| Author | Message | ||
  Qwiksilver New member Username: Qwiksilver Post Number: 1 Registered: 7-2009 |
I have an fast and light version of materials since I have to transport everything on a motorcycle: Five pigments: Grumbacher Student paints in tubes - Thalo Red, Thalo Green, Grumbacher Red, Lemon Yellow and Ultramarine Blue. Two brushes: #12 Round and a 1" Hake The round has an excellent point and I can usually get two hairs on the paper for really fine work. One pad: 140lb cold press tablet that fits in the backpack. Usually this is the 8.5 x 11 but I have 5x7 and postcard sized too. A Dixie paper plate. The small snack size with a glossy finish. (Plein air will require a rock to hold down your palete - rocks are found just about everywhere for free) One mechanical #2 pencil. I know you're saying "Whaaaaa?!" That's it? Papertowels come from the bathroom. Water comes from either a bottle or I get a cup from wherever I am and get some from the bathroom. Once I forgot the paper plate and used a Fritos bag as a palate. This mini-kit can be taken everywhere, all the time, and is backpacker friendly due to it's light weight. Notice no breakable palete being carried or breakable water container. Brushes in a tube and paints in a ziploc baggy. Stuff the whole mess in a bag and you're ready to fly. | ||
Anonymous Painter Unregistered guest |
Wow, Gnee, I love that cat painting! The smallest brush I ever USE is a #6 round, the extra long "thin pointed" da Vinci sable. Since all really excellent sable (Kolinsky) brushes end in the point of a single hair, I don't really understand why anyone ever needs use the really small brushes. Actually, I do OWN a W/N "Series 7" #5 round (came as gift when I bought some of the new 37ml. W/N artist's quality paints). But I just keep it in its neat little box, and take it out occasionally to admire it. (Yes, really.  ) Perhaps someday I'll have a use for a smaller, fuller brush, but the da Vinci extra-pointed #6 is the smallest I can imagine ever needing. Did you apply masking fluid with a very fine brush for those cat's whiskers? Or use something like the extra-fine-tipped Masquepen? | ||
Nona Unregistered guest |
"It takes more than a nice palette to produce a watercolor. " Naw--that's not at all "flip" Eugene, not at all. Thanks for the insight. | ||
Eugene Senior Member Username: Eugene Post Number: 382 Registered: 8-2006 |
Nona. You have great materials. How about posting some results. It takes more than a nice palette to produce a watercolor. I don't mean to be flip. I'm interested in seeing some of your work. If your shy about posting it publicly, email it. George has. and I respect him for doing so. . | ||
Nona Unregistered guest |
My palette was arrived at by trial and error, sampling lots of pigments and brands. What I sought was a transparent palette (as much as possible) and one that would mix really nice greens and darks (as well as other colors). I also wanted it to be 10 colors, not more. Here it is--it is brand specific in that the brand given gives the results I want while others do not. Arylide Yelllow (Davinci)--transparent true yellow. Arylide yellow deep (Davinci)--great mixer foir greens and flesh tones (this plus mineral violet make a great flesh tone). Cadmium Scarlet (Winsor & Newton)--Makes great grays when mixed with cerulean--surprisingly transparent for a cadmium Transparent Red Brown (Daler Rowney)--a quinacridone maroon that serves as my burnt sienna. Makes great darks mixed with pthalos and wonderful as a red in flesh. Permanent magenta (Daler Rowney)- my alizarin crimson--great cool red. Mineral Violet (Holbein)-a reddish purple with granulating properties--a beautiful pigment. Permanent Blue (Daler Rowney)--Gorgeous cobalt toned ultramarine--works both as an ultramarine and a cobalt. Cerulean Blue (M. Graham) a gorgeous sky blue with less green that the competitors. Pthalo Blue Red Shade --Rembrandt Pthalo Green --Rembrandt I put these colors in a 10 well rectangular porcelain slant palette and mix on an enamel butcher's tray. I keep the palette in tupperware container when not in use. My brushes are mostly Robert Simmon's Sky Flow | ||
Nona Unregistered guest |
If you would like to post your materials on this thread (which is what it is for) then please, by all means do so> | ||
Joanna Intermediate Member Username: Joanna Post Number: 83 Registered: 10-2006 |
Your cat looks just like an ad we used to run in a scientific journal--gave me a jolt of memory! Love the tonality, in fact, it is pretty nice. | ||
Gknee New member Username: Gknee Post Number: 4 Registered: 9-2007 |
"Gnee, From the look of your portrait, as George says, you were able to get washes that appear smooth. How did you accomplish that?" Lots of layers! When I work in a large area like the side of the face my brush size would be much larger. The details in the eyes, lips, and nose were made by my favorite #1 round. I won an honorable mention for this picture this weekend in an art show. Yippe!  Here is another painting that did this spring. I primarily used my smaller brushes for the cat. The larger areas of the hole and floor were done with much larger brushes. Perhaps you can see why I like smaller brushes so much. I need them for the detail work. I took this picture a few weeks before it was completed, so use your imagination. I had added quite a bit more detail in the floor, face, eye, and whiskers. I forgot to take a picture when I was finished. This cat won an honorable mention in a art show earlier this summer. (Two honorable mentions ya think I would place some day. Heehee)  | ||
Grizrev Senior Member Username: Grizrev Post Number: 396 Registered: 8-2006 |
Gary, I'm shocked. You should never say "as followed by soon!"  | ||
Garydoc Advanced Member Username: Garydoc Post Number: 154 Registered: 8-2006 |
It seems as tho' any time the word "as" is followed by a word beginning with "s" the dots appear. The space between the words is ignored! Really bad programming out there! Here is as followed by soon: •••••••• Gary | ||
Grizrev Senior Member Username: Grizrev Post Number: 394 Registered: 8-2006 |
Dots again! Can't someone get a more intuitive censoring device in place? As I was saying, brushes we think are small may actually be quite large in proportion to a painting that is small! | ||
Grizrev Senior Member Username: Grizrev Post Number: 393 Registered: 8-2006 |
Marie may have put her finger on the real question. If this portrait is quite small, what we think of •••••••• brushes may be actually large in proportion to the painting. What are the dimensions of the original? | ||
Eugene Senior Member Username: Eugene Post Number: 372 Registered: 8-2006 |
To add to Joannas-- The paper makes a difference too. There is a great difference in laying a wash on hot press, cold press, rough or Yupo, regardless of brush size. | ||
Joanna Intermediate Member Username: Joanna Post Number: 80 Registered: 10-2006 |
Correction noted: "It is more difficult to do an even wash with a small brush over a large space"--skill with a brush depends on the user, of course. | ||
Grizrev Senior Member Username: Grizrev Post Number: 384 Registered: 8-2006 |
Gnee, From the look of your portrait, as George says, you were able to get washes that appear smooth. How did you accomplish that? | ||
George Unregistered guest |
Joanna said; “you cannot do an even wash if you are racing around the page with a tiny brush.” Please forgive me for correcting you Joanna. You give such good advice to people on this page I feel guilty saying this, but to be accurate, it is difficult to do an even wash if you are racing around the page with a tiny brush. But, it can be done. | ||
Rekha Senior Member Username: Rekha Post Number: 367 Registered: 8-2006 |
Unfortunately, Joanna, the squirrel mop in my experience delivers its paint content all at once which I found quite annoying | ||
Joanna Intermediate Member Username: Joanna Post Number: 79 Registered: 10-2006 |
One danger I found in small brushes is insufficient load of paint and a tendency to make too many strokes. Once I cottoned on to that feeling, I became aware of what brush to pick up. Now I load up a brush and do a test stroke on my strip of watercolor test paper by the side of the painting. I want to feel how the brush is loaded and what kind of mark it is going to make. And you cannot do an even wash if you are racing around the page with a tiny brush. You need a good wet flow of paint. I used to not use squirrel mops or large flat housepainter-sized brushes and now I do. I use squirrel mops more an more--they hold lots of liquid and even smaller sized ones can give me a good even blop of paint in an area. | ||
Marie Senior Member Username: Marie Post Number: 409 Registered: 8-2006 |
Gknee, small brushes work well for you and so you shouldn't change just because other people prefer different size brushes. Keep using the small brushes. Having said that, there are some dangers in using small brushes. 1) When you rely on small brushes, you have to make extra effort to keep focused on the large design elements. 2) It's easy for a painting done with small brushes to become labored. I have posted a fair amount of my work in the past, which should give a good idea of my style. It's reasonably loose. Also, the size of your work is often a factor in determining the best size brush. | ||
Joanna Intermediate Member Username: Joanna Post Number: 78 Registered: 10-2006 |
Kisha! That's a super palette--absolutely one that does everything. quinacridone violet substitutes for the fugitive Alizarin Crimson. I would add Permanent (Quin) rose as the only addition. If you are doing landscape and florals, it's a handy color in pure form, and makes wonderful grays with cerulean. I also bought one of those metal O'Hara boxes before they went out of stock (per rec's here on the board.) It is great for trips--aluminum or steel box stays nicely shut with a latch, decent palette and room for about 10 of the 15 ml tubes or more tiny 5 ml tubes and a place for brushes. I have it in my grab-and-go canvase totebag if I want to paint outside (which rarely happens anymore but I can only hope!) Too bad they aren't made anymore. I suppose they'd be too priceyit. | ||
Gknee New member Username: Gknee Post Number: 2 Registered: 9-2007 |
