Nowadays I rarely use it anymore, but I still use it for one of my favourite mixes : rembrandts alizarin crimson with rembrandts paynes grey. Makes such a beautiful dark purplered burgundy I like to use for florals. Now my go to reds are PR209, PR264, PR179 and of course PR101
I use DaVinci’s Permanent Alizarin Crimson made from PV19. I’ve not done my own lightfast test but I’ve heard it is lightfast, given that it’s a PV19. Hard to compare with these replacements, but it looks closest to the Original Alizarin Crimson to me. 👍🏼
Cool reds are some of my favorite hues, so I'm terribly sad that they all have the problem of being less than perfectly lightfast. Bruce on Handprint always recommends Perelyne Maroon as a replacement in mixes, since it has the deep dark dull tones landscape and portrait painters love it for. The pure hue is not the same though! Another comment recommended DaVinci Alizarin Quinacradone PV 19, which is extremely similar to the Schmincke Permanant Carmine you show here. I find the DaVinci a bit streaky; the Schmincke really benefits from the oxgall in this paint.
Pr179 itself is too brown to be considerd as a direct substitution, try mix pr179 with pv19γ to get a close match. For me I still love my perm alizarin crimson from davinci, due to the lack of oxgall it may not disperse as well as other brands.
As a kid I had an Alizarin Crimson, but it was a cheap Reeves beginner oil paint, so may not have been the real thing. I might try to get that look now in watercolour with my M. Graham Quin Red 209 as a starting point.
I know that Da Vinci watercolors are hard to find outside the US, but their Alizarin Crimson Quinacridone (pv19) is a near identical match to the W&N pr83 I use in my sketchbook. I absolutely love it for paintings I put on my wall - it’s perfect for mixing skin tones.
I’ve been using fugitives lately as I truly enjoy some of them to get accurate colours. Including this as well as opera/neons and others. However if I sell non lightfast art I lower the price, label as such and directly explain/warn the customer. I also understand the lightfastness of my materials and will choose lightfast when it is important. Even for wall hanging you can use uv protective glass and hang away from sun. Personally I replace art I hang on my walls with new art I create every 1-4 years anyway to change it up. I also do tons of sketchbook, scanned and stored away in binder art. I say use fugitive supplies and have fun BUT know that they are fugitive and act responsibly. Adding opera yellow and pink has allowed me to actually mix and use colours otherwise impossible in traditional art. Still I prefer to get lightfast options when it’s reasonable to do so. But I really like to get exact colours often so the Paul Ruben’s opera bright neons set is what I’d recommend for that. You kinda need the fluorescents for accurate florals, neon, cyberpunk, certain tropical fish, etc. Also I’d like to use supplies I invested in and didn’t understand lightfastness a while ago and invested in plenty of not lightfast supplies and still want to enjoy them. Plus I do way more personal work than for sale right now anyways.
Hi Jay. Before I had PR83 Mijello Alizarin, on my palette, now it is out. I have three reds on my palette that I use frequently PR264, PR255 and PV122 ( its not precisely red but...) I don't think I need more, although I have a wide range of reds for specific use. Reds its Life and Vibration. Very interesting as always. Merry Christmas to you and all your followers on the Channel.
Hi Jose. I'm not really a lover of reds (apart from Indian and light red) so I definitely think 3 reds is enough 😂 Merry Christmas and happy New year to you and your family 🙏
Handprint recommends various pigments, but states the following: "I highly recommend perylene maroon (PR179) as the best substitute for alizarin crimson. It is exceptionally lightfast for a red or carmine pigment, and provides some of the "blue red" reflectance necessary to produce dull violet mixtures with violet blue or blue paints".
I think the Da Vinci PV19 Alizarin Crimson is gorgeous and probably the most beautiful Alizarin Crimson I've ever used. As an aside, Cotman is still using PR206 for their Alizarin Crimson. It's very rosy though, but pretty.
I don’t keep a cool red on my palette, instead I use Quin Violet by Daniel Smith. It’s a great mixing color for purples and olive greens and I can mix it with Pyrrol Scarlet if I need a cool red. Good question though. Thanks for the comparison.
if anyone wants to try PR176, VanGogh has carmine made from PR176 as well. i quite like the mijello version here too :D the violet mixes are also very lovely. thanks for the closeups! XD
Hi Paint in Hiding :-) I’m not sure that Van Gogh Carmine would be a good colour. Mine tends to dry dull and brownish. But if I mix in some gum Arabic with the Van Gogh Carmine, WOW! The paints becomes very rosey and bright.
