| Author | Message | ||
  Grizrev Senior Member Username: Grizrev Post Number: 594 Registered: 8-2006 |
Thanks, George, for the second reference, and Jcator for your link as well. I'm just going to have to get to work! | ||
Jcator Junior Member Username: Jcator Post Number: 23 Registered: 3-2007 |
Grizrev, I had bookmarked this page a while back: http://naturalpigments.com/education/article.asp?ArticleID=4 There are some interesting articles (look under the colour education and paint education links in the upper right corner) on this site that might help. Sorry I didn't reply earlier. I've been away for a few days. | ||
Grizrev Senior Member Username: Grizrev Post Number: 592 Registered: 8-2006 |
Thanks, George. I found the same instructions on Handprint. However, a quick glance at his note advising that those who have used such a thoroughly comprehensive process have grown weary and reverted to commercially available materials combined with my innate laziness prompted my post hoping one of you had discovered something a little simpler. Actually, Handprint was the only source I found on the internet using Google that offered step by step instruction. Anon, are the instructions in the book you reference any less complex than the directions from Handprint George posted? If you have read them, could you summarize them for us? | ||
George Unregistered guest |
Here is more than you will ever need to know about paint making; http://www.paintmaking.com/site_map.htm | ||
George Unregistered guest |
This is from Handprint; http://www.handprint.com/HP/WCL/pigmt1.html#handmade handmade watercolors A very effective way to learn about paint manufacture is to mix up some paints yourself, by hand. The ingredients are readily available from online art materials suppliers and the experience will improve your critical appreciation of commercial paints. Recipes are available in most painting handbooks or online from some pigment suppliers. Some even sell paintmaking kits. The following recipe is adapted from Mayer and is based on several sources. The raw materials (pigments, gum arabic, dispersant, fungicide) are available from suppliers such Kama Pigments, Kremer Pigmente, and Sinopia Pigments; glycerin is available at any pharmacy; humectant and dextrin must be made from food ingredients available at most supermarkets. handmade watercolor paint ingredients powdered pigment gum arabic (powder or crystals) glycerin (USP solution) white wheat starch corn syrup honey oil of clove ox gall (or commercial dispersant) materials 2 saucepans cheesecloth glass sheet or stone kitchen countertop putty knife or palette knife muller measuring spoons water atomizer paper face mask or respirator mask latex gloves ingredient preparations Gum Arabic Solution. Place 1 part gum arabic powder or crystals in a saucepan or Pyrex container. Heat 2 parts distilled water to a boil, remove from heat, and slowly pour over gum arabic, stirring to mix. Do not cook. Cover with cheesecloth and let stand for one day, stirring occasionally. (Some gum crystals may need longer to dissolve.) Strain the solution through several layers of cheesecloth to remove impurities and sediment. Humectant. Mix 2 t honey in 1 T corn syrup. Dextrin. Dissolve 2 T white wheat starch in 1 T boiling water. Remove from heat and stir until smooth. Vehicle. Premix 3 T gum arabic solution, 1 T glycerin, 3 t humectant, 6 drops ox gall, 2 drops oil of clove. Place in a plastic (squeezable) honey dispenser or squirt bottle and refrigerate until needed. Keep remaining gum arabic, plasticizer and dextrin in separate containers, to adjust paint mixture as needed. paint mixing 1. On the glass sheet or stone countertop, make a pile of about 1-1/2T of pigment powder. Use the back of the measuring spoon to make a hollow in the center of the pile. 2. Pour 1 t of vehicle solution into the hollow, and knead very slowly with the putty knife. As needed, add more gum arabic solution or distilled water (with the atomizer) until pigment is completely dissolved as a creamy paste. 3. Use a muller to break apart and grind the pigment aggregates. You cannot overwork the paint; usually 1 hour of steady mulling is minimally sufficient. Add more vehicle or water as needed to counteract evaporation or adjust viscosity. Add 1 t or less of dextrin, as desired, to smooth and thicken the paint consistency. 4. Cover the mixture with cheese cloth and allow to stand, folding occasionally with the putty knife, until evaporation reduces it to the desired viscosity. 