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Studio and General

Pigment Colour Index: Yellow Pigments

Published: 17th September 2021 by Evie Hatch  |  Last updated: 1st June 2023
Comments: 9

Of all of the groups in the Pigment Colour Index, yellow is one of the largest. The first yellow pigment was Yellow Ochre, an earth pigment containing hydrated iron oxides that are found all over the world. Early civilisations in Asia, Egypt, and Greece used the arsenic-based Orpiment, and during the Middle Ages, Lead Tin Yellow was one of the primary yellow pigments used by artists in Northern Europe. During the 19th and 20th Centuries, various synthetic yellow pigments, including Chrome and Cadmium Yellow pigments were developed. Yellow was particularly loved by J.M.W Turner, who used it in his glowing skies. Vincent Van Gogh also made extensive use of yellow in his palette, and he described his feelings about the colour in a letter to his sister in 1888: “The sun, a light that for lack of a better word I can only call yellow, bright sulphur yellow, pale lemon gold. How beautiful yellow is!”

Here is a guide to the yellow pigments used in artist paints today according to the Pigment Colour Index, identified by the prefix PY. Find out more about the Colour Index and why it is useful to artists in this post.

Each swatch is an example of an artist paint that uses that particular pigment, and the actual colour may vary. You can click on each swatch to go to the paint that is pictured.
 

 

PY 3 – Hansa Yellow Light

 

Colour Description: Bright greenish-yellow
Transparency/Opacity: Semi-transparent

A member of the Azo family of pigments, PY 3 is one of the most commonly found pigments in Lemon Yellow artist paints. It is transparent with relatively high tinting strength, which means that it creates very clean, vibrant results in colour mixing without being overpowering. When mixed with black, it makes some bright, zesty greens. Its lightfastness varies from paint to paint – it is generally thought to be acceptably lightfast for artist work, but its lightfastness decreases when used in thin glazes (like in watercolour painting). For a reliably lightfast alternative, try Benzimidazolone Yellow (PY 175), or read our comparison of Lemon Yellow pigments.
 

 

PY 31 – Barium Chromate Yellow

 

Colour Description: Milky, greenish-yellow
Transparency/Opacity: Opaque

Discovered in 1797 by French chemist Louis Vauquelin, Barium Chromate is an opaque yellow with a distinctly acidic green hue and a low tinting strength. It was the first pigment marketed as Lemon Yellow, but it has been mostly superseded by more modern Lemon Yellow pigments, like Cadmium Yellow Light (PY 35) and Hansa Yellow Light (PY 3). Barium Chromate was used by many of the Impressionists, including Renoir and Monet, and it is the only Chrome yellow pigment that does not discolour over time.
 

 

PY 32 – Strontium Chromate Yellow

 

Colour Description: Pale, greenish-yellow
Transparency/Opacity: Opaque

A very rare lemon yellow pigment, some report that it has a tendency to turn greener over time as it reacts with the air.
 

 

PY 35 – Cadmium Yellow Light/ Cadmium Yellow

 

Colour Description: Ranges from a cool lemon yellow to a mid yellow.
Transparency/Opacity: Opaque

Cadmium pigments were first created in 1817, but didn’t gain popularity until the early 20th Century. PY 35 (Cadmium Zinc Sulphide) covers a large range of yellows, and pigment manufacturers can control the shade by incorporating larger amounts of Cadmium Selenide to make more orange hues. Like all Cadmium pigments, Cadmium Yellows are very dense with a high tinting strength, good coverage, and excellent lightfastness and permanence. In oil paint, they are very slow drying. Cadmium is a poisonous metal, but the Cadmium used in artist paints cannot be absorbed by the body so the risk to the artist is low. However, special care should be taken to avoid inhaling dry Cadmium pigment.
 

 

PY 37 – Cadmium Yellow Deep

 

Colour Description: Warm orange-yellow
Transparency/Opacity: Opaque

Made using Cadmium Sulphide, PY 37 generally leans more towards orange than Cadmium yellows labelled PY 35. Like all Cadmium Yellows, PY 37 is very dense and opaque with a high tinting strength and excellent lightfastness and permanence. In oil paint, it is very slow drying. Cadmium is a toxic heavy metal, but the Cadmium used in artist paints cannot be absorbed by the body so the risk to the artist is low. However, take care not to inhale Cadmium pigment when it is in dry powder form.
 

