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Hi, Miriam<br>
<br>
I went to the paints section at Handprint and below is the information
I got. Mineral violet is the Maimeri name, but apparently it is PV 16
so the same pigment is used as shown by other manufacturers. I have not
used any of these personally, however, so there may be differences.<br>
<br>
FWIW<br>
pat<br>
<br>
<blockquote type="cite">
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<td><b><font size="-1">PV16</font></b></td>
<td><font size="-1"><i>manganese ammonium pyrophosphate (1868)</i></font></td>
<td>manganese violet</td>
<td>Daniel Smith</td>
<td>038</td>
<td>3</td>
<td>2</td>
<td>62</td>
<td>2</td>
<td>3</td>
<td>2</td>
<td>327</td>
<td align="right">+1</td>
<td>8,8</td>
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<td><b><font size="-1">PV16</font></b></td>
<td><br>
</td>
<td>permanent mauve</td>
<td>Winsor & Newton</td>
<td>491</td>
<td>2</td>
<td>1</td>
<td>68</td>
<td>4</td>
<td>1</td>
<td>2</td>
<td>332</td>
<td align="right">+3</td>
<td>8,8</td>
</tr>
<tr>
<td><b><font size="-1">PV16</font></b></td>
<td><br>
</td>
<td>mineral violet</td>
<td>MaimeriBlu</td>
<td>460</td>
<td>0</td>
<td>3</td>
<td>64</td>
<td>1</td>
<td>3</td>
<td>1</td>
<td>329</td>
<td align="right">+2</td>
<td>8,8</td>
</tr>
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<td><b><font size="-1">PV16</font></b></td>
<td><br>
</td>
<td>manganese violet</td>
<td>DaVinci</td>
<td>254</td>
<td>2</td>
<td>1</td>
<td>60</td>
<td>2</td>
<td>1</td>
<td>1</td>
<td>332</td>
<td align="right">+7</td>
<td>8,8</td>
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<td><b><font size="-1">PV16</font></b></td>
<td><br>
</td>
<td>manganese violet - blue</td>
<td>Old Holland</td>
<td>196</td>
<td>3</td>
<td>0</td>
<td>48</td>
<td>3</td>
<td>3</td>
<td>0</td>
<td>334</td>
<td align="right">+4</td>
<td><font color="#993300">8,5</font></td>
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<td colspan="4"><a
href="http://www.handprint.com/HP/WCL/IMG/RC/rcPV16.jpg"><img
src="cid:part1.02020202.08000804@nucleus.com" border="0" height="8"
width="16"></a> <font face="Verdana,Monaco" size="-1">Manganese
violet PV16 is a very lightfast, semitransparent, lightly staining,
dark valued, dull <a
href="http://www.handprint.com/HP/WCL/palette1.html#purple"
target="_top"><b>purple</b></a> pigment, available from 4 pigment
manufacturers worldwide. The <a
href="http://www.handprint.com/HP/WCL/pigmt6.html#bluetable"
target="_top"><b>ASTM</b></a>
(1999) rates its lightfastness in watercolors as "excellent" (I) and my
2004 tests agree. In watercolors PV16 undergoes a moderate <a
href="http://www.handprint.com/HP/WCL/cds.html" target="_top"><b>drying shift</b></a>,
lightening and losing saturation.
</font>
<p><font face="Verdana,Monaco" size="-1">The PV16 pigment is
very consistent across paint manufacturers. <b>Daniel Smith manganese
violet</b>
was a principal source for this pigment: slightly bluer and lighter
valued than other brands, and blossoming more when rewetted. The
Winsor & Newton permanent mauve, previously available only in dry
pans, is now (2005) available in a tube formulation; it has a slightly
less saturated, and darker color that lightens into effective tints and
lifts almost completely to produce cutouts or sculptured edge effects.
The MaimeriBlu mineral violet is more staining and very opaque. Hilary
Page noted discoloration in her sample of Old Holland, which may not
have been a single pigment paint; my swatch began life as a dull,
scabby purple, not at all pleasant to look at, and the vehicle (or
pigment?) discolored to a browish cast after about a month of sunlight
exposure. Two thumbs down!
</font></p>
<p><font face="Verdana,Monaco" size="-1">PV16 is the most
lightfast
balanced purple pigment available in watercolors, and its recent
addition to the DaVinci and Winsor & Newton is a welcome
development. While it has an assertive and distinctive pigment
personality, this becomes less conspicuous when the paint is part of a
shadow mixture. It is attractive both in full strength and wash
applications, but for the most characteristic color appearance it must
be applied with confident, juicy brushstrokes and left to dry without
fussing or retouching. It is especially good in floral painting, both
as a muted floral color and to add texture and body to browns mixed
with deep yellow or orange paints. The same hue can be mixed from
ultramarine blue (<a
href="http://www.handprint.com/HP/WCL/waterb.html#PB29"><b>PB29</b></a>)
with quinacridone rose (<a
href="http://www.handprint.com/HP/WCL/waterc.html#PV19R"><b>PV19</b></a>)
or quinacridone violet (<a
href="http://www.handprint.com/HP/WCL/waterc.html#PV19B"><b>PV19</b></a>),
depending on whether you want more saturation or darker values. In many
respects, PV16 handles like thioindigo violet (<a
href="http://www.handprint.com/HP/WCL/waterc.html#PR88"><b>PR88</b></a>)
and can play a similar role in landscape or botanical palettes. See
also the section on <a
href="http://www.handprint.com/HP/WCL/pigmt1b.html#manganese"
target="_top"><b>manganese</b></a> pigments.<br>
<a name="PV23"> </a></font></p>
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<br>
<br>
miriam wrote:
<blockquote cite="mid:295950.47526.qm@web39609.mail.mud.yahoo.com"
type="cite">
<pre wrap="">Mineral Violet was on my supply list for an upcoming
Charles Reid workshop.
Has anyone used it and is it different from Cobalt Violet/ Winsor Violet or Carbolzene Violet?</pre>
<br>
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