5. Use the putty knife to shovel the paint into empty paint tubes, small glass jars or plastic whole pans. Refrigerate the jars when not in use. common problems Paint that does not adhere to paper contains too much pigment or was made with too much water and not enough gum arabic. Paint that dries rock hard, cracks or flakes, or has a glossy or bronzed finish on the paper contains too much gum arabic or not enough glycerin. Paint that remains sticky or gummy after it dries on the glass contains too much humectant. Paint that dries on the paper with a dull, matte, whitish or flaky finish contains too much dextrin. Paint that shoots wildly wet in wet contains too much dispersant. Paint that appears dull and grainy was probably insufficiently mulled. notes If you use a premixed gum arabic solution (from an art materials supplier), it should have the same liquid consistency as the glycerin solution (available in any pharmacy) or a liquid shampoo. If it is too thin, pour into a bowl, cover with cheesecloth, and allow excess water to evaporate. Test the paint by (1) brushing out on blank watercolor paper, using both wet in wet and wet in dry applications, and (2) leaving a large drop to dry on the glass sheet. Always wear latex gloves and a paper face mask or respirator mask when working with pigment powders, especially metallic compounds containing cadmium, chromium, cobalt, manganese, nickel or zinc. Do not inhale any pigment powder. Wash hands and arms thoroughly after work. It is worthwhile to try this recipe to see how much manual labor and fine tuning of ingredients is necessary to produce a decent watercolor paint. The main problem is that different pigments require different proportions of vehicle ingredients and different proportions of vehicle to pigment. The few painters I know who are committed to handmade materials have all mentioned the difficulty of working up a really desirable handmade paint, and after "roughing it" for a while most of them has gone back to using commercial watercolors. However, I highly recommend you experience the process and decide for yourself. A very useful online resource for paintmaking supplies and procedures is Tony Johansen's paintmaking.com ... check it out! | ||
Anon Unregistered guest |
This book gives detailed insruction on making your own watercolors from dry pigments: http://www.christianwharton.com/books-on-watercolour.html | ||
Grizrev Senior Member Username: Grizrev Post Number: 591 Registered: 8-2006 |
While traveling through France a couple of years ago, I visited Roussillon in Provence and bought some of the wonderful red ochre earth pigments that are mined in the area, thinking that I would eventually mix some paint of my own. Have any of you had success mixing your own paints from dry pigment? If so, would you share your mixing formula with me? | ||
Eric Junior Member Username: Eric Post Number: 24 Registered: 4-2008 |
No, Grizrev, I realize it wasn't directed at me. I was just adding to your point. | ||
Grizrev Senior Member Username: Grizrev Post Number: 590 Registered: 8-2006 |
Eric, please understand that my last post was not directed toward you or your post -- it was a self criticism. I agree with you completely on your caution that believing we can find "that magic putter," or just the right paint, is crucial to becoming either a competent golfer or a competent artist. That having been said and understood, I was simply admitting that some people find pleasure in sorting through putters and paints, even though they are no doubt aware that the "perfect" putter won't necessarily make a great golfer. | ||
Eric Junior Member Username: Eric Post Number: 23 Registered: 4-2008 |
You're right Grizrev, there's nothing wrong with discussing paints in great detail and comparing different brands...I suppose the point I was making is directed more at beginning painters, some of whom might overrate the importance of picking out the "perfect pigments" to produce the "perfect painting". As for discussion of paints, I've learned quite a bit here, so please continue.... | ||
Grizrev Senior Member Username: Grizrev Post Number: 589 Registered: 8-2006 |
