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Top Pigment

Ultramarine Violet, Ultramarine Red

PV15

Alternate Names

Sodium aluminosilicate violet

Ultramarine Red B

Pigment Description

This color can be a transparent indigo purple, a solid violet, or even a dull pink. Among paints labeled Ultramarine Violet the color can vary from indigo to violet depending on the brand, and if it labeled Ultramarine Red or Ultramarine Pink it's likely to have a different color appearance entirely. The pink versions tend to be middle chroma (somewhat desaturated) and transparent.

PV15 is often found as a lovely strong purple which behaves somewhat mildly in mixtures, depending on the variety. It is listed as having excellent lightfastness, though there may be some nuance to this depending on the mixing white in oil paints. The indigo varieties are very helpful color for the mixes to neutralize yellow if using oils. A different but equally prized behavior among the pink varieties is their ability to tone down greens. This pigment is related to Ultramarine Red as well as Ultramarine Blue. See also PR259.

While typically in the category of lower concern, Monona Rossol mentions that PV15 may qualify as a "nusiance dust" which does have thresholds for exposure and best practices associated with it. Her work can be found here.

Resources

PV15 pigment data from David G. Myers, The Color of Art Pigment Database, Artiscreation.com

Information about PV15 from Bruce MacEvoy, Handprint Guide to Watercolors, General information about this class of pigments from Handprint,

Rossol, Monona. The Artist's Complete Health and Safety Guide. New York, NY : Allworth Press, 2001. The book is rather dated, updated information is available from her website.

Stats

Lightfastness

Traditionally Excellent, but see notes from Golden.

This color comes in pink and purple forms, which may have different lightfastness. In their recent lightfastness testing, Golden assessed both their Ultramarine Pink (now discontinued) as well as Ultramarine Violet. In regards to Violet, Golden mentioned that the Florida-exposed sample changed significantly, and that the color also experienced notable fading in simulated exposure environments such as QUV. Its tints retained the ASTM I excellent designation in pure titanium white for both linseed and safflower (as well as ASTM mixing white), but slid to ASTM II for every other mixing white that they tested. For more details on both, see their research. Bruce MacEvoy noticed some variance brand to brand in watercolor with some brands changing opacity slightly and whitening. However it is still among his top 40 pigments. If this color is part of your process it may be worthwhile to do your own lightfastness tests.

Transparency

Transparent to Semi-Transparent

Ranges in oil paint from transparent to semi-opaque. The red/pink versions tend to have even more transparency.

Toxicity

Thought to be in the category of Lower Concern but may have some hazards as a dust

Monona Rossol mentions that this may qualify as a "nusiance dust" which does have thresholds for exposure and best practices associated with it. Her work can be found here. Treat all pigments and paints with studio safety protocols.

Tinting

Medium

The pink varieties are especially gentle mixers. Some of the purple kinds are a bit stronger but they are much milder than Dioxazine Violet.

Dry Time

Medium-Slow

Some paintmakers list this as slow or very slow, but others list fast so it may contain driers. Some list 5-14 days, while others list 3-6.

Particle Size

Very Fine

Chemical Name

Sodium aluminium sulfosilicate (blue purple shade) or sodium alumino-sulphosilate, or sodium aluminium sulfur silicate, or Sodium aluminosilicate violet (red/pink shade), or complex silicate of sodium and aluminum with sulfur

AlNaO₂₄SSi

Dry Pigments listing PV15

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