A dark magenta, slightly darker and more muted than PR122 or PV19 quin rose.
Experiment Results
Gradient: Even, non-granulating grade. At masstone, medium-dark purple magenta that’s a bit purpler and darker than a primary magenta but not as dark or purple as violet. In dilute, a lilac color.
Opacity: Transparent.
Glaze: Glazes warmer, a dark crimson.
Comparison to Other Colors
PR202 is the third item in the comparison below: brighter and more magenta (less purpler) than PV19 violet; similar to, but less red than, DS Bordeaux (PV32); less bright than Holbein Quinacridone Magenta (PR122).
Here’s another view showing a variety of colors named Quinacridone Magenta, from Oto Kano’s Patreon dot card.
Daniel Smith’s Quinacridone Magenta (PR202) is the first one, and Schmincke’s PR202 is shown under that. The next column is PR122s, then the third column shows some PV19’s (two violets and a rose), and the thin ones on the end are comparison colors from my collection: Quin Violet, Bordeaux and Quin Rose.
You can see here that the PR202’s are more muted and darker than the PR122’s, but not as purpley as the Quin Violets.
Comparison to Other Colors
Daniel Smith has two PR202’s: one called Quin Fuchsia (which I have only tried in a dot card) and this one called Quin Magenta. It gets nice and deep in masstone and was easy and smooth to grade out. The oranges are are muted, though not in an ugly way, but the purples are really nice and vivid. Even the Phthalo Green purple is pretty vibrant!
Color Mixes
Lemon Yellow
Naples Yellow Deep (PBr24)
Better but not good.
Isoindolinone Yellow Deep (PY110)
That’s the stuff! I kind of love these autumnal reds and oranges, which are just desaturated enough to appear intense rather than in-your-face, but not so much that they look muted at all. They have a fall-leaf fieriness.
Transparent Pyrrol Orange (PO71)
This makes a lovely intense reds that can range from a cool strawberry hue to a warm fiery scarlet, though there isn’t a ton of value variation.
Transparent Red Oxide (PR101)
You can get a nice crimson in the more-PR202 mix; the orangeness of the TRO brings the magenta more into red territory, and the two deepen each other.
Venetian Red (PR101)
Like orange and earth orange, this mixes some lovely crimsons and cranberry colors. Although VR is a bit darker than TRO, there is less potential for increasing depth with more paint, as VR is opaque, so this is as deep as it gets. Still, it’s pretty nice!
Deep Scarlet (PR175)
I find it difficult to work up the consistent depth I want with Deep Scarlet, which tends to lose value as it dries.
Perylene Red (PR178)
No surprises here; the two colors aren’t too far apart on the color wheel and are similar moderate chroma, so the mix is just a cool red in between the two.
Purple Magenta (PR122)
PR202 is slightly darker than PR122, but mostly they’re too similar to be truly worth mixing.
Phthalo Blue Green Shade (PB15:3)
I love the dark colors that are possible here, including a Carbazole/Dioxazine Violet hue and an Indanthrone Blue hue!
Cerulean Blue (PB36)
Phthalo Turquoise (PB16)
Similar to PB15:3 mixes.
Phthalo Green (PG7)
Grayish mauves, I can see these being useful in clouds though I’m not sure I’d think to use green this way in my everyday.
What Others Say
This is an attractive pigment, especially as a darker “rose” complement to quinacridone red (PR209) or as a more lightfast alternative to quinacridone rose (PV19). The violets mixed with PR202 and a blue paint are somewhat duller than those mixed with PR122 or PV19 rose (which is an advantage if you use purple mixtures primarily as shadow color); it dilutes down to a red violet rather than pinkish undertone, making it a good floral color.
Bruce MacEvoy, handprint.com (2010)
Some artists recommend PR202 on the basis of it being more lightfast than PR122 (e.g. Jane Blundell below), but I think this is based on an incorrect ASTM rating of PR122. By Bruce MacEvoy’s tests (and my own), PR122 is just as lightfast.
The Daniel Smith Quinacridone Magenta PR202 is better lightfast rated and more powerful though not quite as clean-mixing as PR122.
Jane Blundell, Cool Reds
PR202 is the same general hue as PR122 but it is slightly darker and less intense… I feel like PR202 is a prettier color on its own, but overall I felt really underwhelmed by the mixes it made, especially following PR122. If the vibrancy of PR122 is too much for your palette, then this would be a good secondary option. Even though the cooler mixes are adequate, though, I do feel like the warmer mixes suffer quite a bit.
Denise Soden, “Color Spotlight: PR122 + PR202” [video] (2018)
My Review
This is an in-between colors, so evaluating the worthwhileness of this pigment depends on which category you see this in. It’s on the dull end of bright colors, but the bright end of dark colors. It’s generally considered a primary magenta option, but it’s not as bright as Purple Magenta (PR122) or Quin Rose, and bright colors are usually preferred as primaries since they mix cleaner and are more versatile.
However. Now that I have the Daniel Smith Quin Magenta version, I find it strangely compelling. It doesn’t feel too similar to PV19 to have both (especially if, like me, you prefer a warmer PV19 like Quin Red or Alizarin Crimson Quinacridone). PR202 is close to fulfilling the elusive role of dark magenta. While I found the Da Vinci PR202 a bit weak in my dark magenta search, the Daniel Smith one has more range. One thing it can do better than PR122 is to mix very dark blues and violets, such as for night skies.
A palette role that I use it for is mixing deep, rich crimsons, reds, and maroons, especially when mixed with earth colors like Transparent Red Oxide or Venetian Red. In this way it could be considered a sort of alternative to Perylene Maroon and similar, though granted one that requires more work.
As a red deepener, PR202 has found a place on my Autumn Palette. Together with a very warm red or deep orange, such as Transparent Pyrrol Orange (PO71), it makes lovely deep crimsons perfect for fall red maple leaves.
Favorite version: Daniel Smith Quin Magenta