I am noticing a trend with brush sizes. Many of the brushes listed are on the larger size. I paint realistic and tend to use much smaller brushes. My #1 round is my most used brush. My question is what style of painting do you do with these specific sizes of brushes? Please add this information to your lists. | ||
Kisha Unregistered guest |
I like this materials list idea a lot. I just simplified my palette by removing burnt sienna, raw and burnt umber, sepia, cad. orange, cad. red,and viridian. So here it is as it is now: This is as stripped down (10 colors) as I can get it and still have it do what I want it to do. Ultramarine light Cerulean Pthalo green Pthalo blue Lemon yellow Cad. yellow raw sienna venetian red cad. scarlet quinacridone violet I really like using the O'Hara palette box I bought from Texas Art Supply's wensite. It is metal and was designed by Eliot O'Hara and used by him--made in the 60's--was their last one in stock. | ||
Kisha Unregistered guest |
Er... "I" ...know a Welsh artist who uses only the following palette and does great landscapes with it, believe it or not: Winsor Blue Winsor violet Venetian Red Yellow Ochre Her name is Naomi Tydeman | ||
Kisha Unregistered guest |
You know a Welsh artist who uses only the following palette and does great landscapes with it, believe it or not: Winsor Blue Winsor violet Venetian Red Yellow Ochre | ||
Jean-Luc Unregistered guest |
My materials list-- 11X15 metal butcher's tray paints (holbein unless noted): cad lemon cad yellow light cad orange (w&N) gamboge hue (daler rowney) raw sienna venetian red (maimeri) cad red light permanent magenta permanent blue (daler rowney) cobalt blue cerulean blue (m. graham) pthalo blue red shade (daler rowney) pthalo green (daler rowney) Hooker's green light (daler rowney) brushes-- 1" KOLINSKY FLAT #14 KOLINSKT ROUND #2 SCRIPT LINER fabriano rough--14 X 20 block | ||
Kisha Unregistered guest |
There are countless threads for all sorts of discussions. This one is of interest to me as a list of participants' materials. It's interesting to know what other people use to make their art. What do you use? | ||
Grizrev Senior Member Username: Grizrev Post Number: 233 Registered: 8-2006 |
Kisha, Rereading my post, I realize it sounds a little flip. I don't mean to belittle the discussion of materials, but I do believe we have to be careful about not dissecting the life out of what we work with -- a frog in the lab is not the same as a frog in the pond. Most of my "spiritual" talk and reflection has to do with trying to capture "frogginess" and how it impacts me for myself and whomever may look at the painting. That having been said, I want to share my experience with DS greens. DS Cobalt Green, Hooker's Green, Veridian, and Phthalo Green have all been great for me, though I am always mixing my colors on paper and hardly ever use them straight, getting some wonderful gradations as a result. However, the green I really enjoy as a base for mixing is Cascade Green. I've found it to be great for landscapes in the sense of being much more representational of what I actually see, if that is my intent in the painting. | ||
Grizrev Senior Member Username: Grizrev Post Number: 232 Registered: 8-2006 |
Kisha, I'm pretty eccletic and have a variety of materials for a variety of purposes -- all the way from Moleskin and American Journey sketchbooks and a plethora of travel kits (I do a good bit of travel, and have to travel light and enjoy painting fast!)with pans as well as Daniel Smith empty pans into which I have poured DS tube paints in a variety of colors with the normal spread on the color wheel. I love surprises as I try out different combinations and mixes. Guess I'm like the mad scientist in his laboratory of experiments! I do use a Tom Lynch plastic pallette at home (couldn't afford the porcelain!), as well as a few others (Quiller, for instance) for my experiments. I do love the Holbein, DS, and American Journey paints. Also like the way Yarka pans wet in my travel kit. Got a Mongoose brush from a Tom Lynch seminar I like because of the way the bristles work in painting foliage; also a series of his sables. However, I also have a wide collection of synthetics that I enjoy almost as much, because, painting wet in wet, I don't worry a lot about water carrying qualities. Hey, I'm just a fun-loving hobbyist. I paint or sketch (love pen and ink washes) what inspires me, but I haven't tried to enter shows or sell as most of you do. I was practically retired when I started, so I made my living other ways -- pretty unsophisticated and probably not a lot of help along these lines. But thanks for asking! | ||
Kisha Unregistered guest |
Grizrev--have listed your palette, paper and brushes here? If not... | ||
Grizrev Senior Member Username: Grizrev Post Number: 231 Registered: 8-2006 |
Remember the discussions on this board in which some folks arguing that all kinds of water soluable media should be permissable in watercolor shows. I was going through my house paints today, and I realized that some of my latex paint was water soluable. Anyone try entering a painting with that media in a watercolor show? To my mind, it does seem that there have to be some limits! I am so thankful that this thread focuses on transparent, gum-based watercolors! | ||
Grizrev Senior Member Username: Grizrev Post Number: 220 Registered: 8-2006 |
For painters who want to remain exclusively materialists and ignore the possibility that we might also be spiritual beings, here is a long thread on the material dimensions of painting that needs to be restarted as a sequel: "Calling All Materialists?" | ||
Kisha Unregistered guest |
I just began using Holbein Permanent Yellow Deep for my warm biased yellow (I also use Lemon). This is really a nice brilliant yellow that mixes very natural greens with the pthalos and really looks nice as a pure bright (school bus) yellow. Recommended | ||
Rekha Senior Member Username: Rekha Post Number: 274 Registered: 8-2006 |
Please continue your communications on the subject on http://community.cheapjoes.com/forum/messages/25/2763.html?1175449661. The reason for starting another thread is that it takes some time to load the lengthy threads | ||
Rekha Senior Member Username: Rekha Post Number: 273 Registered: 8-2006 |
Please continue your communications on the subject on http://community.cheapjoes.com/forum/messages/25/2763.html?1175449661. The reason for starting another thread is that it takes too long to load the lenghty threads | ||
Kisha Unregistered guest |
That makes sense. I didn't realize these problems were a function of thread length. thanks for the info. I do have one request. Let's keep this thread about materials each artist uses. | ||
Marie Senior Member Username: Marie Post Number: 301 Registered: 8-2006 |
I think the issue is that we're having to scroll so far to the right to read the posts on this thread. .... at least I'm having to scroll way to the right. | ||
Kisha Unregistered guest |
Why did you start a new thread? I like having all the posts so I can review it easily (I understand there is a link, but a second thread seems to detract from the ongoing discussion). Especially this one since it is a very significant issue. | ||
Raliegh Advanced Member Username: Raliegh Post Number: 101 Registered: 8-2006 |
Kisha, I truly wish I could take the compliment of 'great mind' but I have to give it over to the wonderful tutorialship found here. And I know they found it through Wilcox's book, 'Blue and Yellow Don't Make Green.  | ||
Marie Senior Member Username: Marie Post Number: 298 Registered: 8-2006 |
Oh, and, I think they might have reformulated Fabriano within the past year or so. My Fabriano (which I have had for a few years) has very soft sizing. One of my students had some new Fabriano the other day that I didn't even recognize as Fabriano. | ||
Eugene Senior Member Username: Eugene Post Number: 254 Registered: 8-2006 |
Bonnie--I'm paintng on a piece of 300# Fabriano right now and it's OK, but just OK. It's CP but a little too smooth for my taste. I'm using it because I literally inheireted it. (someone died and left me his art supplies) I'm redoing the barnraisng I posted--as a full sheet and I wanted to use 300# so I wouldn't have to stretch it. I don't know how old the paper is- things change over the years,- like Whatman. I think it will be OK, but it was stupid of me to try it with an unknown paper. I once use a lot of Fabriano Rough, and liked it especially for granulation. | ||
Marie Senior Member Username: Marie Post Number: 297 Registered: 8-2006 |
The Whatman that is being manufactured now has absolutely nothing in common with the pre-WWII/historical Whatman ... except for the name. I have never tried the new Whatman (or the old Whatman for that matter), but everything I have heard about the new stuff has been horrible. I seem to recall that if you want the old stuff, New York Central still has a supply of it. One of the things about the older papers is that the cotton and/or linen fibers were much longer than the fibers they use today. The result was that the older papers could withstand much more scrubbing and general abuse than modern papers. You can get long-fiber papers today from a handful of small mills, but the price tag is usually kind of scary. Check out New York Central Art Supply if you are interested in pursuing it. They specialize in exotic papers. As for more common brands of paper, here's my experience in a nutshell: * Arches, Waterford, Winsor & Newton are all very good papers for everyday use. When Arches gets saturated with water it smells like a wet dog; otherwise, I like it. Waterford, especially Waterford rough, is good stuff. There's a 200lb Waterford that is especially nice. Winsor & Newton scrubs out a little better than Arches. * Fabriano -- Artistico or Uno -- is good if you work *very* directly. The sizing is soft, and so it's difficult to rework anything and it tends to blossom easily. I love it for quick gesture studies with figures because the paint goes into the paper immediately. * Lana is an odd duck. Either you love it or you hate it. You can lift it out better than any other brand, but that's a double-edged sword. It's great if you want to scrub things out in sort of a mixed-media way. The problem is that any time you try to glaze it, the bottom layer lifts up immediately. The colors, though, retain an uncanny brightness with it. I am guessing that it's very heavily sized. | ||
