This is an interesting pigment which is given the `Top Forty' accolade by Bruce McEvoy of Handprint. It has never been a `must have' palette colour but is beginning to appear in an increasing number of ranges, although to date neither Holbein, Rembrandt, Schminke or Maimeri offer it.
As usual naming isn't consistent, as apart from those who call it Green Gold, Winsor & Newton, Daler Rowney, Da Vinci, variations are Green Yellow (Lukas), Brown Green (Sennelier) Azo Green (Graham), Golden Green (Old Holland), all the same pigment PY129! To complicate matters Daniel Smith's Green Gold isn't, but a mixture of three pigments PY150, PY3 and PG36, two yellows and a green. However we then find another Daniel Smith paint, Rich Green Gold, which is PY129! The Australian company Art Spectrum have two colours with PY129 as one ingredient with PG7 as the other, Australian Green Gold and Sap Green Permanent. It does not appear in any student ranges.
As usual naming isn't consistent, as apart from those who call it Green Gold, Winsor & Newton, Daler Rowney, Da Vinci, variations are Green Yellow (Lukas), Brown Green (Sennelier) Azo Green (Graham), Golden Green (Old Holland), all the same pigment PY129! To complicate matters Daniel Smith's Green Gold isn't, but a mixture of three pigments PY150, PY3 and PG36, two yellows and a green. However we then find another Daniel Smith paint, Rich Green Gold, which is PY129! The Australian company Art Spectrum have two colours with PY129 as one ingredient with PG7 as the other, Australian Green Gold and Sap Green Permanent. It does not appear in any student ranges.
With that out the way I'll once again refer to Bruce McEvoy of Handprint.
"copper azomethine green (PY129), commonly the ingredient in "green gold" paints is a lightfast, semitransparent, staining, mid valued, moderately dull yellow pigment,".......Unrated by the ASTM, manufacturer tests rate it as having "very good" to "excellent" lightfastness". Bruce agrees.
The thing about this colour is that in tints it shifts from a yellow green to a beautiful light yellow. I don't actually find it dull in the latter case, perfect for the colours of early Spring. Bruce rates it excellent for all genres, but especially for landscape and botanical painting. It also mixes well with several; other colours depending on what you wish to achieve. The Handprint information while still very valuable is not as up to date as one might like but even so is still worth consulting www.handprint.com/HP/WCL/watery.html .
Bruce states that if you are an advocate of the `split primary' palette then `copper azomethine' is the perfect lightfast, transparent "cool yellow" pigment to pair with it's lightfast, transparent "warm yellow" twin, nickel azomethine yellow PY150. This is Nickel Azo Yellow from Daniel Smith and Graham, Transparent Yellow Winsor & Newton, Translucent Yellow Schminke, Yellow Lake Sennelier. This latter pigment seems destined to enter most ranges although not yet universal. One of my members Rui rates the Schminke paint highly. Any additions or corrections to the above welcome.
I have used Green Gold, mainly Rowney, for some time and also have the Winsor & Newton version. My use has been primarily in Spring foliage but Bruce suggest mixing with Qinacridone Magenta for portraits. I'll have to give that a try.
Don't be fooled by this Sharon I also tend to plunge straight in - although I do try to resist my impetuosity sometimes! Interesting colour though.
ReplyDeleteGreen gold is one of my favourites, I agree I don't think it is at all dull and I love it when mixed with Alizarin crimson... great for autumn leaves, I have both Rowney and W&N versions and can't really tell the difference so will probably stick with Rowney as it is cheaper.
ReplyDeleteIt is amazing how the colours vary Peter. Life is okay when you stick to what you know, but when it comes to buying a 'new' colour (and that is quite exciting) you just don't really know exactly what you will get. A lot of trial and error happens in this house!
ReplyDeleteThanks for commenting Judith. I've mainly used the Rowney version which is fine and, as you say, cheaper. I shall experiment further with this colour.
ReplyDeleteThanks for commenting Ann. There are so many wonderful colours now available that it seems restrictive to stick to a very limited palette. Give more a try I say and see what results!
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ReplyDeleteVery interesting Peter. Thank you. I might look at the Art Spectrum version as it is called Australian Green Gold. Might result in my gum trees looking better perhaps.
ReplyDeleteThanks Ray. Yes worth a shot I would say, especially as it's a local make. Art Spectrum do add PG7 phalo green blue shade to it.
ReplyDeleteThanks Peter, very interesting.I did have some Green gold in my previous palette, but have not replaced it. Is it worth buying some more........so difficult to decide!
ReplyDeleteHi Yvonne.I'll give you some next thursday to try.
ReplyDeleteSubhanallah I totally forgot Rowney make a Green Gold. Is winsor and newton cerulean blue better than rowney's ceroleum? Because i notice in the w&n tube it says semi opaque whereas rowney just says its opaque.
ReplyDeleteI Personally prefer the W & N Cerulean. Not the red shade the standard one.
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