Thanks so much for watching @Richard Moore

Wow thank you so much for watching and for leaving this comment! I have tried to design tests that make a fair test across brands to show people how each perform so that viewers are better able to find the paint that best fits their needs. I’d love to do a video sponsored by Blick 😉

Thank you so much for watching!

Thank you so much! Hope you have a wonderful rest of your day

The application method could use improvement, from a scientific angle. She only dipped her brush into the Liquitex Basics once, when doing the painting over the black. And, she did not dip the brush in as deeply as with the Utrect, for instance.

Thanks so much!

So glad to hear it! Thank you so much for watching

thank you! Glad that you enjoyed them :) I am working on more of them as people have requested more colors to be done :)

Glad it was helpful! I couldn’t believe that blick commented. I keep hoping someday they’ll sponsor a video 🤞🏼

Thank you watching and for your comment

I keep dreaming that one day it’ll happen 😊

I will add that to one of my upcoming comparison videos :) thank you for the request

Thanks so much for watching!

Thank you @jay kang! I tried to incorporate all the things I would want to know about a paint prior to buying it

Glad I could help @Sunflower246 ! I also tried paint pouring with Liquitex but I think my problem was that I just suck at paint pouring 😂🤣

Liquitex Basics is intentionally a substandard "student-grade" paint line. The company offers professional-grade lines for higher prices.

@Cheryl Alikhani I really like Golden. I like it because it behaves predictably and preforms super well.

Thanks so much for watching! I definitely plan to do more of the comparisons in the future as I'm always curious to see how they turn out. I can definitely add more cheap brands in the future! I plan to do one that also has paint that's available on Amazon (probably some off brands on there as well).

Different series of W&N. The yellow was Galeria, which is their studio/student range (one of the best in that category IMO, but here in Europe we don't have all the brands you have in the US), whereas this was their Professional series.

Thank you. I would love to do a cross brand comparison of Ultramarine Blue :) I have never heard of Atelier Free Flow but will definitely check that out. Cad Red Light is an intense color and I find that I need very little of it to mix in before it's overpowering. I also 100% agree that cleaning it out of a brush seems like a lot more work than with other colors (in part why I edited out all of the cleaning segments) ;) Thank you so much for watching, I truly appreciate your support.

@@RachelleByersArt Atelier is an Australian brand from a company called Chroma - they also produce the Jo Sonja acrylic gouache, which I think Is better known in the US.

@@nicholascaldwell6079 Is Chroma's Atelier the one that is slow drying? "A bit like Golden's OPEN, but totally different" is the description I've recall. Or am I thinking of another Aussie brand here?

@@RachelleByersArt Yes, Ultramarine blue would be a good comparison. The pigment is fairly cheap, but it is not the easiest one to get a nice stable acrylic paint out of. Other good ones to test across brands are the Phtalos - PG 7 for green and PB 15 (& its siblings PB15:4 and 15:1) for blue. These are cheap and inherently transparent, but insanely staining, so the philosophy in how the paint is formulated varies quite a bit between companies. Just throwing as much pigment as you can into acrylic will get you something insanely dark and potent. For these you might want to add an element of tinting strength to your panel of tests.

@@tonaaspsusa Atelier have a few lines and you're thinking of their "Interactive" heavy body acrylics, which can be made re-workable with a special isopropyl alcohol spray. Their free-flow line is similar to Golden's fluid acrylics but, I've found, not quite as pleasant to use. Though to be fair I've only tried two colours. Matisse, another Aussie brand, have a Fluid line too, which is quite usable.

@John Byers yes the liquitex was very orange in comparison to the others and very liquidy. Thank you so much for watching