 

PY 40 – Aureolin

 

Colour Description: Golden yellow in masstone, but appears cooler and more like a lemon yellow in washes and glazes
Transparency/Opacity: Transparent to semi-transparent.

Aureolin (also known as Cobalt Yellow) was first made in 1848 and it was considered to be a more lightfast alternative to Gamboge, a yellow pigment that was loved by J.M.W. Turner. However, there are also concerns about Aureolin’s lightfastness as it can turn brown over time. It remained very popular, particularly in watercolour, until the end of the 19th Century when it was largely replaced by Cadmium Yellow (PY 35), a highly lightfast, more opaque alternative. Transparent, reliably lightfast alternatives to Aureolin include Benzimidazolone Yellow (PY 151 or PY 175) and Diazo Yellow (PY 128).
 

 

PY 41 – Genuine Naples Yellow

 

Colour Description: Ranges from a dull greenish-yellow to golden red-yellow.
Transparency/Opacity: Opaque

Naples Yellow (Lead Antimonate) is one of the oldest synthetic pigments. It is known to have been used in painting from the 15th Century, but a chemically identical colourant has been found in pottery and other decorative arts that date back to antiquity. It is a toxic pigment, and isn’t widely used today. Most Naples Yellow paints are hues, combining a mixture of pigments to imitate the genuine colour.
 

 

PY 42 – Synthetic Yellow Iron Oxide

 

Colour Description: Warm, earthy yellow ochre
Transparency/Opacity: Ranges from transparent to opaque

PY 42 is a synthetic alternative to Natural Yellow Ochre (PY 43). Synthetic iron oxides, also known as Mars pigments, were first created in the 18th Century, but they began to gain popularity as alternatives to natural earth pigments in the early 20th Century. Both natural and synthetic Yellow Ochre are excellent colours in landscape painting, as they mix natural greens when mixed with any blue. Generally speaking, the pigment particles in synthetic iron oxide pigments are more uniform in size, so the colour is usually more vibrant and ‘cleaner’ than natural yellow iron oxide pigments. For a limited colour palette that uses Yellow Ochre, take a look at the Zorn palette.
 

 

PY43 – Natural Yellow Iron Oxide

 

Colour Description: Warm, earthy yellow ochre
Transparency/Opacity: Ranges from transparent to opaque

Natural Yellow Ochre, made using earths containing hydrated iron oxides, has been used since prehistory. Many Yellow Ochre paints are now made with the synthetic pigment PY 42 instead, and there is very little practically difference between the synthetic and natural varieties (except those listed above in the entry for PY 42). Yellow Ochre is one of the colours in the Zorn palette, a limited colour palette used by artist Anders Zorn. Either synthetic and natural Yellow Ochre can be very useful in landscape palettes, as they create a spectrum of natural greens when mixed with any blue.
 

 

PY 53 – Nickel Titanate Yellow

 

Colour Description: Pale greenish-yellow.
Transparency/Opacity: Ranges from semi-transparent to opaque.

Developed in the 1960s, Nickel Titanate (Nickel Antimony Titanium Rutile) is a buttery lemon yellow. Because of its low tinting strength, it makes more subtle mixtures than most other lemon yellows. Nickel Titanate Yellow is an excellent non-toxic alternative to the more lemony varieties of Genuine Naples Yellow (PY 41). In watercolour, it is one of the only granulating yellow pigments. Try mixing it with Ivory Black (PBk 9) and a touch of white to make some subtle, greenish-greys.
 

 

PY 65 – Hansa Yellow Deep

Colour Description: Orange-Yellow
Transparency/Opacity: Semi-transparent to semi-opaque

With its moderately high tinting strength and excellent lightfastness, Hansa Yellow Deep is a great mixing colour and is a more transparent alternative to Cadmium Yellow Deep. Combine it with Indanthrene Blue (PB 60) to make deep greens that are great for landscape painting.
 

