Wow, thank you so much for the nice comment! I'm really glad you enjoyed it. Thanks for watching!

I mean your material for painting is synthetic or natural pigment (oil paint)

Most pigments today are "synthetic" in that they are made in chemical manufacturing facilities. Even earth colors are made this way as most of the original deposits of the natural stuff have been depleted. The linseed oil itself is natural as that comes from the seeds of the flax plant. Hope that answers your question! :)

Thank you so much for the nice comment! I'm glad you enjoyed the video. :)

Thanks so much for the nice comment! I'm glad you enjoyed the video. :)

I also thank you. There are so many videos, articles etc but you found a so comprehensive yet not simplistic way to explain. And fun also. i enjoyed this video so so so much. I thank you!

Awesome! I'm glad you enjoyed the video. Thanks for watching :)

Thank you Phil for the nice comment! I'm so glad my videos are useful to you. :) Congrats on switching to oils! I think you will really like them.

Thanks so much for the nice compliment! I'm so glad you enjoyed the video and found it useful. :)

Thanks so much for watching and for the nice comment! :)

I'm really glad you found the video so entertaining! :) Thanks again for the great comments. Most modern pigments aren't really that toxic except for the few historical ones I mentioned like Vermilion and Orpiment. If you buy those, then you have to be very careful when you work with them.

Walcott Fine Art I was told that we didn't have to worry about the toxicity of something if we were very careful. but just because something is labeled nontoxic doesn't mean you can be careless. it's not so much as toxicity, as it is toxic dose.

You are exactly right! If you are careful then you will be fine. :) There are some pigments that are truly non-toxic, but I agree, it is always best to err on the side of caution!

I'm assuming the original pigments would be wanted by, purists, historians, archivists/restorers and the occasional high end forger. I'm glad the pigments are still around. be assured, I won't be using them. most of my stuff gets scanned into a computer. I don't worry about fugitive colors that way.

Some people love the idea of using the really old traditional materials. I do to a degree, but it depends on what it is...I like the traditional mediums, lead white and painting on lead oil primed canvas. I have no interest in using any of these pigments I showed in the video. Just like you, I am just fascinated by their history and how they morphed into what we have today. :)

Thanks James for the nice comments! I'm glad you enjoyed my video! :)

Thanks for watching and great question! Back at the time of the Roman empire, there weren't as many colors as we have today. Firstly, blue would have been very rare and costly. If you used it at all it would be only to show off the blue, not for mixing. Plus the reds they had back then would have made a dull purple anyway because vermilion and red lead are orangey. It wouldn't have matched the rich saturated purple of the snail dye. :)

Imagine using your blue paint made from Lapis lazuli(back then it was more costly than gold per weight) just to mix up a secondary color.

Thanks so much for the nice comment! I'm glad you enjoyed the video. :)

LOL Thanks for watching!

Thanks so much for the nice comment! I'm so glad you've enjoyed my videos :)

Thanks for such a great comment! I almost wish now I had called the video "Colors of Old". LOL Glad you enjoyed it! :)

I'm so glad you enjoyed the video! Thanks for watching :)

I am so glad you enjoyed the video! Thanks for watching :)

I'm glad you enjoyed the video :) Thanks for watching!

Thanks so much for the nice comment! :)

Yes! Well the original Asphaltum was basically the same bitumen that came from the mummies. It degrades quickly and isn't permanent. Any tubes of "Asphaltum" made today are hues made from permanent pigments.

I had no idea! That's fascinating.

Thanks for the nice comment and for watching! You can find them on eBay. Also check out Ryan Demaree's channel. He has some interesting videos on old pigments. kzfaq.info

Thanks so much for the nice comment! That sounds like a fascinating set of colors. I might get rid of that green just in case it's the real Emerald Green. You don't want to mess with that stuff. But, I know what you mean about the mystique of old pigments. :)

That's amazing! I'm glad we have other cheaper purple pigments available nowadays! LOL Thanks for watching :)

Thanks for watching and for the nice comment! :)

I'm so glad you enjoyed this video and found it interesting! Thanks for the nice comment! :)

Awesome, thank you for that nice comment! :)

Thanks for watching and for such a nice comment! I'm glad you enjoyed the video :)

Thanks for the information and for watching!