Rekha Senior Member Username: Rekha Post Number: 261 Registered: 8-2006 |
"... every paper I've tried I like for specific purposes and variety. I can paint some effects with one and others with another"__ Bonnie Could you please expand on this Bonnie for novices like me | ||
Rekha Senior Member Username: Rekha Post Number: 260 Registered: 8-2006 |
"Dang anonymous"...Bonnie got here before me. Eugene: " So far every paper I've tried I like for specific purposes and variety."__Bonnie. This is precisely what O'Hara was trying to state and so in that respect ,'fit for purpose', is still extant. I agree with you, however, "...written ages ago and papers and pigments have changed drastically". Anon: "BTW--Whatman is no longer made" is not true. It is available in the UK http://www.artsupplies.co.uk/item.php?item_id=2077 | ||
Whitewatercolor Senior Member Username: Whitewatercolor Post Number: 248 Registered: 10-2006 |
Thank you! I've been holding my order until I could find these. Does anyone on this site use Fabriano paper? I've been using it because I made a mistake last year. Arne Westerman suggested Lana and I accidentally bought Fabriano. I actually like it but want to try others. So far every paper I've tried I like for specific purposes and variety. I can paint some effects with one and others with another. Paper is so important in watercolor. I haven't found one that I just don't like. Just some I like better for some applications. | ||
Jcator New member Username: Jcator Post Number: 1 Registered: 3-2007 |
I was just looking at those last night => Cheap Joe's Watercolor Sample Packs http://www.cheapjoes.com/art-supplies/4840_cheap-joes-watercolor-sample-packs.asp | ||
Whitewatercolor Senior Member Username: Whitewatercolor Post Number: 247 Registered: 10-2006 |
Dang anonymous, I'm on a wait list for every Eliot O'Hara book I don't already have. Now I'll have to add another to my list. Did any of you notice that Joe's has some watercolor sampler packs available? I went on to their website. The sampler packets came up. I went on to other watercolor paper and can't seem to steer my way to the sampler packs again. Anybody know how to get there? I'd like to try a couple. | ||
Kisha Unregistered guest |
I agree--Eugene--Waterford is now the best by a long shot IMUO and the paper recommendations in Eliot's book (1 sentence out of 100 pages) are passe'. Raleigh--I was delighted to discover that great minds think alike!  | ||
Raliegh Intermediate Member Username: Raliegh Post Number: 99 Registered: 8-2006 |
Kisha, I was agreeing with your fine choice. Except I haven't tried those brushes. | ||
Eugene Senior Member Username: Eugene Post Number: 253 Registered: 8-2006 |
The advice on papers and pigments in the O'Hara and Schmaltz books is no longer valid. They were written ages ago and papers and pigments have changed drastically. Whatman was once the best paper, but the stuff now, if available, is TERRIBLE. Arches is greatly improved and now a good popular paper. My favorite is Waterford. | ||
Anonymous Unregistered guest |
Rekha-- Have your read "Watercolor Lessons from Elkiot O'Hara" by Charles Schmaltz. It is the best watercolor instruction book I have ever read. It is awesome. Don't let the authorship fool you. It is 100% Eliot O'Hara. A distillation of all his teacheings by his prime student. BTW--Whatman is no longer made. | ||
Rekha Senior Member Username: Rekha Post Number: 259 Registered: 8-2006 |
Raleigh, on the point of brand of papers O'Hara has something quite interesting to write: __Whatman is the workhorse paper because it has the hardest sufrace and is slower to soften and peel under an eraser, sponge, or cloth. __another heaviest paper is D'Arches. He write that it is really a cardboard and its surface is the most absorbent. It is suited to work just after sunset or on a cold or rainy day. [He classifies paint used for watercolour as pigment colors and staining colors.] The staining colors blot into it thoroughly, but the pigment remain on the surface and can be more easily removed. This difference in the way the kinds of color act on this paper suggest interesting experiments: for a sky can be tinted with cerulean or french blue (pigments). After it is dry, clouds can be put on with water and a touch of staining color (alizarin crimson, madder, alizarin orange). While the cloud is still wet, you can wipe/blot the paper and it wil be found that most of the particles of blue have been removed where it was wet, but the paper underneath has absorbed sufficient of the water charged with the pink staining color to give and oange or pink area lighter in value __Fabriano has a rougher paper than any other. It is the whitest of all papers available, probably because it is made in Italy, where there is a lot of sun for natural bleaching, rather than in the north where there is almost none. For bright-colored sketches Fabriano is useful. The chief disadvantage is that it is extremely soft and once scraped it takes color unevenly | ||
Kisha Unregistered guest |
Raleigh, as you'll notice, I recommended the Wilcox split primary palette to the pastelist I spoke to. There are many shades of pthalo blue from a quite turquoise to a very red shade. I like the red shades myself because the greens they mix are less electric and because with cad. red or venetian red they make great darks. | ||
Raliegh Intermediate Member Username: Raliegh Post Number: 98 Registered: 8-2006 |
Oh and I've been experimenting with Phthalo blue as well. I love the grays that come from it! When I use it I switch out ULB. I've wanted to stay as simple as possible so I could really learn my palette. | ||
Raliegh Intermediate Member Username: Raliegh Post Number: 97 Registered: 8-2006 |
I stick to the Wilcox split palette. I love what Marie said about always going for the bigger brush, a size bigger than you think you need. I'm not sure what I going to replace my #16 with yet. Mine is so old I've forgotten what it was and the handle is to worn to read. I like to experiment with other paper beside Arches #140 though I've return for now. I signed up for Waterford sampler. I buy most my paper through catalogs. | ||
Kisha Unregistered guest |
I was out painting plein air earlier today and a pastel artist I was with wished to take up watercolor and ask me to write her up a complete supply list. She didn't want anything extra, just the bare bones to do a good job. Here's the list I gave her--It was fun. I'm sure everyone would do this differently: A warm and cool of each primary plus a couple of earths: Lemon yellow Cad. Yellow Cad. Red light Permanent Magenta Ultramarine Cerulean Burnt and raw sienna I also suggested pthalo (Winsor) blue and green to extend the palette's mixing capabilities to darks. Metal Butcher tray. 2 ceramic flower dishes (to hold color) and Tupperware to store them in. Robert Simmons Sapphire Oval wash Brushes !", 3/4", 1/2" ---#2 rigger. 140CP paper full sheets (22X30) --Arches or Winsor Newton (carried locally) sea sponge Factis eraser HB sketching pencil | ||
Whitewatercolor Senior Member Username: Whitewatercolor Post Number: 242 Registered: 10-2006 |
It is a craft item. A glue-like substance that dries hard and clear. Used to mount and coat pictures on board in the 60's and 70's. There was also a brand called decopage. Of course "mod" people used "Mod" podge. | ||
Rekha Senior Member Username: Rekha Post Number: 249 Registered: 8-2006 |
What is mod podge, Bonnie? Raleigh, if you are starting another thread using roman numerics will make it difficult in higher numbers. | ||
Whitewatercolor Senior Member Username: Whitewatercolor Post Number: 241 Registered: 10-2006 |
I solved my problem with using the table top as a pallette to mix my paint. I found a piece of dense board approx. 20x12 inches. I think it was a backing board for a watercolor paper pad or something similar. I cut a piece of white mat to fit over the top. I taped the mat to the top of the stiff board. I covered the mat with a coat of mod podge. I now squeeze out fresh paint on top of the old in my regular pallette. I also squeeze some directly on to the board pallette. I can keep some colors clear and have lots of room to mix. Plus I keep it at a slant, so nothing sits in a puddle. I can get pure colors to mix on the painting. Or pick up from already mixed areas. While moving down the board they tend to mix and help create new colors. This works well for me. Also I keep old fuzz free diaper-type towels under my brushes and use one to soak the excess water off the brush before I pick up the paint. I've gotten pretty good at just touching the tip of the brush to the fabric to get rid of any excess water. Beats flipping it all over the studio or stirring up arthritis as Rekha points out. | ||
Raliegh Intermediate Member Username: Raliegh Post Number: 95 Registered: 8-2006 |
I found a 6 inch glass bowl at a 2nd hand store with 4 different wells. It's really for nuts or some dips but I like the shallow space it gives for water. 4 wells allows me that much cleaner water. Do you think we should cut this thread off and start a II? | ||
Kisha Unregistered guest |
I saw one at my local art store and got it. It does work well for isolating puddles! Like all plastic, though, the water beads up and that's why I prefer a butcher's tray-no beading. | ||
Anonymous Unregistered guest |
I paint plein air and now use one of those cheap, coverless San Francisco palettes on location. I squeeze out paint and clean it all off when I am done. Fresh colors, lots of separate mixing wells. | ||
Marie Senior Member Username: Marie Post Number: 284 Registered: 8-2006 |
I always squeeze out some fresh paint on top of the old stuff. I find it much easier to work with ... and easier on my brushes, too. | ||
Kisha Unregistered guest |
I am thinking about always using fresh paint from the tube and never using paint that has sat in wells for a while. I want deeo rich color and this seems a better way to get it. Any one else do this? | ||
Kisha Unregistered guest |
I love reading what palettes (mixing surface & paint storage), paper, brushes, paints (incl. brands) people use. So if anyone reads this who hasn't posted theirs or who has changed theirs, please post. | ||
Maidensmith Junior Member Username: Maidensmith Post Number: 17 Registered: 8-2006 |
Kisha, I am so glad that you resurrected this thread. Lately I was missing talk of paints and materials, and this is a real refresher thread! Thanks | ||
