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Using Violet and Purple Pigments in Oils: Challenges and Solutions
Painting objects using violet and purple shades is always a challenge because it is easy to land on the garish side of this hue. We have all seen a house painted this color and we say “Whoa! That’s intense!” Another example is painted flowers and fabrics that make your eyes water. So how to avoid this error in the use of purple/violet shades?
The solution is to mute the colors. Subtle is always the best route when using any purple pigment. Here, in the latest Iso-LACE-tion painting, I have used a combination of quinacridone magenta, ultramarine blue, and white. Into that, I mixed a little black to calm it down even more.
On the color wheel, yellow is the complement of purple, which means they can either enhance or cancel each other. If you mix a yellow tone into a violet/purple, it will automatically knock it down or gray it out. Contrarily, if you place them side by side, as I have done here, they will look quite beautiful.
A Color for Royalty Only: Others Can Be Prosecuted or Worse
Prior to about 1750 – before synthetic pigments were commercially made – pure violet hues were impossible to attain from natural pigments. The exception is one that I have written about in the past, and this topic has been an ongoing fascination with followers of this blog. I first discovered it during my research for the Lessons from the Low Country Project.
Tyrian Purple is made from the Purpura Lapillus, a shellfish (sea snail) that excretes a beautiful purple dye. Centuries ago, this dye was used to adorn cotton, silk, and wool robes of royalties and religious figures. It takes approximately 10,000 sea snails boiled in huge vats for days to make one gram of this color. Today it is available for a mere $2769. for 0.007kg from art material suppliers, although probably not your local Michaels Craft Supply! This minuscule amount adds up to .25 of an ounce.
Since antiquity, Tyrian Purple was so coveted that anyone outside of royalty or the church was forbidden to wear clothing made from the precious pigment. In Roman times, the Emperor had sole access, and the laws were very stringent. The phrase ‘to don the purple’ meant ‘become the emperor.’ This explains why the color was used frequently to denote royalty. The royal’s “ownership” of the color lasted until around the 15th century, but it didn’t become widely available until the 1850s when the first synthetic dyes could be mass-produced (History.com).
Many Companies Make Vibrant and Readily Available Purple/Violet Colors
Most paint suppliers today manufacture excellent and beautiful varieties of violet/purple/lilac for a modest price. A full spectrum is available: from light to dark, dull to vivid, highly saturated to grayed-out. Purple, carmine, cobalt violet, permanent rose, mars violet, magenta, quinacridone violet can be used alone or mixed with blue all make luscious shades.
VIOLET CARMIN
Violet Carmin is a pigment preparation created in 2019 by Ocres de France.
This pigment is synthetic , without any danger for health or the environment. It is composed of 97% of natural ingredients. Pigment made by Ocres de France
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Description
Uses : lime paint , lime coating , wax, paint, plaster, fresco, glaze, cement , fine arts.
This pigment is in powder. For use in artistic painting, it should be ground finely in a mortar before mixing it with the binder.
Violet carmin mixed with linseed oil
Linseed oil : dissolve the powder in a little bit of turpentine before adding it to the linseed oil .
Water-based paint/fatty lime : dilute the pigment in some water to make it liquid before incorporating it into the paint.
Lime powder/cement/plaster : directly incorporate the pigment (up to 10% based on the weight of the binder), then mix in order to stain all of your binder.
Maximum dosage : The maximum dosage is 10% compared to the binder used. Above 10% it is recommended to incorporate fixators and adjuvant (lime use).
Photo on the left : the pigment is mixed in the badisof plus (limewash ready to use which you can find in our deco range) at the rate of 5% so 50 g of pigment per kilo of whitewash.
Photo on the right : the pigment is mixed in the badisof plus at the rate of 20% so 200 g per kilo of whitewash.
These renderings can be similar for any white base mixed with this pigment. However, differences could be possible for the use of paints more or less loaded with titanium dioxide (white pigment), which will give a final color more or less light. If you want to lighten a pigment, before coloring a transparent binder ( linseed oil , wax, acryling binder , caparol, flour, etc), you can mix it with blanc Tiona (= white Tiona).
Color : lilac to dark purple mixed with lime.
This pigment is synthetic but it is composed of 97% of natural ingredients.
Made in France.
History : violet carmin is a pigment preparation created by Ocres de France in 2019.
Our packaging :
We use recyclable PET jars, to throw away, cleaned, in the yellow bins ; and glass jar that you can clean and sterilize for other uses even for food storage.
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Guaranteed Safety. Long Lasting Finish.
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Liquid Dye vs Powder Pigment: Which is right for you?
Epoxy Liquid Dye:
Our resin dyes smoothly integrate with epoxy, delivering a vibrant and uniform color to your entire resin project. The degree of color saturation is within your control – simply adjust the amount of liquid pigment you add. With more liquid pigment, you can achieve a solid color, while using less yields a crystal-clear, colored transparency effect.
Epoxy Powder Pigments:
Powder pigments imbue your epoxy with rich, subtle variations of color and pleasing texture effects.
Some powders will shimmer in the light while others give a multi-tone color finish. You can attain a mesmerizing granite or marble like appearance using different powder pigments.
