Quinacridone Burnt Scarlet

PR206

Alternate Name

Quinacridone Maroon

Pigment Description

Unfortunately this rich red-orange-brown was recently discontinued. As a deep warm brown, PR206 is more chromatic than Burnt Sienna and capable of higher chroma. Quinacridone Burnt Scarlet is a bit similar to another beloved discontinued quinacridone, namely Quinacridone Burnt Orange, but PR206 is a pigment all its own.

A rich sweep of dark Quinacridone Burnt Scarlet paint that also shows a glowing red-brown glaze when spread thinly

Maimeri Puro Avignon Orange, PR206

Quinacridone Burnt Scarlet makes an interesting complement to certain greens. As a transparent pigment, it is a fascinating color in glazes. We explore this pigment in an article on Discontinued Pigments.

Maimeri Puro Avignon Orange, made with Quinacridone Burnt Scarlet

There is something about the sophistication of this color and its undertone that reminds one fondly of violins. Redder than Quinacridone Burnt Orange, PO48, Quinacridone Burnt Scarlet is a pigment that seems to be unique in the notes it is able to hit in the spectrum.

A bit of deep orange oil paint made with Puro's Avignon Orange

Maimeri Puro Oil paint made with PR206

Mussini titled their version Avignon Orange, which is an interesting move that highlights its role as a low-lightness high-saturation red-orange.

A stroke of paint made with a palette knife, a deep brown Quinacridone Burnt Scarlet with rich red-orange where the paint is thin

Puro Avignon Orange

With excellent lightfastness and depth, we'll miss this extinct pigment.

Deep brown swoosh of oil paint. Where the paint is thin the color is a vibrant red orange

Maimeri Puro Avignon Orange, PR206

Resources

PR206 pigment data from David G. Myers, The Color of Art Pigment Database, Artiscreation.com

Information about PR206 from Bruce MacEvoy, Handprint Guide to Watercolors, General information about this class of pigments from Handprint

Stats

Lightfastness

Excellent

Highest marks (all 8’s on BWS). Similar to other Quinacridones may want to do your own lightfastness testing just to be sure. May be less lightfast in watercolor (ASTM II), but Bruce MacEvoy’s tests found it to be excellent (ASTM I equivalent). The older results from a 1980s version of the NPIRI showed excellent results as well.

Transparency

Transparent

Toxicity

Lower Concern

Treat all pigments and paints with studio safety protocols.

Tinting

Strong

Dry Time

Medium to Slow

Most oil paints listed as drying in in 3-5 days

Particle Size

Fine

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