Thursday 15 February 2024

quinacridone pigments in watercolours


My quinacridone colours and favourite colour combinations

One question that crops up fairly often is why would you purchase quinacridone colours, when other traditional pigments seem so similar? In fact, it cropped up again in my Patreon forum back in December and I've been meaning to write this post since then.

You'll have noticed that I have 3 quinacridone colours on my palette - quinacridone rose, quinacridone sienna and quinacridone gold. At first glance these seem very similar to other more traditional pigments - permanent rose, burnt sienna and raw sienna. 

Attached is a swatch sheet that shows the differences between my 3 quin colours and a similar traditional pigment. There are also some of my favourite colour combinations - vibrant greens, transparent reds and oranges - colours that just glow!

Here's a bit of background on quin colours if you're not familiar with them - their history, pigment qualities, advantages and disadvantages.


Quinacridone pigments, emerging in the mid-20th century, were initially synthesized for the car industry, offering vibrant and durable colours for car finishes. Their transition into the art world revolutionized the watercolour palette, providing artists with a new spectrum of brilliant and resilient hues.

Pigment Qualities

These pigments are celebrated for their bright, intense colours and exceptional transparency. With a small particle size, they enable smooth, uniform washes. Their high tinting strength is advantageous for creating vivid compositions, and their excellent lightfastness ensures the artwork's longevity.

Advantages Over Other Pigments

Quinacridones are unparalleled in creating deep, transparent darks, allowing for intense shadows and tones without losing luminosity. If you're having trouble getting really strong, dark colours that are not flat and dull, then quin colours really come to the rescue.

Unlike other pigments, quinacridones retain their brilliance in mixes (the paper still shines through and the darks are not flat and dull) and have superior lightfastness, resisting fading under light exposure.


However, quinacridone pigments are not without drawbacks. Their staining quality can be a challenge, as they bind tightly to paper, making lifting and correcting mistakes difficult. 

Additionally, their cost is higher than many traditional pigments, and their intensity may be overwhelming for some artistic styles. It depends on the story you want to tell, but if you're after a soothing, calm scene then quin colours might be overwhelming. But if you want very dark shadows or a pop of colour then they are useful.


  • The first column shows the quinacridone colours versus a similar pigment on my palette. 
  • The second column shows how they make beautiful neutrals when combined with a traditional pigment. Notice, too, how you can combine a quin colour with another colour which has a larger pigment size (like ultramarine) and get beautiful textures.
  • The third column is some of my favourite colour mixes. All the resulting colours are still transparent and vibrant.


I don't want to cause a buying spree! These colours are expensive and if you're just starting out, then other pigments are completely fine. Especially as quin colours don't replace the others (you'll probably need both). But I hope the information is useful for when you've got a birthday coming up ;-)

Friday 2 February 2024

delicate arch


Delicate Arch, Utah. Pen and watercolour painting.

In 2011 we visited Utah and Colorado on a climbing holiday. The wonderful red rock formations, towers, arches and canyons, all set in the desert, were some of the best scenery I had ever seen. 

Long winter evenings right now mean that I've got time to revisit some old memories and paint scenes from photos or from my outdoor sketches. A few weeks ago I painted a little postcard of Delicate Arch - one of the incredible arches in Arches National Park. Someone who saw it online asked if I would do it again as a full tutorial. Of course! An excuse to get out a larger piece of paper and paint the scene properly. Happiness is :-)

In this lesson we paint the arch with lovely back lighting. It's all too easy to always look for a scene with sun coming from the front. But light from behind creates so much interesting drama - a little halo of light and big shadows to have fun with.

I hope you enjoy painting this as much as I did.

Happy painting!

Full video tutorial available on Patreon and Renee's Studio

Thanks to Ryan Jones on Unsplash for the wonderful reference photo.

Friday 26 January 2024

old door


Sketch of an old door behind my house

Who doesn't love watercolour paintings of old doors and windows? They have a charm all their own. And, certainly, a whole series of them hanging together would be really lovely.

In this lesson we use the skills we learnt in the skills lesson on painting stonework and old wood to paint the old door of the barn behind my house. Plus the shadow is super - I paint it in a similar way to the shadows lesson where we painted the flowerpot.

No need to do the skills lessons first, you can just dive in with this one. But if you'd like to learn more, then the skills lessons are there for you too.

Happy painting!

Full video tutorial on Patreon and Renee's Studio.