One thing you’ll always read about Quinacridone Gold is that it used to be a single pigment, PO49, until 2017, when the supply of that pigment ran out altogether. Artists bemoan the loss of this pigment which, in retrospect, they imbue with almost magical properties. I’m too young in watercolor years to have tried it, but personally, I love the mixed Quin Gold hues that you can find now, so I’m happy!
I made these observations based on the Daniel Smith version, pictured above, which is a mix of Nickel Azo Yellow (PY150) and Quinacridone Burnt Orange (PO48).
Graded Wash: I easily got a lovely smooth graded wash here. It just grades so beautifully. In dark tones, it’s a deep ochre, and in light tones it’s a pale warm yellow. In between it goes through these lovely golds. The entire effect is glowing.
Opacity/Glazing/Blooming: Very transparent. In a glaze with itself, it turns an even darker rich ochre. I didn’t do a very good job of blooming it, and waited too long, but you can see that it would bloom if handled skillfully.
Color Mixes: The overall effect is a warm, earthy palette like you’d see in a 1970s movie. It makes luminous oranges, but my favorite mixes are the lovely earthy greens it makes with the blues! I added some extra greens and blues so you can see. Some of Daniel Smith’s own colors are premade mixes with Quin Gold:
- Quin Gold + Phthalo Green Blue Shade: Sap Green
- Quin Gold + Phthalo Blue Yellow Shade: Hooker’s Green (actually DS’s mix of this also has Hansa Yellow Light)
- Quin Gold + French Ultramarine: Undersea Green
The mixes with warm blues are trickier and more likely to wind up muddy and gray, notably Indanthrone Blue. I have paired Indanthrone Blue and Quin Gold in many paintings (because they are two of my favorite colors), but it’s usually best not to actually mix them.
One of my favorite mixes is shown at the bottom: Quin Gold + Transparent Red Oxide. They just make this glowing, vibrant, inviting burnt sienna alternative that looks to me like liquid fire.
Comparison to Other Brands
Every brand has its own formulation of a quin gold hue, usually using PY150 (Nickel Azo Yellow), though the orange/sienna side of the formulation varies. Some use Transparent Red Oxide (PR101), and some use Quinacridone Burnt Scarlet (PR206).
Holbein – Quinacridone Gold
[Updated April 22, 2022 to add this section.]
Made with the same ingredients as the DS Quin Gold – PY150 + PO48 – the Holbein version looks a bit more yellowy to me, suggesting a mix with more Nickel Azo Yellow and less Quin Burnt Orange. The Holbein is a yellow-gold, while the DS has more of a caramel color. Both are granulating toward the masstone end of the range, diluting more smooth.
I wrote “runny” on the paper there as a note to myself about the consistency of the paint; this to me also smacks of a Nickel-forward mix, since Nickel Azo Yellow tends to be quite dispersive.
Schmincke Horadam – Quinacridone Gold Hue
[Updated February 27, 2022 to add this section.]
Again, more yellowy than Daniel Smith’s version. This one is also quite a bit less granulating. Like most Schmincke colors, I found it water dosage difficult; it’s easy to over-dilute. That may be why I didn’t get some of the lower range of the color. To me, this looks mainly like Nickel Azo Yellow; I don’t see a lot of evidence of the PR101 earth orange.
What Others Say
One of the first ten tubes I ever bought, this color is beautiful. Ideal for the first layers of color in glowing sandstone illuminated by sunrise or sunset. Forgiving and luminous when mixed with reds and pinks while retaining some earthiness, too. Unbeatable for glazing. But, when it interacts with blue it will get green-ish really fast, even in glazes. [In the desert] I used this color the most for early layers in sandstone, and in some white gouache mixtures.Claire Giordano, Fall in the Southwest: Favorite Colors
Quinacridone Gold is my key to cheating. It lets me use earth tones, like Yellow Ochre and Raw Sienna, without actually using any earth tones. Because Quin Gold is more exciting, vibrant, and glowing than any typical earth tone, and many artists don’t count it as one at all. Still, it substitutes nicely as a yellow ochre in most use cases*, and also mixes up fabulous greens!
* Warning: if your use case for yellow ochre is creating gold touches in skies, Quin Gold will do a lovely job, BUT it may form green when it touches blue. That’s the downside of its ability to make great greens. You can’t turn it off. If it’s important to you to use a yellow ochre equivalent that doesn’t mix greens, you will want a more traditions PBr7 formulation.
What I love most about Quin Gold is its capacity to paint light. It’s perfect for golden hour, sunset skies, and warm, inviting interiors.
On my palette? A Showstopping Earth Tone that’s useful on its own and makes wonderful mixes; this is a resounding palette Hell Yes.
Favorite version: Daniel Smith