 

PY 73 – Arylide Yellow

 

Colour Description: Medium to orange-yellow, more like a lemon yellow in thin washes and glazes.
Transparency/Opacity: Semi-transparent to semi-opaque

Arylide yellow is also considered to be a more transparent alternative to genuine Cadmium pigments. PY 73 has good lightfastness and moderately strong tinting strength, making it a versatile choice of yellow in a palette. See PY 73 in mixtures in this post.
 

 

PY 74 – Arylide Yellow

 
 

Colour Description: Medium to orange-Yellow
Transparency/Opacity: Semi-transparent to semi-opaque

Along with PY 3 and PY 73, Arylide yellow is another member of the Azo pigment family. It is a versatile mid-yellow that makes an excellent primary yellow in a palette. It has a moderately strong tinting strength which makes it a good mixing yellow.
 

 

PY 83 – Diarylide Yellow

 

Colour Description: Warm, golden yellow
Transparency/Opacity: Transparent to semi- opaque

Diarylide yellow is often used to replace Indian Yellow, a historical pigment apparently made by heating the urine of cows fed on mango leaves (unfortunately this is most likely untrue, but it’s a good story). PY 83 has a high tinting strength and good lightfastness.
 

 

PY 97 – Hansa Yellow Medium


 

Colour Description: Mid-yellow
Transparency/Opacity: Semi-transparent to transparent

Hansa Yellow Medium is a good choice for a neutral yellow in a palette – it can be adjusted to become cooler or warmer, either by adding a touch of green (cool) or red (warm). In watercolour it is a very staining pigment.
 

 

PY 110 – Isoindolinone Yellow

 

Colour Description: Bright orange-yellow
Transparency/Opacity: Semi-opaque to transparent
 

Like Diarylide Yellow (PY 83), PY 110 is also used to replace Indian Yellow. It has a luminescent quality, particularly when used in thin glazes. With Dioxazine Violet (PV 23) it makes an interesting range of browns.
 

 

PY 128 – Diazo Yellow

 

Colour Description: Ranges from cool to warm yellow
Transparency/Opacity: Transparent
 

Another lightfast alternative to Aureolin or Indian Yellow, Diazo Yellow is a highly transparent yellow that is perfect for glazing or underpainting.
 

 

PY 129 – Copper Azomethine Green

Colour Description: Yellowish-green with golden undertones
Transparency/Opacity: Transparent

Despite being green in colour, Copper Azomethine is categorised as a yellow pigment. Commonly known as Green Gold, PY 129 has a high tinting strength and excellent lightfastness. Try mixing it with Dioxazine Violet (PV 23) to make smoky browns, and with Quinacridone Magenta (PR 122) for fiery reds and oranges.
 

 

PY 138 – Quinophthalone Yellow

 

Colour Description: Ranges from cool, green yellow to mid-yellow
Transparency/Opacity: Transparent to semi-transparent

Quinophthalone Yellow is not a common pigment, but it makes a very bright and clean yellow similar to Benzimidazolone Yellow (PY 151). Combine it with Phthalo Green to make a very vibrant, high chroma spring green.
 

 

PY 150 – Nickel Azo Yellow

 

Colour Description: Ranges from golden yellow to bright primary yellow
Transparency/Opacity: Semi-transparent to transparent

PY 150 makes a great alternative to Gamboge, a historical pigment made from tree resin. It is warm (like a transparent Yellow Ochre) when used thickly, but is cooler when applied in a thin layer.
 

 

PY 151 – Benzimidazolone Yellow

 

Colour Description: Bright, primary yellow
Transparency/Opacity: Semi-transparent

With its moderately high tinting strength, PY 151 is a very versatile yellow in a palette as it mixes well with other colours without overpowering them. Mix it with Ultramarine Violet to make a range of atmospheric greys.
 

 

PY 154 – Benzimidazolone Yellow

Colour Description: Ranges from cool greenish yellow to warm orange-yellow
TTransparency/Opacity: Semi-opaque to semi-transparent

Benzimidazolone pigments were first introduced to artist paints in the 1960s, and PY 154 is one of the most widely used among them. It has a moderately strong tinting strength and has excellent lightfastness according to most tests.
 

