I think your choice of what brand to get should be based on price and handling.īy far the most expensive of the paints here, being two to three times the price of the others. I hardly see any difference in the color, except the depth and vividness of the Rembrandt example, and I don’t seen much of a point in having multiple varieties of this blue on one palette. Where there is a lot of difference is how each paint handles, with Old Holland being my preference and followed by Winsor & Newton. I might not have gotten perfectly exact mixes, but overall it seems like there’s not a lot of difference. Of all the above paints, I think the Old Holland one had the highest tinting strength, although not by much. The color is a close second behind the Rembrandt example for my preference. The pigment concentration is high and I like the way the paint spreads and handles the most out of the paints here. This one is the most expensive of the first four paints because this brand is one of the pricier ones out there. It’s a little oily, but not as much as M Graham by a large margin. Of the paints here it’s my favorite as far as color goes. The fact that there’s this much oil separation here indicates that they do not use too much stabilizer.Ī surprisingly deep and vivid blue. I’m sure M Graham does use a stabilizer, but using too much can also be bad and changes how the paint behaves. Ultramarine is famous for oil separation if a stabilizer isn’t used. This is not necessarily bad and can be a good sign. Actually one of the most oily paints I own.
The paints above are each mixed with Charvin Titanium White at the bottom, first 1:1 and then 1:3.īecause this was the first one I ever got I regard it as the benchmark by which others are measured. In reality the blues below are more intense, except the lapis lazuli, which is actually pretty close to reality. I find it to be impossible, at least with my camera skills, to capture the intensity of ultramarine. Note: The photos are all taken at the same time in direct sunlight. “French” or “deep” ultramarines are also the same thing, or close to it a slightly deeper and more reddish blue. Ultramarine “light” or “GS” (green shade) are about the same thing a slightly lighter and less reddish blue. All varieties are going to be a very dark, transparent, intense, somewhat reddish blue. There are many subtly different varieties of ultramarine, with many paint makers offering as much as 2-4 varieties at once. If you don’t want to read it all, skip to the end where I show a nice mix I discovered on accident. I’ll start out with samples of a few varieties, tell some brief history, and then show what I mixed with them. For the first Color Theory Thursday I thought I’d take a look at one of the most common paints, Ultramarine Blue, also known as PB29 (pigment blue 29).
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