@@awatercolourist ohhh! hey there! fancy seeing you here ;D that's odd, mine definitely dries down duller but not to the point of brown. more like a crimson. Ohhh that's so cool how it was able to change only with gum arabic, nice!!
@@PaintinHidingYou’ll find me wherever there are watercolours 😄 Well, let me correct what I said about the Van Gogh Carmine: it does not turn brown proper but it does loose its vibrancy and is way more dull than when it is first painted; it turns to a dull crimson. It’s really lacks excitement. But, man does it glow with gum Arabic! A completely different hue. For those who are interested, just dip your brush in a diluted gum arabic solution and then use it to pick up paint. It will dry a bit more shiny than normal paint, though. I use dried gum arabic. Prrsonalky, i use dried gum arabic. I was experimenting making a gum arabic solution from scratch but it dried in the box so I just rub off some with water whenever I need gum arabic.
What did David Bowie sing? »All The Pretty Things Are Going to Hell.« And very sadly he is gone, too. And this is the way I think about Alizarin Crimson. To be honest, no color really compares to it. And therefore I use it in my paintings. I know this color will faint over time, but that's the way it is. And I never hang a painting in sunlight, well, who does? The paintings still last about 10 or 12 years. And by that time I have painted other works.
Yep, I've been using it from day 1 on my watercolour journey. Why wouldn't it be used? It's red and it's a cool red, that's very useful when mixing. It can add great touches to stormy skies or night/dusk skies on the horizon or even sky reflections in water for more abstract and atmospheric looking scenes. It's also good straight out of the tube when showing car brake lights in a night-time urban sketch style painting. Daniel Smith make a Permanent Alizarin Crimson which they claim has an excellent lightfastness rating, so that should overcome it's fugitive reputation.
I don't really use cool reds but the alizarin hues look fine to me. I know that some people have moved on from it and much prefer to use Quinacridones these days.
woah a newvideo! how exciting! I also own alizarin crimson...it has been on my radar because i wanted a deep vampy red that wasn't too brown or too bright. i typically hate true reds,I never use them.but Daniel smith made me like red because it deep and sultry. I did have a couple previous Alizarin,one is a hue from Daler rowney aquafine ,but it is very weak and streaky (did mix nice muted oranges though) and also the white nights one..though that one's significantly darker and more muted. I simply did not buy the permanent version cause I felt cheap :D Ok now back to your video !
@@JayNathanWatercolor Not really,I didn't even know I had 2 until I looked into it more and bought the ''official'' alizarin .I am still kind of new to paints :D
I use Quin red/rose though I bought a tube of Holbein permanent alizarin crimson for trial, it wasn’t been touched for more than a month now. Would definitely try Horadam permanent carmine soon. Nice review 👍🏼
@@JayNathanWatercolor For me this one is still too pinkish to be considerd as alizarin crimson substitution, more like quin red from daniel smith or permanent carmine from schmincke instead.
thanks for this. it's a subject close to my heart. i love alirazin crimson, but i only use it in sketchbooks. i've been checking out da vinci alizarin crimson, which is actually PV19 (quin violet), but i'm concerned it's not that lightfast, either. i have a swatch sitting in a sunny window for now. found my mission gold rose madder, it was a little bluer than the alizarin crimson, so i added a tiny bit of da vinci red, and it was pretty close. wish i could try the horadam, but i'm a vegetarian. so the search continues!
The PV19 should be lightfast. Certainly more lightfast than PR83 or the Mission Gold Rose Madder. Let us know if you find anything good on your search 😊
I ended up with the philosophy I only use fugitive pigments from old lead tubes i find in antique stores. I want the pigment to fade to next to nothing after hundreds of years to show how colors will show up differently and the pigment will end up leaving a yellow white canvas with more and yellow aging of the oil mediums. i use gamboge, alizarian red, rose madder, bw1 etc basically all the bad ones i can rely on disintegrating the original color over time. all that is left is how the yellowing of the oil will react over time within each pigment and also whether i use the same medium or not over time. isn't that hilarious. not only that but i want it to be a display outside in the sun but with a low vacuum chamber case. either in direct sun or in open air shade. not inside a building.
the idea is in this age of technology it will keep the original photograph neat and tidy with the painting fading quick. next few hundred years it is gone in color and then with myself beng a photographer ill pick how it'll look for people in the next 100 years.
