Unrivalled in brilliance, Winsor & Newton's Artists' Acrylics combines a revolutionary transparent binder that eliminates color shift from wet to dry with the highest-quality pigments to ensure clean, strong colors with wonderful working properties.
Color Swatch created using heavy application/medium application/50% tint and was applied on acrylic primed canvas (7 oz) material.
Quinacridone Gold is a transparent yellow-orange pigment. Quinacridone pigments have relatively low tinting strength in general. For this reason, quinacridone colors are often expensive, because more pigment is required in the formulation.
Quinacridone Gold has very good lightfastness.
Quinacridone Gold, a color developed for the automotive industry, is no longer being manufactured. Some color producers still have stocks of the pigment.
Phthalo Blues are pure and clean primary blues with superior covering power. They have a very high tinting strength and tend to overwhelm other pigments, but if color strength can be controlled, they make predictable mixed colors. In oil form, blues are very deep and slow drying. When mixed with other colors or if chlorine is added, Phthalo Blue quickly tends towards green. When using alone, mix with some white, as Phthalo Blue can be semi-transparent and almost black on its own. It is among the most compatible of modern colors with mineral colors and is considered more reliable than Prussian Blue, while sharing the same physical and color properties. Phthalo Blue is a good color for glazing.
Phthalo Blues are completely lightfast and stable and are permanent for all paint uses. They are currently used in inks, coatings, and many plastics due to their stability and are considered a standard pigment in printing ink and the packaging industry.
Phthalo Blues have no significant hazards, although those made before 1982 contained some PCBs (polychlorinated biphenyls).
Developed by chemists using the trade name Monastral Blue, the organic blue dyestuff now known as Phthalo Blue was presented as a pigment in November 1935 in London. Its discovery was accidental. The dark color was observed in a kettle where a dye was being made from a British dyestuff plant. The demand for such a pigment came from commercial printers who wanted a cyan to replace Prussian Blue.
Bocour Blue, Cyan Blue, Helio Blue, Heliogen Blue, Intense Blue, Monastral Blue, Phthalocyanine Blue, Rembrandt Blue, Thalo Blue, Winsor Blue.
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