Kisha Unregistered guest |
It's been a couple of years so yes, I had the blotter paper and I guess I wasn't the only artist to send it back! Waterford works so well no need to try anything else. In fact, familiarity with one's materials--intimate familiarity, allows one to create better art, in my opinion. | ||
Garydoc Intermediate Member Username: Garydoc Post Number: 100 Registered: 8-2006 |
Kisha, when did you last by kilimanjaro? The newer stuff (from within the past year) is no longer like a blotter, and is now "heavily" sized. The surface is quite workable. If you have the old paper, contact CJ's and they will replace it with the new stuff. Give it a try. Gary | ||
Kisha Unregistered guest |
For me (IMHO), it is the worse (professional grade) paper I've ever encountered. It's a good thing Joe's offer's a refund on it. It is like a blotter --the paint goes right in with not opportunity to brush it out. Waterford is significantly better IMHO. | ||
Grizrev Advanced Member Username: Grizrev Post Number: 184 Registered: 8-2006 |
Are any of you guys using Kilimanjaro paper? How does it compare with Arches, or other paper you use? | ||
Kisha Unregistered guest |
And I might add that each individual artists touch, amt. of water, etc makes a huge difference, esp. regarding brushes. What works great for one wouldn't work at all for another. If you read enough books on w/c you'll discover that there's such as wide array of materials used that there is no one right choice that suits all. | ||
Rekha Senior Member Username: Rekha Post Number: 202 Registered: 8-2006 |
Kisha, Millard writes in his More Joy of Watercolor, that you get more luminosity out of painting on 70- and 90-lb papers than on heavier ones, albeit 'the most difficult to handle' (p.54). A similar sort of comment was given by Malcolm Beattie regarding the message in books that you must use clean water. He insists that it is the choice of pigments that make for a muddy painting rather than clean/dirty water. To me the underlying theme in all these threads is use the right tool for the right job, and only you can determine which tools will generate a pleasant outcome | ||
Kisha Unregistered guest |
Eugene--I believe it was--recommended Saunders Waterford paper. I ordered some and think it is very good. I prefer it over the Winsor & Newton or Arches I've used in the past. This is an example of how useful this group can be. I only have limited resources and it is good to get the recommendations of other artists who have maybe tried out more materials than I have personally. | ||
Kisha Unregistered guest |
I've also started using those little ceramic flower palettes to hold my paints--one for warms --one for cools. I keep them in Tupperware rectangular containers and take them out and place them on a butcher's tray for mixing. The advantage over a plastic covered palette is two fold: 1. Since the paint container is separate from the mixing area I can take the butcher's tray to the sink and wash it clean without having to worry about getting water in the paint wells. 2. Porcelain doesn't stain as does plastic and it is super smooth, making mixing much more fluid and easy on the brushes. Plus it is super white, allow truer color assessment. | ||
Marie Senior Member Username: Marie Post Number: 270 Registered: 8-2006 |
Yep, this thread is on the list at http://watercolorweb.org/cjas/color.html | ||
Rekha Advanced Member Username: Rekha Post Number: 195 Registered: 8-2006 |
On the point of paints drying rock hard, I have found that using a few drops of gum arabic based medium as sold by Natural Pigments http://www.naturalpigments.com/detail.asp?PRODUCT_ID=510-5508 saves the dried up pigment | ||
Kisha Unregistered guest |
(Marie: Is this thread in the index?) Others--please keep this fine thread alive! I want to say how helpful this thread has been for me in formulating a palette that enhances my art effortlessly. Here are some things I have learned about designing your own palette. 1. Keep it simple and based upon the subject matter you paint. For example, if you paint landscapes note what yellows and blues and reds you use most often and try limiting to those and ignoring the plethora of choices. 2. Buy your individual colors based on how they mix with the rest of your palette. For instance--you may find that the strikingly Peacock blue made by Holbein that looks so beautiful in a wash does not make the greens you wish when mixed with your yellows or the darks you wish when mixed with your earths. Conversely, the pthalo blue from Van Gogh may make beautiful greens and darks and that should be your choice. After having studied the palettes in this thread and sampled many of the colors I have settled on a palette that is quite similar to some recommended early in this thread. The original poster was correct in asserting that these cross brand mixes worked well together. Here is my current palette and it serves me extremely well while being somewhat limited. The brands make the mixes I like and that is why there are so many brands in my palette (and the recommendations came from this thread): Raw Sienna-Holbein Cad. Yellow light--Holbein Gamboge -- Daler Rowney Cad. Scarlet: Winsor Newton Venetian Red; W/N or Maimeriblu Permanent Red Violet: Van Gogh Permanent Blue Violet: Van Gogh Pthalo Blue: Van Gogh* Cerulean Blue: Maimeriblu / M. Graham Ultramarine Blue: Prismacolor / M. Graham Viridian: W/N (These Van Goghs came recommended on this site, and I agree--they are superb--and I checked Wilcox--he says they are as good as the artist grade and they, for me, are the dead on best shades for my mixing needs). You may recall my high praise for Sennelier a couple of months ago. I had just discovered them via an NPR spot on Sennelier and was after non Cadmium replacements. After two months of use I am discontinuing using them. They are made with honey and I assumed would stay moist in a covered palette. Not so. The dry hard as a rock, but what makes it bad is that they are virtually impossible to reconstitute with a wet brush. Used fresh from the tube they are quite nice, however. | ||
Anonymous Unregistered guest |
I use it/ It makes slightly greener green but in general ultramarine is a violet blue and makes dull greens. green shade is virtually identical to cobalt blue so whatever cobalt blue does, figure green shade ultramarine will do the same. You should consider Daler Rowney Permanent blue as a very good ultramarine green shade. I suggest w/n cerulean red shade if you want a good green mixer-- not nearly as granulating and makes great greens. | ||
Marie Advanced Member Username: Marie Post Number: 162 Registered: 8-2006 |
I bought a tube of of the thalo blue green shade a month or so ago, but I haven't tried it yet. I do, however, really like the W/N thalo turquoise. It's terrific for getting dark greens. | ||
Landscaper New member Username: Landscaper Post Number: 4 Registered: 12-2006 |
Has anyone used ultramarine blue (green shade?) I wonder what greens could be created with it rather than those made with pthalo blue. | ||
A.N. Unregistered guest |
I've enlarged my palette in the last few months and changed brands on some things based partly on recommendations in threads here and in books I've been reading. I thought I'd post it--(not much to do this A.M.): Cool Yellow: Holbein Cad. Lemon Warm Yellow: Holbein Cad. Yellow light Orange: Winsor Orange Warm red: W/N Cad. Scarlet Cool Red: W/N Quinacridone Magenta Violet: Holbein Mineral Violet Warm Blue: M. Graham Ultramarine Cool Blue: Maimeri Cerulean Pthalos: Pthalo Green-Rembrandt Pthalo Blue red shade -Daler Rowney Earths: Raw Umber-Sennelier Raw Sienna-" Venetian red " Burnt sienna " Burnt Umber " ____ I've been using lately the Cheap Joe's original palette which I love. It has thick plastic, is airtight and compact--holds 17 colors and has 2 mixing areas--great. I also have been using a !" Kolinsky flat, a #12 kiloinsky. and have ordered Grumbacher flats #6142 in 1" , 3/4" and 1/2" | ||
Bill Unregistered guest |
Hi Jay-- Basically aliz crimson is a cool red. It is on the palette of most artists primarily as a transparent mixer. It will mix with blues to get strong violets and with yellows to give muted oranges. PV19 will do the same thing though the violets will be brighter. To get the exact Alizarin color, which I have seldom found useful on its own all you have to do is mix PV19 with a warm red, such as Cad. red light and you'll get something in the ballpark (you can always add a touch of blue or even burnt sienna to fine tune it) That's basically how a lot of company's make permanent aliz--PV19 plus a warm red . I find I never in practice have to make the aliz tone, I just use PV19 as a cool red mixer. If you want a cheap but good PV19 try either Van Gogh Quinacridone Rose or their more intense and preferable Permanent Red violet. This is one of those few times when the student grade uses the same pigments as the artist grade. Tha AJ would be fine though I don't know what shade of PV19 it is. Used as a mixer, it doesn't matter much. | ||
Jay Unregistered guest |
Bill I'd appreciate your input here. You expounded a bit on Permanent Magenta Quin. (PV19) as good single-pigment replacement for Aliz. Crimson, which I read with interest. I have a few tubes of Alizarins acquired over the years, either with sets which I had no control over content, or in ignorance before I learned of its impermanence (ie, one of the colors demanded by my first instructor, way back)...which exist today & will probably linger indefinitely since I've largely shied away from its use. I was looking over the available brands deciding which Perm.Magenta to buy a sample to experiment with, and while looking thru my stash, saw I have some PV19 Quin. Violet (single pigment) in Amer.Journey; (which gawd knows was expensive enough in itself!). Do you think a very light touch of that with other reds you mention, might do the job? Thanx, /Jay | ||
Kisha Unregistered guest |
I use Da Vinci paints. I used to use Wilcox school of color paints until I learned that they were made by Davinci, as are American Journey paints. I use the wilcox palette and have neve had a problem mixing anything. I also use the wilcox school of color palette: Here are the paints: Hansa yellow (lemon) Cadmium Yellow Light Cadmium Red Light Quinacridone Violet Ultramarine Blue Cerulean Ble Pthalo Blue Pthalo Green Yellow Ochre Raw Sienna Burnt Sienna For Brishes I use exclusively Robert Simmons White Sable-- Mostly large flat and large round. Paper--I keep changing--right now its Fabriano rough | ||