I went back to the beginning of this thread and realized that our recent posts, though well-intentioned counsel against becoming too enamored with the benefits of technical analysis of painting materials, have hijacked Robert's desire to elicit reviews of various paints. Sorry, Robert. You and others who enjoy exchanging your experience with various paints should proceed to discuss and enjoy that interest without further distractions from the peanut gallery! As Eugene says, we can become equally obsessed with rules and the technical aspects of the process of painting as well. It is hard to explain how to paint in words alone. It is hard to learn how to ride a bicycle from a manual. We learn best when we get on a bicycle with someone running alongside encouraging and giving moment by moment help until we find ourselves on our own. Nothing beats a mentor who serves both as a model and as a constant advisor at our side as we engage the process -- "try this; just a little less water; add a touch of this color to the side of your brush and let the colors mix on the paper; good; watch your edges; a quick stroke of dry brush there; lift a little here; etc., etc." Unfortunately, there is no way we can be at the side of every novice painter who reads this board looking for help! And sometimes it is hard for those of us who paint from intuition, instinct, and long experience to completely comprehend our own process, much less each other's particular and unique styles. Nevertheless, we do enjoy exploring our interests with each other, don't we? -- whether it is our thrill with the performance of a particular paint, or our thrill with a new insight into the process of producing a beautiful painting. Thanks, Joe, for this board! | ||
Eugene Senior Member Username: Eugene Post Number: 453 Registered: 8-2006 |
WHITEWATER, Thanks for the kind comments about the dog painting. I don't think much about composition (especially rules) My compositions are intuitive, helped, I think, by my years as a graphic designer. and as for pigments, I use almost anything available. mostly rembrandt and van gogh. I usually use the same few colors--perm rose, cad.red, ultramarine, pthalo blue. gamboge, raw and burnt sienna, viridian and ivory black -- usually only 5 or 6 in one painting. I find that too many colors are confusing | ||
Eric Junior Member Username: Eric Post Number: 22 Registered: 4-2008 |
Grizrev, I agree completely with your thoughts on technical analysis of paint (post 587). Sometimes I feel that all the micro-analysis of pigments takes time and thoughts away from more important issues, with painters (mostly novice) thinking that by acquiring the right paints will lead to success. It reminds me of golfers who constantly change their putters looking for that magic putter that will improve their scores. Well said, Grizrev. | ||
Whitewatercolor Senior Member Username: Whitewatercolor Post Number: 370 Registered: 10-2006 |
Beyond some basic instruction that seems to have been repeated through time using various sentences, the rest is up to the painter. Only you can train yourself to observe. If you look at Eugene's painting of the boy fishing, with the dog, you are captured by the way he has described the dog's admiration for the boy. Through careful observation you will notice how he has positioned everything else in the painting to bring you to the dogs face and posture. The dog seems to be waiting for any gesture from the boy. Eugene has used the position of the boy, his hat, the fishing pole, the placement of the barn, the shadow in the water and even the placement of the dog to accentuate the emotional content of the painting. It wouldn't matter what he used to paint it with. The pigment is only a tool. Without content the pigment can't say a thing. Pretty colors aren't so pretty without order, juxtapostion, and context. This seems to be posted on the wrong thread, but I guess I'm just thinking out loud. | ||
Grizrev Senior Member Username: Grizrev Post Number: 588 Registered: 8-2006 |
Though all the technical information and knowledge that exists cannot keep a computer from eventually crashing, or a painting from becoming a disaster, there are those that specialize in rescue. Tom Lynch has some expertise in this area. Joe Miller also turns disasters into fun little greeting cards by chopping up a painting that doesn't work. Again, it's not the knowledge of paint that is ultimately important -- it is the knowledge of what to do with the paint! I think our time on this board is best spent helping each other (as well as novice painters) by sharing our insights and understandings about the process of painting itself. The big question in most minds upon seeing a wonderful painting is: "how does one go about creating a beautiful painting like that -- what are the steps I need to take?" | ||
Grizrev Senior Member Username: Grizrev Post Number: 587 Registered: 8-2006 |
