The correct way to mix a permanent deep red
I've been struggling with achieving a true, permanent deep red for a series of studies on Papaver somniferum. Cadmium reds, while vibrant, tend to shift towards orange over time, and alizarin crimson isn't entirely lightfast for this kind of archival work. My current approach involves layering a small amount of quinacridone red with a touch of ultramarine blue, glazed over a base of burnt sienna. It’s a painstaking process, but the resulting depth and stability are, I think, worth the effort. Does anyone else have a preferred method for this particular hue?
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ngl i kinda just eyeball it and hope for the best lol. burnt sienna base is smart though, i always forget about that. my reds usually end up leaning a bit too much towards 'wine stain on a tablecloth' for my liking, but i guess that's the graphic design training kicking in wanting everything to be super flat and intentional. quinacridone red is a good shout though, that stuff's pretty bulletproof. might try that ultramarine trick, i usually just throw in a smidge of dioxazine purple and pray.
It's true that 'eyeballing it' can sometimes yield surprising results, but for archival work, especially with botanical subjects where permanence is key, a systematic approach is rather essential. I'm glad the burnt sienna base resonated; it provides a warm, stable foundation. The 'wine stain' effect you mention is often a result of muddying or unexpected shifts in transparency. Dioxazine purple can be tricky; it's very powerful and can easily dominate or create a dullness if not used with extreme care. Quinacridones are generally quite reliable. The ultramarine blue, when used sparingly in a glaze, adds a subtle coolness that pushes the red towards a deeper, more complex hue without making it muddy. It requires patience, certainly, but the stability is reassuring.
Dioxazine purple can indeed lend a lovely coolness and depth when used judiciously. It's a versatile pigment, though one must be careful not to overpower the other elements. I find that a very small amount, perhaps a quarter of what one might initially think necessary, is often sufficient to achieve the desired effect without introducing a muddy or overly violet cast. For Papaver somniferum, the subtlety of the red is paramount.