Bill Unregistered guest |
Raleigh-- I think I see where the confusion was --I am speaking of /WN Permanent magenta (beta) and not Maimeriblu Primary magenta, which, according to handprint, is alpha PV19. After research on handprint, I have learned that the 360 degree color wheel starts at 1 with magneta. W/N permanent magenta is at 2 degrees (beta PV19--more violet) on the color wheel while maimeriblu magenta is at 16 degrees and w/N permanent rose is at 19 degrees. ---these alpha PV19s are moving toward red. Handprint really has the info! | ||
Maidensmith New member Username: Maidensmith Post Number: 6 Registered: 8-2006 |
Great information...I add new colors often, but I find that the following are my favorites: Academy lemon yellow WN new gamboge WN quinacridone gold Van Gogh vermillion WN permanent rose Academy ultramarine Van Gogh prussian blue WN burnt sienna Whitewater, seeing your paintings makes me want to try American Journey paints! How many people on this board have used them and liked them? I love this thread and it makes me miss some of those people that we don't hear from any longer. | ||
Bill Unregistered guest |
WN perm rose is alpha and perm magenta is beta. | ||
Raliegh Member Username: Raliegh Post Number: 43 Registered: 8-2006 |
So let me get this straight, the rose PV19 is Alpha? one's that are more violet, Beta? MaimeriBlu is Alpha, WN is Beta. I use and like both of them. Isn't this a very informative thread? A wealth of information here. (And Suzy smiling over her vibrant palette.) This is what I like about CJs forum. And I attribute this forum a contributing factor in my growth. | ||
Marie Intermediate Member Username: Marie Post Number: 94 Registered: 8-2006 |
Jay, I like using a limited palette, too. Too many colors can become overwhelming. | ||
Marie Intermediate Member Username: Marie Post Number: 93 Registered: 8-2006 |
Jay, the general thinking is that single pigment paints are more saturated. Every time you mix one pigment with another you take a hit in saturation, so it's better start off with the most saturated paint you can. Each pigment reflects different amounts from different wavelengths on the spectrum, and each pigment will form a characteristic curve of the light reflected at each point of the spectrum. The more pigments you mix together, the more the curve tends toward a flat line of gray. In general, it's better to start off with single pigment paints and learn how they mix with other single pigments. Over time, you might find that some mixed paints work for your painting style, and that's okay. | ||
Bill Unregistered guest |
I should have mentioned that in a thread, context is all--Eugene asked why I didn't use permanent rose. I responded that I used a different form of PV19--permanent magenta. Then I started comparing notes on other brands offering this color. WH2O covered another that I had missed on my list (American Jouney). You added some more. It would be nice to know which of these AJ offerings are alpha PV19 and which are Beta--ie which are a rose hue and which a red violet hue. The names AJ uses aren't always helpful in that regard. | ||
Bill Unregistered guest |
To answer Jay for another--information is it's own "point." Re. why I prefer single pigments whenever possible-- From long habit and experience I think visually in terms of pigments, not "colors," thus, I have come to understand how specific pigments behave and always look at a preblended pigment as behaving 2 ways at once. It is how I work. Everyone is different. | ||
Jay Unregistered guest |
'WWC' wrote: "Bill: Pomegranate by American Journey is also PV19 Quinacridone Violet." ^^^^^^^^^^ So is Rambling Rose, Perm. Rose (Quin), Quin. Violet, & Aliz. Crimson (Quin) -- what's your point? /Jay | ||
Jay Unregistered guest |
Bill wrote: "I don't like my primaries formed from pigment mixes, ...." ^^^^^ Not to argue your findings, but I can't help but wonder why not? /Jay | ||
Whitewatercolor Member Username: Whitewatercolor Post Number: 45 Registered: 10-2006 |
Bill: Pomegranate by American Journey is also PV19 Quinacridone Violet. | ||
Bill Unregistered guest |
More on reds--from what i can tell the traditional warm/cool pairing on palettes has always been Cadmium Red as a warm and Alizarin Crimson as a cool. Since Alizarin is a fugitive pigment, replacement pigments have been used. Permanent Alizarin crimson is a mixture of a quinacridone and a pyrrolle. I don't like my primaries formed from pigment mixes, so I go with pure quinacridone. Permanent rose is nice but I prefer the extra intensity and moodiness of Permanent Magenta. Both are quinacridones--PV19--I like the magenta better because, when mixed with a touch of cad, scarlet (or red) it gives the most intense alizarin--much better than the tube permanent alizarin. I am going to post the handprint (which I learned about from this board) info on this shade of quinacridone violet (the beta form as opposed to the alpha form that is perm. rose) for anyone wishing to check out this as an alternative to Aliz. or perm. rose: PV19 beta quinacridone : Brands offering this pigment: PV19 quinacridone violet M. Graham PV19 quinacridone violet Daniel Smith PV19 permanent magenta Winsor & Newton PV19 permanent magenta daler rowney PV19 permanent red violet Rembrandt The quinacridone pigment classified under the generic color index name PV19 is marketed as two distinct colors. I discuss the darker valued, lower chroma paints in this section, and the lighter valued, higher chroma and less lightfast paints in the previous section. Quinacridone violet PV19 (beta quinacridone) is a very lightfast, semitransparent, heavily staining, very dark valued, moderately dull magenta pigment that shifts toward blue in undertone. Unrated by the ASTM, my own and nearly all manufacturer or independent tests indicate it has "excellent" (I) lightfastness. Note that it has the same color index name as quinacridone rose (PV19), but is a very different hue and value. (Hilary Page's quirk of adding "R" or "B" to the color index name has no sanction from either the Colour Index or the manufacturers.) In watercolors, the violet shades of PV19 undergo a moderately large drying shift, lightening by 15% and losing over 20% of chroma. The measured hue is nearly identical to quinacridone magenta (PR122) but because of its darker value and lower chroma it appears bluer, especially in tints. (This dependence of apparent hue on value and/or chroma is a peculiarity of points 5 and 6 of the color wheel.) It is the parent of the red quinacridone pigments, a superb mixing color, and is now offered as a single pigment paint by most watercolor manufacturers. The dark shade of PV19 is fairly consistent across paint brands, and most paints that contain it are also active in wet applications (blossoming and diffusion). M. Graham quinacridone violet, Winsor & Newton permanent violet and Rowney Artists permanent magenta have a very similar hue and saturation (chroma of 45); all make a large shift toward blue in undertone (a lyrical characteristic I really like). The Daniel Smith quinacridone violet is darker valued (which cause a slight hue shift toward red), and bronzes slightly when applied full strength. Rembrandt permanent red violet is also reddish and intense, and the Utrecht quinacridone violet, the lightest paint of all, bronzes in full strength and is bluer and less saturated than the other brands, almost appearing to be maroon. PV19 can be used to anchor the "magenta" side of warm colors in a palette: the question is, which hue to use? The rose or red shades of PV19 are more extraverted, producing bright warm mixtures, bright tints, and lighter valued violet mixtures with blue paints. The violet shade of PV19 is more evocative: the dark value and "violet" reflectance mixes unusual, complex browns with orange or yellow paints, moody reds and oranges with orange or red paints, and subdued, atmospheric violets and blues with dark blues such as phthalocyanine blue (PB15) or ultramarine blue (PB29); it also mixes shimmering violet grays with dull blue greens such as cobalt teal blue (PG50) or cobalt turquoise (PB36). See also the section on quinacridone pigments. | ||
Bill Unregistered guest |
Responding to questions asked below: Eugene--Permanent magenta is the same pigment as permanent rose (quinacridone violet), just a bit to the violet and more intense. Have you tried Van Gogh quinacridone rose? Beautiful. I ditched burnt sienna when I discovered I never went for it during a painting. I would always use venetian (indian, english) red or brown madder or even cad. scarlet instead, so I dropped it during a simplify the palette phase. Marie--Mine has an aluminum outer box (won't rust) and a steel palette that is emaneled. IF I scratched it or chipped the paint away I suppose it would rust but it hasn't yet. I like it because it stays put in windy conditions. These are no longer made but I saw on the Jerry's site they are making a new new version that uses an aluminum folding palette instead of the flat steel palette like I have. | ||
Whitewatercolor Member Username: Whitewatercolor Post Number: 44 Registered: 10-2006 |
I spent three years painting only with Winsor Lemon, Winsor Blue (Red Shade) and Permanent Rose. Until I could mix anything and paint anything I could think of with those colors, I didn't experiment with others. I still choose a red, yellow and blue and then add a little or a lot of something else that's on the palette. | ||
Jay Unregistered guest |
For what little it's worth - I've cut back to the simple palette used by Ron Ranson: Raw Sienna / Ultramarine / Lemon Yellow / Paynes Gray / Bnt Umber / Aliz. Crimson / Lt. Red, tho I've retained Sap for convenience & added a staining Sepia for convenience and some techniques learned from Z.Szabo. I figure while I'm learning, I might as well learn to handle a basic palette, becuz if others can make it work, I should be able to, and doing so will be more valuable to me as a learning tool -- & this is about as basic as they come. Another reason I've done this was a realization that came into my beliefs after my 'blue apple' experience. People know Oranges are orange - they don't CARE which of the 97 shades of orange I use in a painting. If I'm a good enough artist, I should be able to make them see an orange, even if it's red. When I can do that, then I'll be satisfied that I have achieved. Sure, I have other colors - but I've decided to 'paint' for now with basically only these. Just me! ~8) /Jay | ||