I'm so glad you found my video helpful! Thanks for watching and for the nice comment. :)

Thanks for watching and for the nice comment! I'm so glad you enjoyed my video. :)

Thank you so much for the nice comment and for watching! 😀

You are so welcome! Thanks for watching :)

Thanks for watching! I'm so glad you enjoyed it. :)

Thanks for the nice comment and for watching! I'm glad you enjoyed this video :)

Thanks for watching and for the nice comment! Yes, those British red coats were no doubt dyed with cochineal! The Spanish had their monopoly on it for awhile, but it didn't last long of course. It was easy to smuggle the bugs back to Europe.

Thanks so much for such a nice comment!! I'm glad you enjoyed the video. :)

Glad you enjoyed it! Thanks for watching :)

Thanks for watching! I'm so glad you enjoyed the video. :)

Okay I found your other videos on the specific colors so I think I have what I need

Thanks for watching! :)

Thanks for watching! That means that the Winsor & Newton color is really a "hue", meaning it is a mixture of modern pigments meant to imitate Chrome Yellow. It's not genuine Chrome Yellow.

Thanks for the comment! I'm glad you enjoyed it. :)

Thanks so much for watching and for the nice comment! Glad you enjoyed it. :)

LOL Thanks for the nice comment! I'm glad you enjoyed it. :)

Thanks so much! I'm glad you enjoyed it. :)

Yes I 've heard that story! Experts are unable to confirm it though which is why I didn't include it in the video. Thanks for watching! :)

I'm so glad you enjoyed it! Thanks for watching :)

I'm glad you enjoyed it! Thanks for watching :)

Thank you so much for the nice comment! I'm veyr glad you enjoyed the video. :)

Glad you enjoyed it! Thanks for watching :)

Actually yes!! You are right about the green poison...that's exactly where it comes from! I found out about that after I made this video otherwise I would have mentioned it. :)

Thanks for the nice comment and good ideas for more videos like this! :)

Thank you so much for the nice comment! I'm glad you enjoyed it. :)

Thanks for watching!

I'm so glad you enjoyed this! Thanks for the sub and for watching :)

@@walcottfineart5088How nice to hear from you! Are there anything new in the pipeline?

I'm so glad you enjoyed the video :) Thanks for watching!

Thanks so much for the compliments! A good deal of my pigment information comes from www.handprint.com which tests all the colors in watercolor, as well as The Color of Art Pigment Database. Oil paints do tend to be more durable, but lightfastness tests aren't always consistent. You can see more info here: www.artiscreation.com/red.html#PR170

Thank you so much for the nice comment and for watching!

I'm so glad you enjoyed the video! Thanks for watching :)

Thanks for watching and for the kind words! :)

Glad you enjoyed the video! Thanks for watching :)

Thanks for the nice comment! I have always been fascinated by the history of pigments too. I'm glad you enjoyed the video. :)

Thank you so much for the nice comment! I'm glad you enjoyed the video. :)

Thanks for watching! I'm glad you enjoyed this video. :)

Thanks for watching and for the fascinating info on the murex! :)

Thanks for the nice comment and for watching! :)

Thanks for watching! I'm so glad you enjoyed it. :)

I'm glad you enjoyed it :) Thanks for watching!

Yes, watercolors in general are slightly less lightfast than oils. Thanks for watching! :)

Thanks for watching! 1) I believe that Asphaltum you are thinking of is likely a hue color, maening it is made from other pigments to mimic the real thing. If not, I would be cautious. The real thing contains tar which will never dry. 2) Copal was used mainly for commercial varnishes but became popular in the Victorian period for fine art mediums and as a varnish for paintings. I have never used it, but from what I understand, it dries very hard. It isn't as common anymore. My guess is damar would be easier to remove if need be.

@@walcottfineart5088 Yes, but I want to use it more in stages between layers of glazes, such as that which Maxfield Parrish did. and for that purpose, the hardness is a benefit. It is still made and available via several companies, Richeson, Geneva, Grumbacher and others, but only as a medium, not as a picture varnish, which I am not sure if there would be a difference, but I am still looking into this.

Thanks for watching! As far as I know the Phthalo colors aren't known to have any toxicity. Phthalo Green is allowed for use in tattoos. I think Carder was just mistaken or got it mixed up with something else. :)

@@walcottfineart5088 Oh, thank you for your answer! Great video, and greetings from Argentina.