 

PY 175 – Benzimidazolone Yellow

Colour Description: Cool, greenish yellow
Transparency/Opacity: Semi-transparent to transparent

PY 175 is a very green-toned yellow, so it is perfect for mixing very vibrant greens. It is a very staining pigment in watercolour, and is difficult to lift from the paper. Try mixing it with Quinacridone Magenta (PR 122) and white to make a soft, glowing pink, or with Cobalt Teal Blue (PG 50) to make almost fluorescent bright greens.
 

 

PY 184 – Bismuth Yellow

 

Colour Description: Bright lemon yellow
Transparency/Opacity: Semi-opaque

Although Bismuth Yellow has been used in industrial applications since 1924, it was not used as an artist pigment until the 1980s. Bismuth Yellow provides the high tinting strength of a Cadmium Yellow Lemon, but with a little more transparency. Try mixing it with Cerulean Blue (PB 35/ PB 36) to make rich greens, or with black to make olive greens.
 

 

PY 216 – Rutile Tin Zinc Yellow

 

Colour Description: Orange-yellow
Transparency/Opacity: Semi-opaque

Paints made using the pigment are often called ‘Turner’s Yellow’ in reference to artist J.M.W. Turner, who had a particular fondness for deep, burning yellow pigments like Gamboge. However, the name originates from chemist James Turner, who patented the name in 1781 (when J.M.W. Turner was only six years old). The original Turner’s Yellow was a very similar colour to PY 216, but it was a toxic mixture of lead and sea salt and is now obsolete.
 

 

PY 223 – Mayan Yellow

 

Colour Description: Golden yellow
Transparency/Opacity: Transparent

Supposedly based on an ancient Mayan recipe, PY 223 is a patented formula. It is a warm yellow that makes muted mixtures. Try mixing it with Indanthrene Blue (PB 60) to make a green similar to Green Gold (PY 129).
 

 

This post is part of an ongoing series about the Pigment Colour Index.
 

    • White Pigments (Codes beginning PW)
    • Orange Pigments (Codes beginning PO)
    • Red Pigments (Codes beginning PR)
    • Violet Pigments (Codes beginning PV)
    • Blue Pigments (Codes beginning PB)
    • Green Pigments (Codes beginning PG)
    • Brown Pigments (Code beginning PBr or NBr)
    • Black Pigments (Code beginning PBk)

 

You can also read our Pigment Stories series to find out about the history behind some widely used pigments.

 

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Evie Hatch

Evie's interests lie in the history and characteristics of artist colours and materials. This research plays a large part in her art practice; she loves investigating traditional techniques and makes her own watercolour and oil paints. Evie graduated in 2016 from Camberwell College of Art with a degree in Drawing. In 2023, she completed her MA in History of Art at the Courtauld Institute, London.

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Comments
  • Baz 22 September 2021 at 2:04 am

    This is a brilliant series, Evie, thank you,
    you’ve answered just about every question
    I’ve ever asked about Yellow and several
    others I never thought to ask…. Your intro
    article answered a question that’s been
    bugging me for years, I’ve even written to
    paint companies but not received a reply….
    Question: What is the significance of the
    ORDER of items in the Pigment Index?
    Answer turns out to be there isn’t one, duh!
    But hang on, what about all the missing
    numbers, what’s happened to them? You
    start with PY3, Bruce MacEvoy on
    Handprint starts with PY1 but tells you to
    avoid it as not lightfast, but neither of you
    list a PY2. After PY3 he jumps to PY34,
    you mention PY31 – so what’s happened
    to PY4 to PY30? Are these yellows for
    other purposes? What are they? How
    come they’ve (presumably) been listed at
    some stage but then ignored? You identify
    25 different PY pigments but the final one
    is PY223 so 198 PYs have gone missing…..
    I’m going to need a larger palette! 🙂

    • Evie Hatch 6 June 2022 at 5:28 pm

      Hi Baz, and thank you for your kind feedback! I’ve only listed pigments that are currently used in artist paints – as you’ve noted there are many PYs that I haven’t mentioned, most of these are used in applications outside of the art materials industry. Also, some pigments aren’t used in artist paints anymore because they are toxic (e.g. Realgar- PY39- is full of arsenic) so I decided to omit them, even though they are quite exciting to write about… good blog posts in their own right!