To be precise - this is not the case for phthalocyanine paints. They are nearly always mixed with white pigment (or another light pigment such as pale yellow) when used in paintings, in order to increase their apparent chroma and lighten the hue. Another pigment that is commonly mixed prior to being placed onto a surface is dioxazine violet - for the same reason. But, yes, there are generally advantages to sticking with single pigments for tubes of paint. Sometimes, though, the benefits of having two pigments in a tube of paint outweigh the drawbacks. This depends upon the needs of the particular artist. One example is to mix an organic with an inorganic of roughly the same hue. This can have the advantage, in oils for instance, of requiring less oil than the organic pigment alone, being more opaque than the organic pigment alone, having more lightfastness than the organic pigment alone - but also improving the intensity of tints. Inorganic pigments such as PR 108 can suffer from a greyish appearance in tints. There is no single-pigment yellow-green that offers the chroma of a mixed paint involving (for instance) phthalo green YS and hansa PY3. This is why mixtures like that are so common in paint lines. If one of your "primaries" is a yellow-green (primary just means it's a point on the color wheel where the chroma is maximized) then you'll want a mixed pigment paint unless you work with a muted palette. (As a side note, PY3 has lightfastness issues.) Some inorganic pigments are not very lightfast but are mixed with lightfast pigments so that the fading of the paint is not as drastic. Many "opera" paints do that (using a highly-fugitive fluroescent dye with PR 122 quincridone magenta or PR 19 quinacridone rose). A painter's "primary" magenta may be one of those, if the painter is creating the work for a format that doesn't require archival lightfastness. Another advantage of a mixed paint is due to the phenomenon of "spacing" - wherein the small pigment particles of one pigment fill in the gaps left by the large particles of the other pigment. There are drawbacks to the mixed pigments approach, too.

Thanks so much for watching. Really appreciate the support and the suggestion!

What's actually the most important flaw of the Basics tube here is the use of impermanent PR9 red.

Hoping that you were eventually able to get it to cover the paper!

Thank you so much! Hoping some day my channel will take off :) Regarding your comment, you are correct and I miss spoke, what I should've said is that it is not the same single pigment color as the main three professional brands that I was testing.

The colon:1 indicates coprecipitation with lithopone filler. It makes the paint more transparent and can decrease color intensity, especially with an inorganic pigment like cadmium red that has relatively large particles. However, some pigments may have slightly increased intensity with certain fillers, due to a phenomenon called spacing. Barium sulfate filler, one of the two components of lithopone (the other being zinc sulfide white) is inexpensive so it is used mainly to reduce the cost to the manufacturer. It also makes tubes of paint feel heavier which amateurs think means better-quality product. Although regulations requires the use of the colon on the label, there is a massive loophole. A company could use pure PR 108 pigment and cut the product much more by simply adding barium sulfate (and/or lithopone) to the mixture, without even putting it on the label. Generally, therefore, the :1 labeling doesn't tell consumers much. It should also be emphasized that fillers aren't necessarily something that makes a product inferior. Everything has pros and cons, although too much filler crosses a line wherein the product becomes more and more niche. For instance, too much barium sulfate can cause the opacity to become so low that the paint is less generally useful, since a person could add mediums if they want to cut the opacity and would have the opacity from the paint when they want it. With the filler-laden paint, that flexibility is lost. To obtain the maximum opacity with cadmium pigments, one would purchase the non-colon varieties and a product that isn't strongly cut with filler. More pigment = better is actually not true for several reasons, although the most pigment one can put into the product and have it perform to your expectations = better is a general rule of thumb (heuristic). Barium sulfate in oil paint, the natural variety, dulls color intensity and reduces opacity. However, its inclusion can also reduces the oil percentage in tubes of paint that use organic pigments for their coloration. (Organic pigments need more oil to wet them than inorganic pigments with large particle sizes like natural barium sulfate.) That can be a useful improvement upon the pigment(s) alone. Pros and cons. Some fillers, though, can cause very serious problems in certain mediums. Alumina (stearate and/or hydrate) may compromise the long-term stability of oil paint films, for instance. Despite that, such additives are common in oil paint to keep the pigment from separating from the oil in the tube. Due to its whiteness, the zinc sulfide in lithopone can cause some pigment mixtures to look a bit brighter. However, lithopone isn't nearly as opaque as titanium white. Too much whitening reduces the flexibility of the paint because an artist could mix an un-cut pigment with white when they want that lightening. Lithopone also reduces opacity, particularly due to the barium sulfate component. (Lithopone is a coprecipitation of the mostly transparent/colorless barium sulfate and the white pigment zinc sulfide. Zinc sulfide is more opaque than zinc oxide, known in watercolors as Chinese white, but less opaque than titanium white.) The base cadmium pigments themselves are coprecipitations, too - except for one (cadmium sulfide, PY 37). The others have zinc (pale yellows) and selenium (oranges to deep reds). The more selenium is in the pigment mix the redder (further from greenish yellow and heading toward crimson) the cadmium paint will be.