None of them but PV19 are perfectly lightfast. I don’t care about lightfastness when I wanna use something. I just don’t use it outside my sketchbook/watercolor book. 🤷🏾
In all honesty it’s not really a color I use or would grab. Even though, it’s recommended by many. I do own the Holbein one but… yeah don’t use it. I I think I prefer Carmine or other Reds.
Same here. Cool reds in general are not really my thing and if they were I think a Quin red or magenta would be more useful to me. PR83 is a nice color though. I think Holbein's carmine is also PR83?
@@JayNathanWatercolor I guess it depends on my mood as well. But generally speaking, not a color I go for. Just checked and the one Holbein I own is the Permanent Alizarin Crimson PV19 PBr25.
I CANT get away from PR83......Its just suck a beautiful color to me. And while i have found more light fast pigments that are close to PR83 mass tone, the suttle look when more water is used is just unmatchable!
Nowadays I rarely use it anymore, but I still use it for one of my favourite mixes : rembrandts alizarin crimson with rembrandts paynes grey. Makes such a beautiful dark purplered burgundy I like to use for florals. Now my go to reds are PR209, PR264, PR179 and of course PR101
I always use alizarian, but the permenent version from WN.
I use DaVinci’s Permanent Alizarin Crimson made from PV19. I’ve not done my own lightfast test but I’ve heard it is lightfast, given that it’s a PV19. Hard to compare with these replacements, but it looks closest to the Original Alizarin Crimson to me. 👍🏼
I'll have to paint them out side by side sometime to see how closely they match.
Cool reds are some of my favorite hues, so I'm terribly sad that they all have the problem of being less than perfectly lightfast. Bruce on Handprint always recommends Perelyne Maroon as a replacement in mixes, since it has the deep dark dull tones landscape and portrait painters love it for. The pure hue is not the same though! Another comment recommended DaVinci Alizarin Quinacradone PV 19, which is extremely similar to the Schmincke Permanant Carmine you show here. I find the DaVinci a bit streaky; the Schmincke really benefits from the oxgall in this paint.
Pr179 itself is too brown to be considerd as a direct substitution, try mix pr179 with pv19γ to get a close match. For me I still love my perm alizarin crimson from davinci, due to the lack of oxgall it may not disperse as well as other brands.
Very helpful comparison! By the way i like your no-nonsense presentations. And that you don't use annoying music as an intro or in the background :-)
I use the Schminke Permanent Carmine mixed with a touch of a bright PR179, like Venice Purple by St. Petersburg White Nights. 👌🥰
As a kid I had an Alizarin Crimson, but it was a cheap Reeves beginner oil paint, so may not have been the real thing. I might try to get that look now in watercolour with my M. Graham Quin Red 209 as a starting point.
I know that Da Vinci watercolors are hard to find outside the US, but their Alizarin Crimson Quinacridone (pv19) is a near identical match to the W&N pr83 I use in my sketchbook. I absolutely love it for paintings I put on my wall - it’s perfect for mixing skin tones.
I love all my DaVinci paints!
That's great that Da Vinci managed to match it with a more lightfast pigment. I'll definitely give it a try one day. ☺️
Hi. Is your ACQ less staining than a regular AC???
I’ve been using fugitives lately as I truly enjoy some of them to get accurate colours. Including this as well as opera/neons and others. However if I sell non lightfast art I lower the price, label as such and directly explain/warn the customer. I also understand the lightfastness of my materials and will choose lightfast when it is important. Even for wall hanging you can use uv protective glass and hang away from sun. Personally I replace art I hang on my walls with new art I create every 1-4 years anyway to change it up. I also do tons of sketchbook, scanned and stored away in binder art.
I say use fugitive supplies and have fun BUT know that they are fugitive and act responsibly.
Adding opera yellow and pink has allowed me to actually mix and use colours otherwise impossible in traditional art.
Still I prefer to get lightfast options when it’s reasonable to do so.
But I really like to get exact colours often so the Paul Ruben’s opera bright neons set is what I’d recommend for that. You kinda need the fluorescents for accurate florals, neon, cyberpunk, certain tropical fish, etc.
Also I’d like to use supplies I invested in and didn’t understand lightfastness a while ago and invested in plenty of not lightfast supplies and still want to enjoy them.