  • Stephanie 30 September 2021 at 10:13 pm

    Love this series!
    Not super convinced about the “fiery”
    mixtures of PY129 and PR122 (two of my
    favorite pigments) it’s more brown than fiery,
    however interesting mixtures for sure.
    For fiery oranges and reds, I would got for
    PY110 or PY150 (both wonderful for green
    mixes too)

  • Marc Kingsland 10 October 2021 at 10:27 pm

    I can confirm that Aureolin turns brown. In
    tints at least, six months in the sun was
    enough to change a relatively bright
    yellow into a greyish ochre colour. It’s not
    generally cheap either. So your money is
    better spent on an alternative.

  • Agric 15 October 2021 at 8:36 pm

    Big thanks for this series on colour groups of pigments, Evie, they are excellent and I’m sure many readers will – like me – find these articles incredibly useful. I’ve adopted PY138 (Daler Rowney version) as my mid yellow, by accident as I got a 5ml remnant tube for 50p and discovered that it worked better for me than any alternative I tried, the only other yellow I routinely use is PY129 green gold.

  • Agric 15 October 2021 at 8:50 pm

    DR call their PY138 ‘Permanent Yellow’ and Jacksons don’t currently seem to have pigment info on website for DR watercolours. It is here:
    https://www.jacksonsart.com/daler-rowney-artists-watercolour-15ml-tube-permanent-yellow

    • Julie Caves 30 April 2022 at 4:39 pm

      Hi Agric
      We have now added the pigment information for the Daler-Rowney Artists Watercolours.

  • Debbie Kreischer 16 April 2022 at 8:39 pm

    This is wonderful information! I am an
    amateur painter, and really wanted to find
    what all the color codes are. Any chance
    there is an excel spreadsheet of these
    colors. If not, I’ll attempt to create one
    from these pages. I like my info organized
    for quick reference!

    • Julie Caves 2 May 2022 at 2:06 pm

      Hi Debbie
      We don’t have anything like that set up, I’m afraid.
      I hope you can organise something from the articles!

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    JACKSON’S MAY GIVEAWAY⁠ ⁠ This month two win JACKSON’S MAY GIVEAWAY⁠
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This month two winners will receive a set of Unison Colour Soft Pastels. One winner will receive a Robert Dutton Moorland Set of 36 (slide 2 top set), and the other winner will receive a Gail Sibley Set of 36 (slide 2 bottom set). Unison Colour Soft Pastel Sets are made in Northumberland, UK, and contain only pure pigments. Discover Unison Colour on the Jackson's Art website - link in @jacksons_art bio.⁠
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Jackson’s launched the #ForThoseWhoLoveToPaint giveaway campaign to unite artists through a love of art.⁠
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How to enter the Jackson’s Giveaway:⁠
1. Make an artwork or sketch⁠
2. Tag @jacksons_art and add #ForThoseWhoLoveToPaint to your post.⁠
3. In the comments below, tag a friend who might be interested.⁠
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Your entry can be a work in progress, or a finished artwork. Three winners will be chosen at random, either from Instagram, Facebook or our Facebook Groups.⁠
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You can enter multiple times, but they must be posted on either Instagram, Facebook or our Facebook Groups between Thursday 1st May - Tuesday 27th May. Whether you win or not, tagged artworks may be reposted by Jackson’s, therefore it must be your own artwork and should be an original, high quality image that you enter.⁠
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The winner will be announced by Jackson’s on the Thursday 29th May.⁠
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This Jackson’s giveaway is not sponsored, endorsed or administered by, or associated with Instagram. The competition is worldwide.⁠
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BE AWARE OF SCAMMERS⁠
There are a few accounts impersonating ours on Instagram and Facebook. We kindly ask that you do not respond or give any of your details to them. If you are the winner, you will be direct messaged from this Instagram account (jacksons_art). If you are a Facebook winner, you will receive a direct message from us on Facebook. We will never direct you to a link, or ask you to sign up for something, give bank details, in order to receive your prize. Please direct message us on Instagram or Facebook with any questions.⁠
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#giveaway #artgiveaway #artmaterials #unisoncolour #softpastels
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