_41_8423

    iank commented on May 26, 2010, at 6:56 am.

    Firstly I'd like to comment on the new sap green, which compared to the original colour has little resemblance. It looks a different colour altogether, slightly muddy and lacks warmth like the other two swatches have. I love using these highly transparent colours like the original sap green, mixed with Atelier's mid viscosity painting medium it makes for perfect glazing.

    Secondly thank you Jim, for your alternative formulas for Permanent Purple Madder, it is a colour I use more than any other and the Dioxazine Purple and Benzimidazalone Alizarine formula sounds perfect for my use. Again another highly transparent colour made for glazing.

  42. comment_42_8423

    iank commented on June 22, 2010, at 12:38 am.

    Thanks Jim for your information on my earlier question about Permanent Purple Madder. It was most helpful.

    A new question regarding a Jo Sonja paint. I use a lot of (J S) Vermillion velvet matt finish paint in my work as a base/undercoat and was wondering if I could purchase larger quantities other than the tubes it is supplied in at most retailers?
    Is it the same finish as Jo Sonja's Background Colours or is it a different finish?

    It is the velvet matt finish that is most important as the "base" surface finish that plays a large part in the effects I get once other layers of paint are added over the Vermillion on my work. It has a fantastic slick feel once there are 3-4 coats on the canvas and using tubes on a large canvas can be expensive. I will attach an image of one of my latest works titled: Transition.

  43. comment_43_8423

    Jim Cobb commented on July 20, 2010, at 1:31 pm.

    Hello Ian,

    Regarding the JS Vermillion, I know that we make it in 250ml bottles. You could ring your nearest retailers ,whose details you will find on our website, and order it if they don't keep it. Remember that it is from the Artists' Colours range. I'm glad you like the surface quality of the paint- that is very important.

    Great painting

    regards Jim

  44. comment_44_8423

    Jim Cobb commented on February 17, 2011, at 12:00 pm.

    Dear NJ Artist,
    back to considering our colour range changes which haven't taken effect yet. You asked for a true Indian red with a bluish undertone.

    We do have an Indian red called Indian Red Oxide and the cooler version of this is called Mars Violet which is the bluest of them. we are not looking at changing this. If Mars Violet is not suitable to you why not try mixing in your own to suit using Indian Red Oxide as a base?

    regards

    Jim

  45. comment_45_8423

    mburt commented on April 18, 2011, at 6:11 pm.

    Hi Jim
    Thanks for taking time to give advice and reply to feedback.
    the q. burnt orange looks awesome, I can't wait to get some of that. I think that the q burnt orange in the golden range is their best colour, so I'm glad that I'll be able to get it in atelier.
    My personal preference with the greens is for deep, dark, transparent greens with brighter undertones. Forest green and olive green are good, but sap green in the current range is a bit too dull and muddy for my liking. I like the matisse/old sap green better. I have also missed the old yellow green since it was discontinued. I know that I can mix up pretty good substitutes, but when it's a colour I use a lot of, it's really convenient to have it ready straight from the tube so I now use the matisse australian yellow green instead. I'd definitely prefer to use interactive yellow green if I could get it.
    I really like the look of your real prussian blue- the current one is duller than I like- reminds me of matisse southern ocean blue a bit.
    I don't use the toning greys at all so I wouldn't miss them.
    The brown earth looks good- darker than burnt sienna but redder than burt umber- really useful.
    Viridian to me is made redundant by pthalo green- but I do use a fair bit of liquitex hookers green deep hue- atelier green black is close enough to substitute for that I guess.
    I'd be interested in a bright sky blue similar to liquitex light blue permanent- painting large areas of sky in acrylic it's great to have a colour ready out of the tube instead of relying on mixing large amounts of sky blue and having too much/not enough to finish the job or being unable to replicate the mix to fix imperfections later on.
    I miss the old purple madder. I still have a few tubes left- I bought up large when you switched to interactives- if there's ever aby way to bring it back I would be soooooo happy.
    thanks
    mike

  46. comment_46_8423

    mburt commented on April 18, 2011, at 6:12 pm.

    I forgot to include- the proposed red gold adjustment looks awesome.

  47. comment_47_8423

    Lust for life commented on September 20, 2011, at 3:49 am.

    Jim, what are your thoughts about adding Perylene maroon PR179, and as a replacement for Alizarine Crimson?

  48. comment_48_8423

    Lust for life commented on September 23, 2011, at 8:46 am.

    I just read that perylene maroon is not suitable for acrylics.