Plus I do way more personal work than for sale right now anyways.
Hi Jay. Before I had PR83 Mijello Alizarin, on my palette, now it is out. I have three reds on my palette that I use frequently PR264, PR255 and PV122 ( its not precisely red but...) I don't think I need more, although I have a wide range of reds for specific use. Reds its Life and Vibration. Very interesting as always.
Merry Christmas to you and all your followers on the Channel.
Hi Jose. I'm not really a lover of reds (apart from Indian and light red) so I definitely think 3 reds is enough 😂
Merry Christmas and happy New year to you and your family 🙏
I still use the PR83 but have added
Such an great video! Thanks for sharing♥️
Thank you. You're welcome ☺️
Great video Jay, really helpful 👍
Thank you Dave 🙏
I use Daniel Smith's Quin Red as my dupp for Alizarin Crimson. It and PR177 bookend the hue of Alizarin Crimson.
I just use Quin Rose. Love the Alzarian Crimson mix. That was beautiful.
Handprint recommends various pigments, but states the following:
"I highly recommend perylene maroon (PR179) as the best substitute for alizarin crimson. It is exceptionally lightfast for a red or carmine pigment, and provides some of the "blue red" reflectance necessary to produce dull violet mixtures with violet blue or blue paints".
The violets are amazing
I think the Da Vinci PV19 Alizarin Crimson is gorgeous and probably the most beautiful Alizarin Crimson I've ever used. As an aside, Cotman is still using PR206 for their Alizarin Crimson. It's very rosy though, but pretty.
Beautiful red
It is very nice ☺️
@@JayNathanWatercolor I like purple from alizarin crimson
I don’t keep a cool red on my palette, instead I use Quin Violet by Daniel Smith. It’s a great mixing color for purples and olive greens and I can mix it with Pyrrol Scarlet if I need a cool red. Good question though. Thanks for the comparison.
You're very welcome 🙏☺️
if anyone wants to try PR176, VanGogh has carmine made from PR176 as well. i quite like the mijello version here too :D the violet mixes are also very lovely. thanks for the closeups! XD
Ah yes. I forgot that Van Gogh has a PR176. I found some of the violet mixes to be really beautiful. I wasn't expecting them to separate so nicely.
Hi Paint in Hiding :-)
I’m not sure that Van Gogh Carmine would be a good colour. Mine tends to dry dull and brownish. But if I mix in some gum Arabic with the Van Gogh Carmine, WOW! The paints becomes very rosey and bright.
@@awatercolourist ohhh! hey there! fancy seeing you here ;D that's odd, mine definitely dries down duller but not to the point of brown. more like a crimson. Ohhh that's so cool how it was able to change only with gum arabic, nice!!
@@PaintinHidingYou’ll find me wherever there are watercolours 😄
Well, let me correct what I said about the Van Gogh Carmine: it does not turn brown proper but it does loose its vibrancy and is way more dull than when it is first painted; it turns to a dull crimson. It’s really lacks excitement. But, man does it glow with gum Arabic! A completely different hue.
For those who are interested, just dip your brush in a diluted gum arabic solution and then use it to pick up paint. It will dry a bit more shiny than normal paint, though. I use dried gum arabic. Prrsonalky, i use dried gum arabic. I was experimenting making a gum arabic solution from scratch but it dried in the box so I just rub off some with water whenever I need gum arabic.
What did David Bowie sing? »All The Pretty Things Are Going to Hell.« And very sadly he is gone, too.
And this is the way I think about Alizarin Crimson. To be honest, no color really compares to it. And therefore I use it in my paintings. I know this color will faint over time, but that's the way it is. And I never hang a painting in sunlight, well, who does?
The paintings still last about 10 or 12 years.
And by that time I have painted other works.
Yep, I've been using it from day 1 on my watercolour journey. Why wouldn't it be used? It's red and it's a cool red, that's very useful when mixing. It can add great touches to stormy skies or night/dusk skies on the horizon or even sky reflections in water for more abstract and atmospheric looking scenes. It's also good straight out of the tube when showing car brake lights in a night-time urban sketch style painting.
Daniel Smith make a Permanent Alizarin Crimson which they claim has an excellent lightfastness rating, so that should overcome it's fugitive reputation.
I don't really use cool reds but the alizarin hues look fine to me. I know that some people have moved on from it and much prefer to use Quinacridones these days.