Maidensmith, you and Robert are so right about trusting your own tastes and experience, rather than trying slavishly to follow the directions or opinions of the guru of paint geeks. You quickly learn what works for you by your own experimentation. Too many painters become tentative, uncertain, always looking for where "the grass is greener." One can get so lost wandering around in the technical maze trying to follow the painting equivalent of the "Oracle of Omaha" to the holy grail of painting materials that one tends to forget what painting is really all about -- painting, and the beautiful serendipities of a medium we will never control by acquiring technical information! The fun is in the adventure, the process of trial and error. What I have seen of Handprint's paintings leads me to believe that technical analysis of paint and other painting materials is not the magic silver bullet that leads to great painting. Have you ever talked to a computer nerd who buries you in complex technical responses to a simple question, but could never tell you how to post an interesting blog, or post one himself? That's not to say that we don't need techies when our computer or painting crashes -- we just don't need to spend much time in the computer lab watching various paints dry. Most of today's painting materials are of sufficient quality that a talented painter can produce an outstanding painting from any of them. Think of what the great artists of yesteryear were able to produce with a narrow range of vastly inferior materials. What we need most is not someone's critique of paint, but someone's help in knowing how to use paint to good effect. | ||
Maidensmith Member Username: Maidensmith Post Number: 34 Registered: 8-2006 |
Robert M. I have found the same thing about Handprint's recommendations. Some suit me and others are in the drawer of "seldom used" paints. I guess that there are just no absolutes in watercolor. I find that I usually return to my tried and true and fun for me. I do have a couple of Sennelier earths that I will have to give a closer look! | ||
Robert M Unregistered guest |
Try Sennelier's quintet of earths--B and R umbers and B and R siennas plus yellow ochre. These seem very much taken from traditional earth sources. --the most natural and best handling and mixing I've come across. The more I sample brands of paint the less Handprint's reviews match my own reactions and needs, though I do appreciate his work and the scienctific method behind it. A lot of what I like has to do with handling and color nuance which is an individual thing. | ||
Grizrev Senior Member Username: Grizrev Post Number: 547 Registered: 8-2006 |
Marie, you may have missed my question in my 540 post, but I really am curious about why W/N Ultramarine Violet never dries for you with a hard edge -- do you know what ingredients are responsible for that phenomenon? | ||
Grizrev Senior Member Username: Grizrev Post Number: 546 Registered: 8-2006 |
Yes, indeed. The Northwest is quite special! | ||
Whitewatercolor Senior Member Username: Whitewatercolor Post Number: 346 Registered: 10-2006 |
I just looked up that you live in Montana. You probably drive across the top of the state (Washington) when you go to Seattle. Another northwesterner. | ||
Grizrev Senior Member Username: Grizrev Post Number: 544 Registered: 8-2006 |
An all day drive, but it's worth it to see our grandchildren! | ||
Whitewatercolor Senior Member Username: Whitewatercolor Post Number: 345 Registered: 10-2006 |
Grizrev: How many miles from Seattle do you live? | ||
Eugene Senior Member Username: Eugene Post Number: 441 Registered: 8-2006 |
Griz-- I just read the same thing-- Materials do not make the work of art, it's the craft of handling them. Great art is not born in art stores. My feelings, exactly! But I still look for that perfect magic brush and tube of paint. | ||
Grizrev Senior Member Username: Grizrev Post Number: 543 Registered: 8-2006 |
AJ paints are just fine, and probably the paints of choice if economy is of any importance. I live close enough to Daniel Smith in Seattle to drop by from time to time, and I enjoy seeing what they do with paints as well. But the truth of the matter is that great paintings can be made from any of the paints under discussion. Great paintings don't depend nearly as much on what paints are used as they do on the skill in the deployment of the paints. If we can grant that most major manufacturers of artist grade paints produce paints within a reasonable range of high quality, then the choice of paints becomes largely a matter of taste. It's similar to cooking food -- if we have access to quality products, no matter the particular brands or farms, we can produce excellent meals. Certainly we all have our individual tastes and preferences, and we enjoy exchanging our recipes, but great chefs can do amazing things with the simplest of materials. Robert Genn (who admittedly usually paints in oils and acrylics rather than watercolors) says all this very well in his post this morning: "Keeping things simple" May 30, 2008 A two-day workshop last