@@syrinx9196 Wow! Not only a whole lot of knowledge, also a very nuanced view. Thank you so much for taking the time to write this all out - it jives well with what I've gleaned from various sources over the years and completes it nicely. "Fillers" is such a marketing word, and so seldom do you see them even talked about as additives (or actually pigments if we want to be technical). It is really only O'Hanlon from Natural Pigments/Rublev that sells these and provides some information on them. I don't think I've ever seen lithopone or barite or any other "weak PW" in acrylic, at least not declared as such.

@@tonaaspsusaYou're welcome. Not all fillers are pigments. Some are colorless. Although some fillers can function as pigments, at least to some degree, due to their opacity typically and/or coloration, some additives/fillers are mainly or wholly there for other purposes, such as to prevent the separation of the liquid vehicle and the solids, rheology alterations (such as thixotropic gelling), to make the tube feel heavy, et cetera.

@@syrinx9196 yeah, this "Although some fillers can function as pigments" was what I was thinking of. Coming to oil paints from acrylics and watermedia this was a revelation that made me really think differently about paint and pigments: You can have colourless acrylic, put without some sort of pigment your oils will just not work/behave well.° The start is to think of paint as binder + pigment. But that is only the start. Especially in oil paints the line between pigment and additive gets blurry really fast 🙂 °Here's a nice experiement for anyone reading this: take a few different painting oils or oil painting mediums and see how they dry on their own, without any pigment. Highly unpredictable, and highly prone to weird things happening as they age. An acrylic medium otoh (let's specify a non-matte one)... You _can_ get crazing or alligatoring with acrylics, but it's not that easy, and after a week or so it will be stable for years to come.

Thank you @Tiffany L I’m glad to hear it was helpful!

Glad it was helpful @Theartisthands. I have two newer ones as well that include a few more tests

Thanks for watching. I would agree about Liquitex. I also have old Liquitex that I feel like performs better than the new stuff. This is a big part of why I started these tests because even if you like how one color performs from a brand doesn’t necessarily mean that you’re going to like them all

@@RachelleByersArt i very much appreciate yall who demonstrate the differences between brands. it saves people (and me) a lot of money and frustration. The colors and even pigments behave so differently between brands and it's very hard to know what you're buying until you buy it, esp. shopping online. And there's very few visual demonstrations that give practical information on acrylic colors. Very much appreciated.

@roach this means a lot. It takes a ton of time and money to make these. I started doing them because I wish someone had done them for me so I had known the differences between brands. Figure if I struggled with it that there are probably other artists out there that do as well.

There are two varieties of indanthrone blue produced by industry. One is a green shade and the other is a red shade. Unfortunately, C.I. pigment color codes are extremely sloppy in some regards and the use of a single code, PB 60, to refer to both shades is an example. "the green gold is not as vibrant as other brands and based on that i'm also re-ordering the PG36 from W&N" PG36 is phthalo green yellow shade (brominated copper phthalo). Green gold pigments do not include any phthalocyanines but do include pigments like PY129 (azomethine copper complex). Of course PG36 is brighter; it is the brightest organic green pigment there is. It's also not a green-gold pigment.

Yeah I can add that into my comparisons

@rccdelmte I'm so glad it was helpful! I've done a few on a variety of colors and brands in hopes that it would help people pick which brands they want to try, before making the financial commitment

That was Liquitex Basics (student grade). I understand that using the cheaper student grade paints makes learning harder. But comparing a student grade to professional grades isn't exactly accurate either. Not all Liquitex paints are student grade.

@Teresa Grigsby-Rose, that's the point of the video. To show the differences between various paint brands and levels. Essentially to provide art isle help. There's no way to know how well a cheaper paint is going to perform in comparison to a more expensive paint by just looking at the tube, and just because a paint is more expensive doesn't necessarily mean it is going to out perform a cheaper variety. My goal is to show how they perform across a variety of tests so that artists can have a better understanding of what best fits their needs and budget.

It was definitely easier to see in person and was hard to see in the video (had thought about deleting that portion because I felt the professional brands all did well, but felt that would be dishonest). So I go through certain colors very fast depending upon the project and scale I’m painting. Lately I’ve had a lot of portraits commissioned so I’ve gone through a lot of those colors. I would say that scale, technique and brand play a big roll in how fast I go through paint. For the basic color staples I use I tend to buy them in 10oz tubes minimum. Thank you for your continued support!