Thanks for watching! Almost all Titanium Whites have some Zinc added to them so it's nearly impossible to avoid it. It does make the paint much more workable since pure Titanium doesn't make the best paint. For the most part as long as you don't use large amounts of zinc or use it as an underlayer, you will likely be OK. Another thing you can do to help is paint on a rigid support like a wood panel. The only other alternative is Lead White. Lead White is quite archival (it's the best one actually), but is pretty expensive and of course doea require extra care to avoid any issues with lead toxicity.

There's other filler pigments to soften the intensity of titanium white that would cause less of an issue when compared to zinc oxide (PW4). Look for PW22 (barium sulfate), PW5 (lithopone) or PW7 (zinc sulfide).

Thanks for the nice comment! I'm so glad you enjoyed the video. :)

Thanks for watching! Yes the PR83 is Alizarin Crimson, so the red part will fade and leave behind the yellow. Diarylide Yellow is not completely permanent either so use that stick with caution.

Thanks for watching! I'm glad you enjoyed the video :)

Thanks so much for watching and for the nice comment!

Thanks for watching! Most likely if you keep your paintings away from direct sunlight you should be OK with those pigments. There have been varying results with lightfastness tests on PY83, so I would suggest caution, but not necessarily strict avoidance. PO36 is very lightfast so no worries there. I have not yet done a video on darkening colors without black, but it is on the list! Complementaries can work, but not in every single case. I'll do a more in depth video on this soon.

Thanks so much!

Wow, thanks for that nice comment! :)

@@walcottfineart5088 you are very welcome!

Thanks for watching! I'm so glad you enjoyed the video :)

Glad you enjoyed it! Thanks for watching :)

I wonder if with digital manipulation someone could make a mock-up of what some paintings looked like when it was just painted 🤔

Thanks for watching and for the nice comment! :)

I'm so glad you enjoyed it! Thanks for watching :)

LOL It does! Or maybe the Coyote too. ;) Thanks for watching!

Thanks for the nice comment! I'm glad you enjoyed the video. :)

Most tubes of "Indian Yellow" today are made from more permanent colors. YOu shouldn't have a problem there. A great and very permanent red to use is Pyrrole Red (PR254). It's a great color and is readily available from a number of paint lines. Thanks for watching!

LOL! Thanks for watching! :)

Thanks so much for the comment! I'm glad you enjoyed the video and found it interesting. :)

Thank you for the comment! My favorite color are violet and/or orange, but I find as an artist I can find beauty in any color. I'm so glad you enjoyed the video. :)

Thanks for watching! Yes! I was trying to remember about the Winsor & Newton Winsor Yellow watercolor in the middle of recording and forgot. I agree, that not all pigments are equal. There is probably a general overall truth to the lightfastness ratings, but I would always encourage someone to test their own paints as well.

I really like your videos. One idea for a longer, ambitious video is the history of artists pigments. You've already covered most of the ground in this and other excellent videos on specific colors, but consolidating it and going through it in chronological order could be interesting. Artists these days have it so easy - regarding paint - and how artists have struggled with permanence through the ages is an interesting perspective. In particular, artists used to be much more aware of permanence issues. I think pigment awareness is of value. Traditional artist ranges primarily sell different pigments, offering artists a choice. But recently one Asian brand has come up with an "Artist grade" watercolor range of 105 colors, all mixed up from only about 25 intense, modern pigments, none of them perfectly permanent. Using only intense and strong synthetic pigments, they can pretend to have "stronger pigmentation" than competition, which unfortunately many considers an indication of quality. Extremely/absolutely permanent pigments like the Iron earths and oxides, Cobalt Blue & Violet, Cerulean, Viridian, Cadmium Red (and Yellow in oil), deserves to be highly valued, even today. At least that's what I think. All that said, you should also remember to do painting videos. ;)

Thanks so much for your wonderful comments! I would love to do a video like that sometime. Maybe I will consider it. I did "The Story of Blue" last year which I was very happy with, and it was a lot of fun. I agree that artists today aren't as familiar with their materials as they used to be...mostly because we don't have to make them, we can just buy them. I am trying to strike a balance between videos like this and the more typical "how-to" videos so there is something for eveyrone on my channel! :)

Thank you so much for the nice comment! I'm glad you enjoyed it. :)

Thanks for the nice comment! Glad you enjoyed the video. Rublev specializes in historical pigments so you will find they carry the older more obsolete ones up to about 1850. They don't sell modern pigments like phthalo and quinacridone, or even the cadmiums.

Thanks so much for the nice comment! I'm glad you enjoyed it. :)

Thanks for the nice comment! I'm glad you found the video interesting. Thanks for watching. :)