weekend refreshed my memory of how artists often go the recipe route. Some, not all, asked regularly and took detailed notes of colours used by the beleaguered demo-doer. Some noses came awfully close to picking paint from my palette. Of interest was the particular mixture of grey imprimatura. I frequently repeated that this recipe was changed daily depending on mood, degree of experimentation, and the needs of the work. Artists needed to know, nevertheless, and asked persistently. I'm here to tell you that white gesso, carbon black, yellow ochre and a touch of magenta to a grey scale of almost 50% is not carved in stone. And then there's the palette. My backpacking sorties have taught me to keep it light and simple. Actually, a limited palette is a big plus because it teaches creative mixing. In opaque media such as oil or acrylic a pretty good range can be had from Phthalo blue, Hansa yellow, magenta, Cadmium red, sap green or equivalent, yellow ochre, raw umber, titanium white and carbon black. While it is amazing the sophisticated purples and earth tones that can be mixed from this palette, it's not the Holy Grail. While some palettes are unique to individual artists, yet others are even simpler. MATERIALS DO NOT MAKE THE WORK OF ART, IT'S THE CRAFT OF HANDLING THEM (emphasis mine). Great art is not born in art stores. I once knew a traveling painter who carried more than 700 brushes in his truck. I'm sure it gave him a sense of security, but it didn't improve his art. No, five is enough for most of us mortals. As far as tube colours--he had at least one of each of everything Golden and Liquitex made, and some others to boot. Keeping it simple may lower the number of possibilities, but not by much. The nine pigments mentioned above are still plenty. As I tried to emphasize to my weekend group, the palette is a matter of individual choice, determined after trial-and-error. Recipe gatherers are not always open to the trial-and-error part--I call it "commit and correct." These days folks often feel they need to save themselves some time. This can be false economy. Selling everyone on commit and correct is not easy. It's all about creativity, and that's the fun part. Best regards, Robert PS: "How difficult it is to be simple." (Vincent van Gogh) "Brevity is the sister of talent." (Anton Chekhov) "Less is more." (Robert Browning) Esoterica: Pierre Bonnard, no slouch in the colour department, said, "...Taste plays its part--a sip here, a sip there--and simple ingredients often make the best soup. "Color is like cooking," said the granddaddy of colour knowledge, Josef Albers. "The cook puts in more or less salt, that's the difference!"} | ||
Terry Intermediate Member Username: Terry Post Number: 76 Registered: 8-2006 |
It is cool that you are discussing this because I was around when Joe was working on the original AJ colors. The way he works is to squeeze a lot of paint into palette wells and then re-wet with a sprayer the next time he uses them. It was the first pro paint in 37 ml tubes and we wondered if people would think student grade since people were still really paying more for 5ml tubes of some other brand. It does help free the mind from the money involved to a degree and we are happy that many people have found the AJ line to be just what they need. | ||
Whitewatercolor Senior Member Username: Whitewatercolor Post Number: 342 Registered: 10-2006 |
No. I haven't tried any of the three. Guess the price scared me off. I'll pick up some basic colors next time I'm in the big town and try them. | ||
Jcator Junior Member Username: Jcator Post Number: 19 Registered: 3-2007 |
Ah ha, so Talens is still around. I'm glad you mentioned that name. I recognize it from one of the older wc books I have been reading lately (either O'Hara or Whitney), but I as-sumed that it was a brand not available any more. Gee, might be one of the oldest and I notice the price (20 ml tube) isn't too bad either. I have been meaning to experiment with a neutralized palette, like Indian Red, Payne's Gray and Raw Umber. I just may have to give the Rembrandt's a try. (hehee, it's kind of funny how you have to work around some words to say what you mean. I guess I could have tried arseumed, instead of as-sumed  ) | ||
Eugene Senior Member Username: Eugene Post Number: 439 Registered: 8-2006 |
Have any of you tried Talens- Rembrandt and Van Gogh Brands? I now use them almost exclusively. Rembrandts are reasonably priced and Van Gogh are downright cheap.. I use them, not because of price but because they work best for my style of transparent painting Talens is an old and respected company with a fine reputation. I'm sure AJs are good too If I thought the more pricey brands wold make me a better painter, I'd certainly buy them. | ||
