Pigment Exploration: Quinacridone Violet PV19
Greetings everyone! I hope those of you in the heatwaves are taking care of yourselves. We finally had a break in the heatwave here, and waking up to rain felt amazing.
Today I want to take a break from all the recent talk of warm reds, and instead move a little cooler. Perhaps the weather is getting to me? Specifically we’re going to take a little look at Quinacridone Violet PV19, and my first impressions of exploring it.
My expansion palette, home to the pigments I am learning about such as Quinacridone Violet PV19 (second to last on the top row).
Differences in pigment hues and names
When beginner artists start learning watercolours, there are two confusing things they will eventually come across. One is that the same pigment is often named very differently brand to brand, and even more confusingly the same name may not use the same pigment. For example, the pigment PY129 is called Azo Green in M Graham, Rich Green Gold in Daniel Smith, and Brown Green in Sennelier. An example of the same name using different pigments is commonly found with Viridian. The original Viridian is the pigment PG18, a granulating soft cool green. However, some brands such as ShinHan use the pigment PG7 for what they call “Viridian”. PG7 is more commonly known as Phthalo Green (blue shade), similar in hue to PG18 but non-granulating and with a much higher tinting strength. A common characteristic of phthalos.
The second confusing thing beginners will eventually come across is the same pigment having multiple variations in hue and properties. That is what we’ll be looking at today, regarding the pigment PV19.
The different hues of PV19
Slight variations in hue brand to brand for a paint is often quite common, and one of the things people love or hate about watercolours. You can explore a wide variety within just one pigment, and find one that fits your preferences. Some pigments however have quite drastic differences. PV19 is a good example of this, with its hue ranging from middle reds to pink/cool reds to red violets.
It’s quite common to find at least two single-pigment paints using PV19 in one brand, but sometimes you will find many more than that. As of writing this post Da Vinci Paint Co has five! Their differences are caused by their molecular structure, as well as potential additives during their production. It’s a fascinating hole to venture down, if you ever want to do a little nerdy research.
Out of the different hues available I’ll be focusing on the pink/cool red and red violet today. Otherwise known as Quinacridone Rose and Quinacridone Violet, respectively. Though like I mentioned earlier, brands may use different names… In general there will usually be some reference to “rose” and “violet”. For example, the Rose-PV19 that is currently on my palette is called Rose Madder Lake by Sennelier.
A rough mixing chart using Quinacridone Rose PV19 as a cool primary red.
My history with PV19
When I first started using professional watercolours, I had a split primary set. The cool red in that set was a Quinacridone Rose PV19. Although I have since explored and changed brands, I still use Rose-PV19 as my cool red to this day. I never really gave much thought to it, and kept using it while hopping around different brands.
Towards the start of this year I started pondering my watercolour journey, and the knowledge I have built up regarding pigments and colour theory over the years. I identified areas of the colour wheel I had not explored much, and kinda took for granted over the years. One of those areas was cool-reds.
I asked myself the question:
Do I use Rose-PV19 because it is my preference, or just because it is what I am used to?
Had I formed a habit, a reliance on Rose-PV19 because it was what I started with and hadn’t explored beyond it? If I explored other options, and new starting points on the colour wheel for colour mixing, would I find out that my actual preferences lay elsewhere? What if I enjoyed mixing with a red-violet as a starting point, but never gave myself the chance to discover that?
As these thoughts swirled in my head for weeks, a chance trip to an art store presented me with the opportunity to find out. Also, as a side note, it’s incredibly difficult to find in person art stores here now. It’s like a goldmine when I do eventually chance upon one while visiting somewhere else. There’s something that physically being around art supplies provides that viewing things online simply doesn’t. At least for me, anyway. I can gauge what I actually need, and whether a supply fits me a lot easier. Plus it gives me kid in a sweet shop giddiness.
Anyway, back to the point! I found a small display of 5ml Schmincke tubes, and lo-and-behold Quinacridone Violet was among them. No shipping to add on top, no shopping cart quota to fill.
Pigment exploration was nigh.
My initial mixing tests to learn about Quinacridone Violet PV19.
First impressions of Quinacridone Violet PV19
I started learning about Quinacridone Violet using one of my favourite methods, a large swatch card that shows the properties of the paint and its mixes with common pigments I use. My favourite way to do mixing charts is a gradual shift from one pigment to another. That way I can see the range of mixes two pigments will produce together.
In the top right corner I did a graduated wash. Next to it I did three small tests: dropping the paint into a patch of water, glazing the paint over a dry layer, and lifting dry paint to test its staining properties. Then I filled the page with rows of those gradually shifting mixes, labelling the second pigment used next to each row. At the bottom I did some larger swatches of mixes in order to see how Quinacridone Violet looks with my more granulating pigments such as Cobalt Blue PB72. Larger swatches made the granulation easier to see, and gauge what it would be like in actual paintings.
When it came to the properties of the paint itself (glazing, lifting, etc.) Violet-PV19 acted much the same as I would expect from Rose-PV19. Except for the hue, of course. Alongside the much cooler shift towards violet, Quinacridone Violet also offers a more muted and “moody” hue than the vibrant Quinacridone Rose. That element probably surprised me the most to see in person.
Going in to the colour mixing, I theorised beforehand that I would likely enjoy the variety of purple mixes Violet-PV19 would produce with blues and greens. This was very much the case.
The peachy hues produced with yellows were interesting, but not my favourite subjectively. The pleasant surprise for me came with the earth tones. I absolutely fell in love with the hues found in the Yellow Ochre PY43, Quinacridone Burnt Orange PO48, and Burnt Umber PBr7 rows. I can see them being useful in a variety of applications in my painting process, but especially for certain animals. Pink noses!
The completed mixing chart, with my current Rose-PV19 (Rose Madder Lake by Sennelier) to the right as a comparison.
Parting thoughts
Although this process gives me a nice overview of a pigment, the real test comes from repeated use in paintings. I usually find that’s where I learn the most about the practical applications and uses of a pigment, and how it acts. This is a much longer learning process for me, and one I like to sink into and take my time with. I’ll share my thoughts along the way, of course, but any “final decision” about the future of this pigment in my art practice will likely be a while off yet!
For now, I would say that I can see the uses of Quinacridone Violet PV19. It produces some lovely mixes, that I can see practical applications for in the subjects I paint and illustrate. Whether or not it becomes a favourite - or overtakes my use of Quinacridone Rose PV19 - remains to be seen.
Take care for now, and happy creating!
