关于老荷兰水彩颜料的谬误
2019-11-28 10:43阅读：
老荷兰水彩颜料，
一直是被商家夸大的一个价格高昂却又没有什么个性的水彩颜料。对老荷兰水彩颜料的误区，来自老荷兰这个品牌，这个品牌的确有着悠久的历史，
不过是做油画颜料的。老荷兰的水彩颜料大约开始于上个世纪80年代。由于老荷兰是做油画颜料的，从油画颜料里面积累的优势，反而成为了老荷兰水彩颜料的劣势，因为由于油画颜料的载体不同，由几种色料构成的色相对于油画的影响远不如对水彩的影响来的大。水彩颜料由于载体和技法的不同，
颜料在纸面上借助水流动，单一的色料在混色和扩散上具有不可比拟的优势，而这方面正是老荷兰颜料所缺少的。 在为数不多的单一色料的颜色里面，
老荷兰水彩颜料还包含有几个已经被公认的是不耐光的颜料（色料），这使得老荷兰颜料可以使用的单一色料的颜料就更加的稀缺。
以下附上来自Handprint.com对老荷兰水彩的评价原文， 仅供参考。
Old Holland (reviewed June, 1999) - 168 colors, 57% of them single
pigment paints. Made in Driebergen (Holland), this is a bewildering
line of antiquated ('since 1664' but actually launched in the late
1980's) watercolors that in basic ways falls short of the needs of
today's professional artist. By sifting through the Old Holland
line you will find a handful of unique single pigment paints,
mostly among the earth colors and synthetic organics. Among these,
you'll have to discard several fugitive pigments, such as their
benzimida yellow (PY120), isoindoline orange (PO69) or
anthraquinone red (PR177). All the rem
aining colors are amateurish convenience mixtures (flesh ochre,
flesh tint, 35 varieties of 'green' stuff) that any professional
painter will avoid 鈥?they are absurdly expensive and contain as
many as five pigments! Several of the paints are also not at all
what they seem: the cobalt violet paints (light and deep) are
actually mixtures of cobalt blue deep (PB74), dioxazine violet
(PV23) and quinacridone violet (PV19), a combination that is much
less lightfast than genuine cobalt violet; viridian green deep is
actually a mixture of viridian (PG18) with ultramarine blue (PB29);
and 28 (!) of the colors are formulated with white pigment (PW4),
because all the pigment formulations were originally developed for
oil paints and simply thrown in with gum arabic when the brand
extended to watercolors. But it seems unfair to criticize Old
Holland for their paint formulations, when their true expertise is
in dreaming up idiosyncratic paint names. These are either
uninterpretable (indian yellow-green lake extra is a dull mixture
of nickel dioxine yellow, PY153 and copper azomethine, PY129 that
has no greenish hue) or are idiotically pretentious (rose dore
madder lake antique extra is a dull and impermanent mixture of
benzimidazolone scarlet PR175, anthraquinone scarlet PR168, and
alizarin crimson PR83). In the Old Holland labeling fairyland lake
supposedly means 'transparent', extra means a 'hue' or imitation
paint, and antique means ... well, who knows? The paints are
uniformly well milled to a creamy consistency, and microscopic
analysis of draw down samples shows little or no use of fillers or
brighteners. However, the vehicle is unusually dense, with a
sticky, stringy consistency similar to taffy, making the paints so
gummy that they take longer to dissolve in water than any other
brand. The benefit of this gummy consistency is that almost all OH
watercolors stain much less than other brands and often lift
completely from the paper, making them convenient for a variety of
editing techniques. The drawback is that, in several paints I
tested, the vehicle instantly dissolves and blossoms if rewetted
accidentally, making adjacent colors bleed at the edges or causing
foundation colors to splotch or discolor when glazed with other
mixtures. In masstone concentrations the paints often dry with a
leathery bronze and are among the dullest paints I've seen, and in
my 2004 lightfastness tests I found the vehicle in several mineral
colors had a tendency to turn brown under light exposure, which
makes me reluctant to put them to paper in the first place. The
three or four pigments used in many of the convenience paint
recipes strike me as amateurish and fussy, because the general rule
is: more ingredients, less lightfastness. And finally, these are
now the most expensive 鈥?absurdly expensive 鈥?watercolors you can
buy 鈥?after all, you can't buy rose dore madder lake antique extra
or indian yellow-green lake extra anywhere else, you have to pay
extra for extra! Paint tubes are bare metal with a gummed paper
label, available in 6 ml. and 18 ml. sizes; both sizes have a very
small mouth and cap, and OH paints are very susceptible to ooze
paint from the crimped end of the tube. Tube paints set up in pans
to a hard, resinous finish; half pans are available from Old
Holland, and while these contain slightly more paint than other
brands, they also do not fit into standard field paint boxes.
Finally, the lightfastness of OH paints is not reliable and in some
cases is inaccurately overstated (I suspect because the company
just quotes the lightfastness of its pigments as formulated in oil
paints). Overall, this is a poorly designed, bloated and grossly
overpriced line of watercolors, ripe for acquisition and aggressive
revamping. I tested about a third of the single pigment paints Old
Holland makes. (Paint line inadequately documented by manufacturer:
neither the packaging nor paint brochures provide paint
lightfastness ratings, the paint marketing names completely fail
any standard of accuracy or consistency 鈥?the meaningless
proprietary names 'schevenegen' and 'old holland' abound. Tube
ingredient information shows only generic pigment categories
鈥?'contains arylide,' 'contains naphthol AS' 鈥?which are useless to
identify the specific pigment used; color index information is only
provided in the paint brochure or by clicking on individual color
swatches at their web site. The July, 2007 average unit price* at
Art Supply Warehouse was $0.97, and average unit cadmium price was
$1.30, an increase of 19% since 2004.)