Whitewatercolor Member Username: Whitewatercolor Post Number: 43 Registered: 10-2006 |
My current palette is: AJ Untramarine AJ Cobalt Blue AJ Aureolin AJ Wild Fuchsia AJ Pomegranate For earth tones I occasionally use AJ Harvest Wheat AJ Old Sienna AJ Copper Kettle AJ Lucky Penny I also recently added Cad Yellow Light and Cad Red Light. I am experimenting with Sennelier, M. Graham, and DaVinci Cad Red Light. So far I think I perfer the Sennelier. (Does anyone else have experience with these pigments?) It is really intense and runnier than other pigments. It doesn't dry out. For Cad yellow, I am experiementing with Holbein, Davinci, Winsor Newton. I haven't found a noticable difference. I also use Sap Green. It is the only green I use and I always use it mixed. I know that most use Hooker's but I just don't like it. I've also tried Viridian but don't like it either. I also don't like Thalo Blue. I have but don't use Manganese, or Cerulean Blue. These five colors don't seem to mix well with the rest of my palette. I started out using exclusively Winsor Newton pigments but over time have tried just about everything. If it isn't clearly a better paint I go for the least expensive. I find that I paint more freely when I don't have to think about how much the paint costs. Plus I like the big tubes of American Journey. The brushes I'm using today are: 1" flat dragon's tongue (my all time favorite brush). Isabey 6234 Petit Gris 10, put lots of paint on freely, dragon's tongue rounds, 16 and 12, CJAS Regal Rigger 5, Stratford & York Amethyst 8, a Priceton Art & Bruch Co. 2, and an oil brush M. Grumbacher 802 no. 20 which is about a 1/2 inch flat that I use for scrubbing. I also use a two inch hake brush that I bought 20 years ago and don't know the brand. I probably have over 100 brushes, some I've paid too much for, but these are the ones that I always seem to get the job done. I use a Tom Lynch porcelain palette and lots of different papers. I chose my paper by my mood and sometimes by what's on top. I use both 300 lb. and 140 lb. Papers vary so much that I just haven't found one that will do everything the best. Some lift easier, some take more abuse, and some seem to reflect the pigments back a little brighter when used wet on wet, ie., D'Arches hot pressed. Bill: Thanks for posting the info on your reds, I'm going to have to experiment a little with them. | ||
Eugene Intermediate Member Username: Eugene Post Number: 98 Registered: 8-2006 |
Forgot to add--- My workhorses change often. | ||
Eugene Intermediate Member Username: Eugene Post Number: 97 Registered: 8-2006 |
Bill, I notice that you don't use Burnt Sienna or permanent rose. Two that I can't live without. Any reason? I have most of the colors on your palette. But seldom use them except for my real workhorses. Burnt Sienna Raw Sienna Ultramarine Blue Cobalt Blue Hookers Green Deep New Gamboge Quinacradine Rose Cadmium Red All Van Gogh except the Cad Red and New Gamboge | ||
Marie Intermediate Member Username: Marie Post Number: 92 Registered: 8-2006 |
Bill, I noticed that you use the O'Hara travel palette. Someone gave me one a few years ago, and she said that you had to be careful not to let it rust. I haven't used it because I'm afraid it will rust. Have you had any issues with rust, or did you treat it in some way to keep it from rusting? Or am I just totally mistaken about all of it? | ||
Bill Unregistered guest |
W/N doesn't make Cad. red light to my knowledge --it is called cad scarlet and is a little more to the orange--great mixer. W/N Cad orange is a mix of cad yellow and cad scarlet (a physical mix--less bright than other brands). I use it when I need to quickly charge in orange into a wet passage--usually flesh or sunlit trees (it's hard to mix a color and an orange (or anything else) and then charge it into a wet passage because the mix is much wetter than needed). I use indian yellow to mix with pthalo green to get more natural greens and I mix ult. violet with it to get browns. I use brown madder and indian red (or venetian red) for flesh tones. I use cad yellow when I want yellow. As to-- do I use them all?--yes and no. I think of my palette as having warm and cool primaries plus pthalo green). The additional colors I look at as primary variants that make mixing easier (thus cad. scarlet, indian/venetian red, and brown madder I look as as warm reds with different mixing properties). Except of course for the cad orange and Ult violet which are there to avoid continuous mixing--. I rarely use them all in one painting but sometimes I do. My most used colors are ultramarine, pthalo blue, indian yellow, cad scarlet (landscapes) and cad scarlet, cad yellow, and cerulean (figures, portraits). The rest are used for specific accents. | ||
Whitewatercolor Member Username: Whitewatercolor Post Number: 41 Registered: 10-2006 |
Bill: Do you use all of these colors all of the time? Or do you use some combinations more than others, ie, I may have several yellows on my pallette but use cad. yellow light the most and usually exclusively...that kind of thing? I am reluctant to post my materials because they tend to change on a monthly basis. I'll add a color and stop using another, or find a new brush I like and use it more. Sometimes I go back to the first. Every color you list has been part of my pallette at one time except for Indian yellow, cad scarlet, brown madder and cad orange, but I think cad orange may be a lot like cad red light? Do you know if it is? | ||
Bill Unregistered guest |
Interesting thread--I haven't noticed materials lists from many current posters, so here is mine-- Paint (14 colors) All Winsor and Newton: Winsor Lemon Cadmium Yellow Pale Indian Yellow Raw Sienna Cadmium Orange Cadmium Scarlet Indian Red Brown madder Permanent Magenta Ultramarine Violet Ultramarine Blue Green Shade Cerulean Blue red Shade Winsor Blue Red Shade Winsor Green Blue shade Paper-- Arches 140# CP (and Canson Montval for Mixed media)--all full sheets Brushes-- #12 kolinsky sable --name worn away Robert simmons sapphire oval wash 1" Robert Simmons white sable flat 1 1/2" Isabey squirrel mop #4 #3 rigger Palette-- O'Hara plein air box All drawing done with 6B Wolfe carbon pencil | ||
Anonymous #409 Unregistered guest |
I've found by doing comparisons, that Rembrandt watercolors and Van gogh watercolors are virtually identical. Rembrandts are the expensive professional version and van gogh the student. Rembrandts offer cadmiums and cobalts which van gogh lack, but van gogh yellows and reds use azo pigments which are first rate. One color I adoppted for my palette is Quinacridone Rose. Beautiful. I discovered it from Zoltan Szabo's book "Color by Color." One good thing about Rembrandt/ Van Gogh--they contain no ox gall so, as with Holbein watercolors, they do not diffuse out -- brushstrokes stay put. I learned to use Van Goghs from the Wilcox guide to watercolors in which he says they are as good (specific colors) as their more expensive counterparts. One, "permanent blue violet", is the only truly permanent "winsor violet" on the market according to Wilcox. I also like their pthalo green best because it has a slightly more interesting hue and it is not overly concentrated so it is actually easily used in mixes. The pthalo blue is the exact match of the no longer made Winsor blue (now it is WB red or green shade). As such it is arguably the best pthalo blue on the market--highly concentrated. It is a myth that these student grade paints are less lightfast. I honestly believe rembrandt repackages it's paint as van gogh with little alteration. | ||
Eugene Intermediate Member Username: Eugene Post Number: 72 Registered: 8-2006 |
I never use grays from tubes--they'r e habit forming. Prefer to mix my own. MHO | ||
Joanna New member Username: Joanna Post Number: 6 Registered: 10-2006 |
I love Nickel Azo Yellow from DS and their earth tones. I love Joe's American Journey paints for the blues and the quins. The tubes tend to ooze gum after a while, and they are kind of gel-like, but they are fun to paint with. I also like the semi-opaque AJ colors, especially the grays. | ||
Eugene Intermediate Member Username: Eugene Post Number: 70 Registered: 8-2006 |
I have used Van Gogh too and find them quite satisfactory, although they are called student grade. In fact I like them better than the MaimarBlu (sp?) I am now using. (which I Don't throw out because I'm too cheap) From now on I'll use the colors I like most , regardless of brand or grade. I think permanence is the issue. | ||
annoymous one Unregistered guest |
Just curious - I took some Van Gogh paints with me on vacation and was surprised at how well they worked - intense color and also very lightfast. What, exactly woud be wrong with using student paints, if you like their effect? I did use good paper - Arches CP block and a Kilimanjaro block. I will try to post some of my efforts. | ||
A.N. |
1. Pthalo Green + quin. rose (or quin violet which I use interchangably with the rose--both are PV19) 2. Ultra Blue + Bt. Sienna 3. less often Pthalo Blue + Cad red Lt. | ||
Eugene |
A.N. What colors do you use to get blacks or near blacks with the wilcox palette? | ||
Raliegh |
There is such a wealth of information in this thread! Everything from brushes, palettes and papers plus some examples of good w/cists. I'm switching from Arches to Strathmore 500 series. Far more versatility. I love lemon yellow (Maimeri) for botanicals. There are far to many brushes to have tried more than a handful but I think I like the synthetic sable mix. | ||
A.N. |
I use the michael wilcox palette: Lemon yellow, cad. yellow pale, cad. red light, quin. rose, ult. blue, cerulean blue, thalo blue and green, bt. and raw sienna. This palette does it all. | ||
midnight baseball |
oh - and it wouldn't be right to not do a "double-post" here in his honor! | ||
midnight baseball |
anyone heard from robert lately? i hope he's doing all right! | ||
marie |
I like their Brown Ochre, too. | ||
Michael |