Whitewatercolor Senior Member Username: Whitewatercolor Post Number: 340 Registered: 10-2006 |
I don't want to give the impression that I don't care about the quality of the paint, because that's not true. Quality is everything. I paint maybe 300 paintings a year and experiment constantly. I just really haven't found AJ to be inferior to any other brand in any way. I don't shop at k-mart, wall-mart, etc., for cheaper brands. It is all about quality. I've always believed that you get what you pay for and in this particular situation, I really think it is a bargain. Plus it contributes greatly to creativity, because those of us who are reluctant to waste anything, can be a little more experimental and less cautious. | ||
Garydoc Advanced Member Username: Garydoc Post Number: 169 Registered: 8-2006 |
When I said "cheap" Cheap Joe's paints in response to Waterloo, I was referring to the price, not the quality!! Most of my tubes are AJ paints except for my pocket box of WN Cotman's. They are great, full of color and they keep on keepin' on. They are the best for the money and I really meant that about the $1.00 "bag-o-scum" is meant for the garbage! Gary | ||
Eric Junior Member Username: Eric Post Number: 11 Registered: 4-2008 |
I've been using American Journey/DaVinci for years and just can't find any reason not to. I've tried Winsor Newton, Holbein, MaimeriBlu, Daniel Smith and like them all but I still come back to AJ/DaVinci because of the low cost and those giant tubes that last for a long time. | ||
Whitewatercolor Senior Member Username: Whitewatercolor Post Number: 339 Registered: 10-2006 |
I just quickly read over handprints paint comments. Interesting. M. Graham and Daniel Smith (both formulated relatively near me) appear to be giving the bigger manufacturers a run for their money...if not leaving them along the trail. But American Journey appears to be hard to beat for the money. Just as I find from my own experience. I actually was given about 24 tubes of M. Graham by one of their reps that I met at an art festival. Nice paint. Guess I'll experiment with it more. But, I find the cost of the paint inhibits my creative experience! Period! I can buy multiple tubes of American Journey when it is on sale and not be inhibited to paint! I don't teach classes but I have a lot of access to the public and my number one recommendation to other painters is to try American Journey and experiment more. | ||
Grizrev Senior Member Username: Grizrev Post Number: 540 Registered: 8-2006 |
Marie, Knowing that you love to discuss the attributes of paint ("Oh what fun..."), I wanted to ask you to elaborate on your claim that W/N Ultramarine Violet never dries with a hard edge. I'm guessing here that you also enjoy watching paint dry!  I have never found a paint that I can't persuade to form a hard edge under the right conditions. Since you also share Handprint's dedication to exploring the technical and scientific aspects of painting materials, could you please explain why W/N Ultramarine Violet always dries with soft edges for you? | ||
Waterloo New member Username: Waterloo Post Number: 2 Registered: 2-2007 |
This may not be the proper site for this question, but here goes. A friend wants to paint on the glass of old window frames using transparent paint. CJ has Vitreo 160 which is for glass, but in the description is mentioned baking at 160 degrees. Does anyone know if this paint would have to be baked on the glass ?? I'll pass along any info to him..Don't know how he gets along without a computer, as aggravating as they can be sometimes.......I was just informed that my name is too close to another one and I can't post this....I used the same one I did successfuly a couple days ago...???Well, seems they are satisfied now. | ||
Grizrev Senior Member Username: Grizrev Post Number: 537 Registered: 8-2006 |
Seeing Marie back online has made me reflect on what draws each of us into participation on this board -- what really interests us enough for us to post or respond. Some people seem to get excited over discussions of materials, such as this thread. Others seem more to enjoy taking part in discussions of the actual process of painting. Others enjoy exploring painting theory and principles, and the philosophical dimensions of painting, such as what to paint and why. I think of people like Tony Couch and Joe Miller (see their teaching materials) who enthuse over the excitement and joy of the actual process of painting, using whatever materials are at hand ("a little blue, some kind of warm color, whatever ... there, that looks good!") and seemingly enjoying the serendipity of how their materials work without laborious musing beforehand over their technical aspects. What "turns you on," really interests you the most, and why? Conversely, what turns you off, and why? | ||