Love ❤️ the Permanent Alizarin Crimson by Daniel Smith!!! Smooth like butter for my swatch!!!
woah a newvideo! how exciting! I also own alizarin crimson...it has been on my radar because i wanted a deep vampy red that wasn't too brown or too bright. i typically hate true reds,I never use them.but Daniel smith made me like red because it deep and sultry. I did have a couple previous Alizarin,one is a hue from Daler rowney aquafine ,but it is very weak and streaky (did mix nice muted oranges though) and also the white nights one..though that one's significantly darker and more muted. I simply did not buy the permanent version cause I felt cheap :D Ok now back to your video !
Haha 😂 Sounds like you've tried many Alizarin's?
@@JayNathanWatercolor Not really,I didn't even know I had 2 until I looked into it more and bought the ''official'' alizarin .I am still kind of new to paints :D
Only pr177, pr83 and the pr264/pv19 give a nice blue purple all the rest give a red based.
I use Quin red/rose though I bought a tube of Holbein permanent alizarin crimson for trial, it wasn’t been touched for more than a month now. Would definitely try Horadam permanent carmine soon. Nice review 👍🏼
Thank you 😊🙏 Oh really? You didn't like the Holbein permanent Alizarin Crimson?
@@JayNathanWatercolor It’s a dual pigment PV19, PBr25 I usually prefer single pigment. I would like to try the reds from ‘Roman Szmal’ soon.
@@JayNathanWatercolor For me this one is still too pinkish to be considerd as alizarin crimson substitution, more like quin red from daniel smith or permanent carmine from schmincke instead.
thanks for this. it's a subject close to my heart.
i love alirazin crimson, but i only use it in sketchbooks. i've been checking out da vinci alizarin crimson, which is actually PV19 (quin violet), but i'm concerned it's not that lightfast, either. i have a swatch sitting in a sunny window for now. found my mission gold rose madder, it was a little bluer than the alizarin crimson, so i added a tiny bit of da vinci red, and it was pretty close. wish i could try the horadam, but i'm a vegetarian. so the search continues!
The PV19 should be lightfast. Certainly more lightfast than PR83 or the Mission Gold Rose Madder. Let us know if you find anything good on your search 😊
Vegetarian or a vegan? Vegans do not consume animal products, vegetarians do and do not have a culture outside of eating.😕
I love you!!!!
Hi. Does anyone know of a similar red/Aliz that does not stain too much?
I really don't know. I don't think there are any non staining red/aliz paints.
I ended up with the philosophy I only use fugitive pigments from old lead tubes i find in antique stores. I want the pigment to fade to next to nothing after hundreds of years to show how colors will show up differently and the pigment will end up leaving a yellow white canvas with more and yellow aging of the oil mediums. i use gamboge, alizarian red, rose madder, bw1 etc basically all the bad ones i can rely on disintegrating the original color over time. all that is left is how the yellowing of the oil will react over time within each pigment and also whether i use the same medium or not over time. isn't that hilarious.
not only that but i want it to be a display outside in the sun but with a low vacuum chamber case. either in direct sun or in open air shade. not inside a building.
the idea is in this age of technology it will keep the original photograph neat and tidy with the painting fading quick. next few hundred years it is gone in color and then with myself beng a photographer ill pick how it'll look for people in the next 100 years.
Just put it outside in the sun for a while to be quicker.
None of them but PV19 are perfectly lightfast. I don’t care about lightfastness when I wanna use something. I just don’t use it outside my sketchbook/watercolor book. 🤷🏾
Not in any of my palettes.
Do you use any fugitive pigments in your palettes?
In all honesty it’s not really a color I use or would grab.
Even though, it’s recommended by many.
I do own the Holbein one but… yeah don’t use it. I
I think I prefer Carmine or other Reds.
Same here. Cool reds in general are not really my thing and if they were I think a Quin red or magenta would be more useful to me. PR83 is a nice color though. I think Holbein's carmine is also PR83?
@@JayNathanWatercolor I guess it depends on my mood as well.
But generally speaking, not a color I go for.
Just checked and the one Holbein I own is the Permanent Alizarin Crimson PV19 PBr25.
I CANT get away from PR83......Its just suck a beautiful color to me. And while i have found more light fast pigments that are close to PR83 mass tone, the suttle look when more water is used is just unmatchable!
PR83 certainly is a lovely pigment ☺️
I don’t own one. It’s so famous though