Aimee, I've used several DS colors, mostly I like them. Their traditional earth colors are in a class of their own, with real "personality". My complaint about them is they take some time to dissolve and have somewhat low tinting strength. I would second Marie's opinion on the German Raw Umber, and if you want a really transparent, sunny yellow ochre try their Verona Gold Ochre. I'm still trying to figure out how to use their Lunar Earth & Black. | ||
marie |
Overall, I like the Daniel Smith paints a lot. I especially like all the quinacridones and cobalt teal blue. I use a lot of earth colors, and I have had mixed results with the ones from Daniel Smith. My favorite D/S earth paints: * Monte Amiate Natural Sienna * Transparent Yellow Oxide * German Greenish Raw Umber (very different from the W/N; I like them both but in different ways) * Burnt Umber (my favorite of any brand) I am not as fond of their other earth colors. | ||
sarita |
Aimee Love, Love, Daniel Smith watercolors! Some of my favorite colors are as follows: Qu. Rose Qu. Coral Ultramarine Blue Cobalt Blue Indathrone Blue Qu. Gold New Gamboge Rich Green Gold Cobalt Teal... Well I could go on & on. As always check on handprint.com if you are interested in certain colors. I recently replaced DS ph. turquoise with Maimeri green blue. Brighter and much cleaner color. Anyway, the quality is excellent. I have never been disappointed. | ||
John Preston |
Aimee, I've used their Ultramarine, Viridian, Raw Umber, Cobalt Blue, Yellow Ochre and Ivory Black. They are all quite good and (too me) handle a lot like W&N. Good pigment strength, as good as any pro brand. Personally, the only reason not to use them would be because you like someone else's particular shade of the same color better. | ||
Aimee |
I've been wanting to try Daniel Smith paints but don't see any of you use them. Has anyone tried them? what do you think of them? Aimee | ||
Robert |
What's your standard list of materials (paints, brushes, paper, palette type)? Please list. | ||
Robert |
Here we are treading in the area of personal taste. It's all good, as they say. | ||
tachee |
about photorealism- i have seen some which brought me to my knees. such glory. such light. beyond anything a camera could capture. but that is true with all types. i thought i hated abstract until i saw a jackson pollock in person. or, since it was a pollock, should i say 'feel' instead of 'saw'? | ||
Raliegh |
Totally off topic,Biblically speaking the Philistines were giants. Historically probably the first to fashion iron. David went against Goliath the giant, a Philistine. 1 Samuel 17. | ||
Robert |
Another, often intended nuance of the word philistine is "lacking cultural knowledge, sophistication and taste." I yahooed the word and came upon this interesting quiz from the BBC (it implies it is a test of whether or not one is a philistine): http://news.bbc.co.uk/1/hi/uk/2231083.stm | ||
Robert |
From Webster's Dictionary online: Philistine One entry found for Philistine. Main Entry: Phi·lis·tine Pronunciation: 'fi-l&-"stEn; f&-'lis-t&n, -"tEn; 'fi-l&-st&n Function: noun 1 : a native or inhabitant of ancient Philistia 2 often not capitalized a : a person who is guided by materialism and is usually disdainful of intellectual or artistic values b : one uninformed in a special area of knowledge - philistine adjective, often capitalized - phi·lis·tin·ism /-l&-"stE-"ni-z&m; -'lis-t&-, -"tE-, -l&-st&-/ noun, often capitalizedebster's dictionary online: | ||
Raliegh |
Philistines? | ||
Robert |
When people exclaim in wonder-- "Wow--the artist made it look just like a photograph, I'm so impressed." I think, "Philistines." | ||
Eric |
I realize photorealism is popular, and that's fine if some prefer it. But what comes to my mind when I see photorealistic art, is "why not just take a photograph?" There's nothing for the viewer to do when looking at it. It looks real, and we're used to seeing "real" things all day. The unique and beautiful qualities of watercolor can achieve things that photographs can't or even other mediums can't. Watercolorists should take advantage of that. | ||
Robert |
I think most representational watercolors are translations of reality. The question, I suppose, is how much do you want the viewer to be aware of the painting process, or the artist's brush. Or do you want it completely hidden to create the illusion of reality? Sounds like you might want a bit of both. In my view it is much easier (much, much, much) to create good art that hides the artist's work than art that openly displays the artist's process while at the same time maintaining all of the other markers of a good painting. | ||
Kristen |
Breaking through to something like an enriched sense of realism is what I really want to achieve someday. I want detail and depth, light and shadow, but I also want to simplify elements into interesting washes, letting the eye fill in the gaps. Does that make sense? I want a watercolor to obviously be a watercolor, but engage a viewer with a translation of reality. | ||
Robert |
I think photorealism is professional version of paint by number. | ||
Eric |
Yes, Eugene, Pike was great at drawing. In one of his books, there are quite a few impressive charcoal and pencil preliminary drawings. I agree with you about computer-generated and projector stuff. Call me a purist, but I like the paintings produced with paper, bush, water, and paint. (Every once in awhile, Pike would use masking fluid) Lately it seems like when I look at something like Artist Magazine and they show award-winning paintings, there's an increasing number of realistic watercolors. Sadly, the bold brushwork watercolors might not be in fashion today. | ||
Robert |
Corrected sentence from previous post: Every turn of the path through the enviorns changed to match the perspective that walker would sense from that particular point on the path, something a camera obscura would not be able to indicate. | ||
Robert |
I think it was Harper's magazine that last summer ran an article on the Camera Obscura by David Hockney. He was making the point that while several of the Flemish and Dutch masters actually used a camera obscura to reduce their subjects to a two dimensional plane, certain other artists did not use the camera obscura (Rembrandt, for instance). Hockney built a case that the "perfect" paintings with perfect perspective enabled by the camera obscura were less engaging that those where the artist drew from his direct eyesight. He gave the example of a Rembrandt sketch of a path winding through the woods. At every turn of the path through the enviorns distorted to match the perspective of a walker would sense from that particular point on the path, something a camera obscura would not be able to indicate. The drawing was far more interesting and lyrical than another similar drawings done utilizing the camera obscura. The conclusion is that the artist's eye distorts in artistic ways, while opaque and slide projectors (the modern camera obscuras) enslave the art to literalism. | ||
Eugene |
I'M WITH YOU ROBERT. John Pike really knew how to handle a brush. I wish we could return to the times when watercolor didn't rely on tricks and gimmicks. One of Pike's greatest assects was that he could DRAW. A skill sadly lacking in these days of projectors and computer generated compositions. | ||
Robert |
I wish that sort of watercolor style was still in vogue. It seems most of the paintings now are dominated by circus colors as well as a lack of bold brushwork. | ||
Eric |
Midnight Baseball- I own that Pike video. It's interesting how he's painting while smoking a cigarette and listening to his music. Pike made it seem so effortless. For those that have never seen his watercolors they are a treat to look at. | ||
Robert |
These were on site sketches he later translated into monumental oils. | ||
Eugene |
Thanks for the Moran info, Robert. I never thought of him as a watercolorist. re; the discussion on painting sizes. I noticed that the paintings shown are quite small-- 1/4 sheetor less. wonderful patterns and desiggns! | ||
Robert |
Here are some of his watercolor sketches done in yellowstone country: http://www.cr.nps.gov/museum/exhibits/moran/gallery1.htm | ||
Robert |
If you have ever been to the Grand tetons, one of the mountains is named after him--Moran Mountain. His paintings in the 1800's did a lot to influence the setting aside of Grand Canyon, Yellowstone, and Grand Teton national parks. | ||
Raliegh |
I just found a site on line of Thomas Moran's work, gorgeous work with plenty of earth tones. I'll have to do more studying. Your fortunate to have run into an exhibit of his! | ||
Eugene |
I agree with you Robert. But the "fool' who gave me that advice is judging a lot of national shows and teaching a lot of workshops. And influencing a lot of people. SAD. | ||
Robert |
Thomas Moran painted some wonderful watercolors of the Grand Canyon. I saw an exhibit a couple of years ago that featured them. I am surprised they are not better known. My point about "regionalism" was that it is a made up category by gallerys and adacemicians. Van Gogh and Gaugin were both regionalists--Van Gogh painted Arles and Gaugin, Tahiti. Monet as well. Cezanne. I am listing impressionists (and post) because their work is so well known. They paintied their locales--capturing the particular light and scenes of their regions, no differently than anyone else painting thier environs. I for one feel that it is one of the most valid functions of art to respond to the world we see. I find almost every other basis for art--such as to tell a story or put forth a profound idea in visual symbols--suspect, and belong to the realms of literature and philosophy rather than art. To me the most profound truth is the mystery and miracle of existence as expressed in the world around us. To really "see" that.. as Thomas Moran saw the Grand Canyon or as Monet saw the light on the surface of his pond and to then communicate it...that to me is the almost sacred role of the artist. This is all is contradiuction to the "expert" who told Eugene to stop painting Amish scenes. What a fool that "expert" was IMHO! | ||
Raliegh |
Have you ever imagined what it would have been like to one of the first explorers like John James Audubon, Lewis and Clark or an artist on Capt Cook's ship? Regionism as opposed to Van Gogh or Gaugain, half mad men, who were possibly trying to out do each other with Sensationism? I guess it all depends what one is attempting to do as an artist. | ||