@@RachelleByersArt ah I see, thanks! 😊

You're welcome!

Thanks @Teresa Grigsby-Rose for the suggestion

No, you're wrong, Wolfgang. It's incredibly helpful for people to see the difference between common paints that have a 6X price difference, so as to know what to expect from both the cheaper and more expensive paints. Also, where's your videos on paint comparisons?

@@TheRamsberg I think it would be better annd more fair to tell people the difference between artist grade and student grade paint first, before saying one brand is better than another. Each of the brands has artist and student grade paint. Except Golden which only has artist grade. To tell them one brand is better than the other, when actually different classes of paint are compared, won`t be helpful in my opinion for people in finding the best paint for their needs and it is not doing justice to the brands either. I am not making paint comparison videos, but I think I have the right to tell my opinion about such videos anyways, and my comment was not made in order to insult the maker of the video or anything like that, but in order to make it clearer to people that there are different grades of paint from each brand, which are of course much different in price and in quality.

@@TheRamsberg I don`t make comparison videos, but this is my opinion on acrylc paint from different brands: Golden makes the best artist grade acrylic paint when it comes to some hues. In other hues Liquitex artist grade (heavy body acrylics) is even better or equal. (I couldn`t find a decline in quality of the Liquitex artist grade paint up to now, which was mentioned by other people - but I knew for a while already that Liquitex in general cannot be stored as long as Golden - the paint goes bad faster). I have Golden paint tubes for years, and they are still perfectly good, whereas some hues of Liquitex, no matter if artist grade or student grade, tend to go bad much faster. But Golden is the most expensive, at least here in Germany, and so you have to decide what works better for yourself. Winsor and Newton Artist grade acrylics are equal with Golden and Liquitex artist grade in my opinion in most hues, but the range is currently limited. Outstanding with the Winsor and Newton paint is the feeling. It feels like painting with oil colors. As Golden doesn`t make student grade paint from what I know, there is nothing to compare here. Student grade arylics: The Winsor and Newton student grade acrylics (Galeria) are at least as good as Liquitex Basics. With the student grade acrylics you can do complete acrylic paintings without problems. If you are using a glazing technique, in some cases the less pigmented / less thick student grade paints might work even better than the highly saturated artist grade paints. For first stages of paintings, underpaintimgs and so on, it would be a waste of money in my opinion to buy the most expensive artist grade paint from the top brands. Best and cheapest is still to make your own paint from binder and pigments, especially when it comes to liquid acrylics / acrylic inks. So I think it depends mostly on your painting technique and your style, which kind of paint works best for you. I worked for years with nothing much more than student grade paints (Daler Rowney is good also) and it worked perfectly for me, even with multi layered very colorful and saturated paintings, I still use student grade paints from various brands as long as the pigments are labeled as lightfast (another criteria to consider). But using the artist grade paints can sometimes lead to results faster. It depends on the painting. I would recommend checking out the whole range (I mean the most necessary colors you need) of a student grade brand paint first, and if you are not satisfied with certain hues, buy another brand student grade paint of same hue, or additionally an artist grade paint same hue. Slowly you will find out, what works for you, without going bancrupt. The paint you didn`t like so much can still be used in many ways, underpaintings, ink making, anything. What will not work if you want to make paintings that should go on sale or should last a long time are the dollar store and cheapest walmart craft paints (but walmart has good brand paint also). The craft paints are ok for craft projects, but for "fine art" they won`t work in most cases.