Marie Senior Member Username: Marie Post Number: 461 Registered: 8-2006 |
American Journey paints are made by daVinci. Take a look at Handprint's reviews on the daVinci paints. | ||
Deecubed New member Username: Deecubed Post Number: 5 Registered: 12-2007 |
GaryDoc, You mentioned Cheap Joe's American Journey watercolors in your post. I couldn't find anything on Handprint about them. I have been buying a few AJ colors for various workshops with instructors that recommended AJ. I have been relatively happy with them, with a couple of exceptions, but found myself "defending" them in a recent workshop where W/N and Daniel Smith reign. I have also noticed that several people on this site use AJ as well [of course in addition to other manufacturers as I do]. These days, with everything costing more than ever before, I am having to be more selective and go for the most bang for the buck, while not sacrificing noticable [to me] quality. Any insights will be appreciated ... | ||
Garydoc Advanced Member Username: Garydoc Post Number: 168 Registered: 8-2006 |
Waterloo, it depends if you have ever painted before. It is very hard to learn to paint with very poor materials. the cheaper the quality of the materials, the harder it is to achieve your goals. If you have only 8% of pigment in the tube, then the rest of the solids in the tube are chalk-like substances used as fillers. This dilutes the color of the paint and makes it darn near impossible to get bright vivid color out of your efforts. If you buy a "cheap" tube of cheap joes watercolor (for $5-15) it will give you waaaay better results than your $1 bag of chalk and glue. Go to handprint.com and just look at what he has done to research different paint brands. Please...if you are at all serious about learning to paint in watercolor, throw out the bag o' scum and start with an array of REAL paints. Gary | ||
Waterloo New member Username: Waterloo Post Number: 1 Registered: 2-2007 |
I just bought for $1 at a flea marked a bag with 36 tubes - 12 ml- of "ART Studio" watercolors by Battat, of which I have never heard. There is no info on pigments, except that 8% of the paint is pigment. I made a stipe of each of the 17 colors and many seem like the familiar kinds. These were made in China - no big surprise. I Googled the name and checked one site which listed a set with this name. Anyone had any experience with these Battat watercolors ??? | ||
marie |
Oh what fun! Here are some of my favorites as well as a few oddities I have picked up along the way. W/N Burnt Sienna: I haven't tried the Daler-Rowney Burnt Siena, but I adore the W/N version. It's bright and transparent, and it mixes well with just about everything. W/N Cobalt Blue: It's moody and atmospheric. It handles well in washes and mixes well. W/N Ultramarine Violet: Although I can easily mix the same hue from ultramarine blue and quinacridone rose, I can't replicate the way it handles in a wash. I find it especially useful for shadows in figurative work because it never dries with a hard edge. M. Graham Hooker's Green: A rich, very dark green that is never garish. It's the only green I use. Old Holland Golden Barok Red: According to the label, it's "Methin Nickel Complex." It's a little brighter than Venetian Red and much more transparent. It handles nicely and plays well with other pigments. It's a shame that other manufacturers don't produce it. Because it's an unusual pigment, I am going to try to attach an example of a quick wash study that uses it.  Perylene Maroon: I have tried W/N and D/S. Both work equally well. It's really useful for getting warm darks. | ||
Robert |
So I'll begin; Daler-Rowney Burnt Sienna: Once I tried, based on recommendation on this board, Daniel Smith Quinacridone Sienna to replace Burnt Sienna. It seemed almost radioactive and thus too unnaturally brilliant for my palette's requirements. However, regular burnt sienna's are rather dull and muddy in comparison. I just got a tube of Daler-Rowney Burnt Sienna--it is truly a bright muted by still bright orange, a more natural version of the quinacridone sienna. Handprint suspects it is laced with quinacridone since it is brigther than other burnt siennas. It's really nice--bright as can be without becoming radioactive--as per d/s quin sienna. Two thumbs up. | ||
Robert |
I though a thread that could hold reviews of particular paint offerings would be nice and perhaps useful. |
