working on current acrylic painting for signing board featuring at a wedding in Paris in June, its a toss up, usually use Paynes Grey as it is not as harsh as lamp black/mars black, but it may need to contrast more with the blue/purple tones already applied. Thinking out loud in technology:)
Payne's grey is a very dark blue-grey used in painting. It can be used as a mixer in place of black. Being less intense than black, it is easier to get the right shade when using it as a mixer. Payne's grey is a mixture of ultramarine and black or of ultramarine and Sienna.
The colour is named after William Payne, who painted watercolours in the late 18th century.
The colour Payne's Grey is named after a British watercolourist and art lecturer, William Payne (1760--1830), who recommended the mixture to students as a more subtle alternative to a gray mixed from black and white. In Artist's Pigments: c.1600-1835 Payne's grey is stipulated to originally have been "a mixture of lake, raw sienna and indigo."1
Mars black is supposed to be much more powerful in
tinting strength
About three times the tinting strength of ivory. Not as black as ivory. Hold a magnet up to a tube of grumbacher academy mars black and then hold it next to a tube of Winsor newton artists grade mars black and you can feel the difference in pigment load by the degree of magnetic force involved.
Here a high pigment load can be a negative aspect. Black is one of the most feared pigments. Many have trouble with it and cite the dirtying, muddying nature that it has, yeah, it is black, and sometimes mud is just what you want. So with three times the power, mars can be even harder to handle than ivory. I know some artists who prefer the lower pigment load and tinting strength of winton ivory black. I feel this way about other pigments as well, for instance, I really like winton prussian blue due to the pigment load and my ability to handle it. I won't even try out a tube of Old Holland prussian blue, however, when it comes to other pigments like say yellow ochre, then bring it on because I can handle the highest pigment load there is.
tinting strength
About three times the tinting strength of ivory. Not as black as ivory. Hold a magnet up to a tube of grumbacher academy mars black and then hold it next to a tube of Winsor newton artists grade mars black and you can feel the difference in pigment load by the degree of magnetic force involved.
Here a high pigment load can be a negative aspect. Black is one of the most feared pigments. Many have trouble with it and cite the dirtying, muddying nature that it has, yeah, it is black, and sometimes mud is just what you want. So with three times the power, mars can be even harder to handle than ivory. I know some artists who prefer the lower pigment load and tinting strength of winton ivory black. I feel this way about other pigments as well, for instance, I really like winton prussian blue due to the pigment load and my ability to handle it. I won't even try out a tube of Old Holland prussian blue, however, when it comes to other pigments like say yellow ochre, then bring it on because I can handle the highest pigment load there is.
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