@@WolfgangSchweizer Thanks for the elaboration. I see what you're getting at now, but the fact that she had the price of them on the sheet, should show people watching that of course one will not be equal to the other. Although, she did another comparison video, this time color blending, wherein both Liquitex Basics and Professionals were used, along with other paints kzfaq.info/get/bejne/mbZ-krWJpp2ZaIU.html&ab_channel=RachelleByersArt and in that color at least, the Basics arguably performed better, but it wasn't the heavy body professionals. I'm getting back into painting after some 20 years away from it, and it's been a bit rough, just even trying to remember how to properly load paint onto a brush and such. I'm slowly going through making primary(or as close as is available) color mixing tests with Walmart's cheap Apple Barrel, and Folk Art craft paints, Daler Rowney's "Simply" line, Artist's Loft's Gouache, Liquitex Basics, and Winsor & Newton's Galeria. Taking my time, trying to analyze what's going on and have just done the Simply and Gouache ones thus far, (but have recently used Apple Barrel craft paint, and was struggling mightily with technique with it, but that's because I was trying to do things which require a firmer bodied paint than it has, what a difference different paints make). Curiously, the Artist's Loft Gouache has way more pigment, but of a much lower quality than the Daler Rowney's, which has a lower pigment load, but a much more vibrant one, although it dries much darker than the Gouache, which apparently is due to the type of binder used? Again, I must say, it helps me tremendously to see a student grade(such as Basics of Galeria) used in comparisons with the professional paints, so that I'll know what more I'll get when deciding to put down the money to began using the professional ones. My original reply to you was rather snidely, in regards to where your paint comparison videos were, but after reading your experiences and insight, seriously, I do hope you consider putting that in video form on here. You could help people avoid years of struggle and tons of money in ill conceived paint selection choices. My avatar photo thing is one of my old paintings, from 20 years ago. I think it was with Apple Barrel craft paint, which I seem to recall being thicker back then, than it is now. Not exactly certain. Anyways, carry on, and keep those brushes wet and sharp!

@@WolfgangSchweizer I agree with your initial review and left one here, as well, saying the same thing. Thanks for your elaboration on what you use different paint grades for and your experiences with different brands. Just reading this, was incredibly informative!

Thank you for watching!

Will add that to my list of ones to try in the future

Glad it was helpful! Thanks so much for watching!

@V. Mishra’s art -thank you so much for watching

You're welcome! Thanks for watching

I believe the music is from the KZfaq Audio Library

Thank you 😊

You’re welcome! thanks for watching

Thank you so much @serenityjewel for your comment! I agree with multiple of your comments “no one has to wait until they can afford an expensive paint to create art” and “material will never make the artist”. Often as an artist, I am asked what paint brand I use and which one is best. These tests are to show people a comparison between multiple brands so that they are able to determine what paint may best fit their needs as well as their budget. I know plenty of people who use craft paint and create true masterpieces, while others insist that only the high-quality brands can do so. The brand for which an artist selects is based on personal preference doesn’t make one person‘s art better than another just because they chose a pricier brand.

It's actually not so obvious because most people are unaware that the PR9 pigment used in the mixture is not lightfast. How transparent a product is doesn't actually tell us how useless the product is for serious art. If a product is much less expensive and much more transparent, some artists will accept that it's a less flexible product. And, some pigments are purchased because they're transparent! That's another thing that is falsely implied with many of these video comparisons - that transparency in a paint makes the paint inferior. Many cheaper paint grades are more opaque, due to the addition of white fillers. Professional-grade watercolors, for instance, are often preferred when the fineness of the pigment grind and the lack of opacifying fillers keeps the resulting paint more transparent. In some cases, artists will even prefer a less-pigmented pro-grade paint because of the increased transparency (and, often, increased gloss). The watercolor comparison videos I've seen typically fall into the trap of claiming that a less-pigmented paint is inferior. It depends upon the needs of the artist. I have seen, for instance, some artists complain in their writings about a heavily-pigmented watercolor brand because the pigments were less-finely ground. Different people have different requirements. With watercolors, one very debated quality is granulation. It is true, though, that fillers come with drawbacks - like reduced color intensity, cloudiness, and a matting effect - depending upon the medium and the filler(s). Some fillers in the oil medium can cause the surface to become cloudy with whitish residue, as the filler migrates to the surface. That is certainly not a good thing. And, transparent pigments glaze more effectively in mediums like oil paint. What is generally best is to use a naturally-transparent pigment when one needs transparency (such as PR168, anthra scarlet) and a naturally-opaque pigment when one needs opacity (like PR108 cadmium scarlet). However, there is plenty of complexity involved that makes that rule of thumb (heuristic) overstated. Simply cutting an opaque pigment heavily with filler to gain pseudo-transparency doesn't automatically cause the paint to no longer be useful for serious art. It can have drawbacks, though - like loss of color intensity. The lack of lightfast pigmentation, though, is a deal-breaker with this Liquitex Basics red. This is why these paints are called student-grade. They are not intended for serious art, where lightfastness matters. Instead of being called student-grade, they really should be called sketch grade or amateur grade. A student in an atelier requires serious art materials.