Matisse Structure Napthol Scarlet
Matisse Structure Napthol Scarlet
Matisse Structure Napthol Scarlet
Matisse Structure Napthol Scarlet
Matisse Structure Napthol Scarlet
Matisse Structure Napthol Scarlet
Matisse

Matisse Structure Napthol Scarlet

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Scarlet is a very useful color for the artist. As the warmest red it is the best choice to use if making orange by mixing with yellow. It also shares with the traditional vermilion used by the old masters a crucial role in painting the colors found in Caucasian skins. Pinks made with a cooler red have a limited role in getting good flesh colors, but the salmon colors produced by mixing a light red, or scarlet with white are incredibly useful. That is not to say that mixing up a salmon pink and painting that all over the flesh areas is the best way to go, but rather, (allowing for the fact that skin exhibits a wide range of tones depending on the individual and the lighting conditions), that salmon pinks form one of the more important colors among a gamut that includes ochres, mauves, and other colors.

Naphthol reds were amongst the first red colors included in acrylic ranges when they were first introduced around 1960. PR112 has for all that time served duty as a warm red and has remained popular due to its lower cost compared to it’s showier but also more pricy newer competitors. It does have a lower lightfastness rating compared to those more expensive colors but then not every artwork needs to last for hundreds of years and many many artists are well pleased with its many good qualities.

Matisse has improved on the original Naphthol Scarlet formulations by the simple but important addition of Pigment Orange 36 which is also known as Vermilion (Azo) as a blend. This creating a red by using PO36 is common practice in the automotive coatings industry because it offers many advantages. In this case the blend has various benefits. Firstly,  the naphthol red pigment is too transparent on its own and the PO36 gives it body and greater covering power. Secondly it improves lightfastness to a certain degree but also increases weather resistance opening its use for artworks exposed to high intensity light and undercover outdoor works, especially those not intended for permanent installation.

  • Chemical Description: Blend Benzimidazolone & Arylide yellow

  • Pigment Numbers: PR112 PO36

  • Lightfastness Rating: ASTM II

  • Pigment Opacity: Transparent

  • Paint Opacity: Semi-Transparent

  • Series 3

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