midnight_baseball |
that's actually john pike with the brush in that photo (circa 1955)! you are right robert - i need to paint some amish - in fact i have an idea or two that i am going to do in the next couple of months with amish as the primary subject. i can hardly wait! | ||
Robert |
You live in Florida! What are you doing painting palm trees??? :) When Van Gogh moved to Arles, he painted penguins, didn't he. When Gaugin moved to Tahiti, he painted Mexican Mariachi bands. As I recall, Monet painted scenes of the grand canyon. Let Eugene paint those palm trees --you should paint an Amish farmer. :) | ||
Robert |
It sounds like the person who told you to stop was a an effete snob who equates painting what people like with being a hack. I truth it's not *what* you paint that is the mark of an artist with integrity, but more how sincere you are to your own artistic vision. IOn a way the second comment about "regionalism" is gallery/academic gobbledey-gook but it was positive and encouraging. I think the test is that if you transmit your human reaction to the world before you with honesty and integrity, you are on the right path. What's an artist in Amish country to paint, palm trees? | ||
Eugene |
Suzy, I like your idea of the different palettes. My basic colors are ; ultramarine perm. rose. any yellow. burnt sienna raw sienna sap green (plus other specialty colors that I use if needed) I’ve had great success and am very comfortable with this LIMITED palette. PERHAPS TOO COMFORTABLE. Although I like what I’m doing, I think I’m getting into a rut. Maybe there is too much “sameness” in my work SO-o-o-o- as an experiment I’m going to change to--- thalo blue cad. red any yellow raw umber burnt umber thalo green (plus a few special colors if needed) I know this is a drastic change and I won’t get good pinks or purples, but it should force me to try new combinations and quick-start me out of my comfortable old style. I like workshops too, and get conflicting advice from instructors. For instance. Opinions of two successful nationally known artists: I live in the heart of Amish farmland, and love to paint this scene. One told me my paintings were good but that I should stop painting the Amish and their farmland because I was Painting things just because they sell and because people like this kind of painting. The other instructor said my work was a fine example of regional art and that it was important to paint the things you know best.. One never Know! I’m still painting Amish | ||
Suzy |
When taking workshops from my art "heroes" I have gone tot he expense of buying a new pallette and buying exactly what they list for both paint and paper. I label the side of the pallette with a sharpie marker withthe artist inspired name . I have done this four times now and I love all four of my palettes. Each one is so different and I have so much fun pulling one out and using it, setting aside my own "wacky" pallette. Even though I do not paint just like my "heroes" I infuse their colors and techniques in to my own creating a whole new look. Here I am actaully giving a demonstration at a workshop using my Barbara Nechis pallette.(Can you see the writing on the side of the pallette??) Any of you familliar with Barbara's work will see that what I am painting looks nothing like her work yet using this pallette , this day, gave me a look I could never have achieved with another pallette.  | ||
Robert |
What's your standard list of materials (paints, brushes, paper, palette type)? Please list. | ||
Robert |
Raleigh FYI--The closest in Maimeriblu is Turquoise Green (PB 16)--it is also intense and concentrated but slighty even more on the turquoise side than PB 15:4. It is also very nice and would be my next choice. | ||
Robert |
The only source is Prismacolor Thalo Blue. It is the same as the now discontinued Grumbacher Finest thao Blue. It is not covered in handprint. It is brighter, more turquoise and more concentrated than Maimeriblu Primary Blue Cyan. | ||
ben |
PB15:4 is a phtalo blue pigment (Phthalocyanine blue) used for example in VanGogh acrylics and in Grumbacher watercolor: http://www.sanford.com/sanford/consumer/grumbacher/pdfs/FinestWatercolor_TS.pdf | ||
Raliegh |
Checking Handprint I didn't find an exact listing for PB 15:4. If I were to order this Maimeriblu would it be called Ultramarine violet? | ||
Robert |
Yes! the 1/2" sapphire oval is the brush I do most of my painting with (once the big areas are laid out)--it responds to all twistings and turnings so naturally. Like a round and a flat at the same time. | ||
midnight_baseball |
since the recent expansion of my pallete (ref: the ">" entries on my Sunday, October 23, 2005 post) i've pulled back on a couple of colors. i'm near elimination of AJ indian yellow (convieniently mixed with AJ hansa + AJ halloween (benz) orange) and AJ cobalt violet which i don't like the way it handles - the tube of AJ/CV i have seems to repel other colors. i've been happily mixing my CV using AJ/WF (opera) or AJ perm rose and AJ cobalt blue. now, without the feeling i'm lacking any ready made slots/hues on my palette, i've actually gone back to using triads again for most of my middle values. some of my favorites: Aureolin/PermRose/CobBlue HansaYel/CerlBlue/Opera i've recently taken a sumi-e workship with Henry Wo - so i've been using some bamboo brushes along with hake brushes. (p.s. thanks sid for your recommendation on the ranson brushes). i'm also using a simmons goliath 26 synthetic. today i was working on some flowers and picked up a simmons sapphire 1/2" oval and was thrilled with the variety of edges/strokes i got with that brush. (since the sumi-e class, i've become more aware/sensitive to my brushwork) | ||
Robert |
I have always had on my palette3 pthalo green (blue shade--PG7) and Pthalo Blue red shade (PB 15:1). I use the green as a basis for greens and the blue for darks. I have recently changed this and have eliminated these two pthalos in favor of a very green shade thalo blue--specifically the new Prismacolor "Thalo Blue" (PB 15:4). It is an exceptionally brilliant turquoise (much more brilliant than other pthalo blues)in a wash and is very concentrated, making very deep darks when mixed with red orange pigments (bt. sienna, venetian red etc). The greens it mixes with my yellows are more natural than with Pthalo Gn. but are still very lively--thus this one pigment serves the purpose of the 2 prior pthalos. If you wish to update your information of any new paints have been added or deleted since your posting, please do. I hope this thread keeps going and invite anyone reading it to post the colors and brands in their palettes. I assume some of us find this interesting. | ||
Robert |
What's your standard list of materials (paints, brushes, paper, palette type)? Please list. | ||
Sid |
Midnight--I have purchased several different brands of hake brushes--I use them as wash brushes and also for painting "texture". It has seemed to me that the Ron Ranson brushes are sort of "pre-trained" --some hake brushes are kind of fuzzy and take some time to work into a controllable form The Ranson hakes I find are usuable immediately and they hold their shape well. I wouldn't say there aren't other brands that will work too. I just haven't tried them. Sid | ||
Robert |
I just rechecked the caulk I bought that worked. It is white "Dap Dynaflex 230". I thought it was silicone caulk. Nope, no silicone. Works great. BTW--Glass is 100% silicone. | ||
ben |
I do not know about water colors and silicone but eh, I hate silicone anywhere near something that must be painted later ( a house, window repair, sealant or something ) it makes the paint bead up, dry irregular, causes a characteristic texture into the paint surface, of the paint won't stay on. and even worse: the brush takes up minute amounts of silicone with it and influences anything painted with it, even a year later. just an experience, but I would not dare use my sable brushes when thinking silicone | ||
Robert |
It seems like one could create a customized palette with caulk right on the butcher's tray. However, since the water runs to the borders by design on a porcelian butcher's tray, the caulk dams would have to be high enough to accomodate. | ||
joann |
silicone caulk. on a porcelain palette. brilliant | ||
Robert |
Bingo! Silcone caulk works! Thanks John for the sagacious advice. So here's the set up: A 10 well ceramic slant palette like this: http://www.fineartstore.com/cgistore/store.cgi?page=/new/product.html&setup=1&ida=4987&idp=4980&his=0|5|4980&cart_id=2523498.3936 turned into a 15 well palette by cutting the slant wells in half with a bead of silcone caulk. Placed in a medium porcelain butcher's tray: http://www.fineartstore.com/cgistore/store.cgi?page=/new/product.html&setup=1&ida=8064&idp=5&his=0|5&cart_id=2523498.3936 The slant palette goes in one of these when not in use: http://search.netscape.com/ns/boomframe.jsp?query=container+store&page=1&offset=0&result_url=redir%3Fsrc%3Dwebsearch%26requestId%3D52bf94825b59fa33%26clickedItemRank%3D1%26userQuery%3Dcontainer%2Bstore%26clickedItemURN%3Dhttp%253A%252F%252Fwww.containerstore.com%252F%26invocationType%3D-%26fromPage%3DNSCPToolbarNS%26amp%3BampTest%3D1&remove_url=http%3A%2F%2Fwww.containerstore.com%2F 500ml size at container store but not on the website. The butcher tray cleans up nicely. | ||
John Preston |
Robert, The clear silicone caulk might work better. I've seen aquariums repaired with it. | ||
midnight_baseball |
sid - i noticed in your materials post that you use ron ranson hake brushes. do you have any specifics on why that type is your preference? or does anyone have a recommendation on other sumi-e brushes - i am looking for a good "strong" and bold horse hair brush. i am also looking for recommendations on commercially available sumi ink and paper. | ||
Robert |
Ooops--In the interest of fair disclosure, my caulk experiment has failed. Manipulation with a brush causes the caulk to flake off and end up in the painting. I'll just use two porcelain palettes . | ||
Robert |
Today I made a palette impovement: I discovered one can make paint well areas with caulk. I took a slant well porcelin palette and divided the slant wells in half with beads of caulk. (A tube of polyseam seal--no caulk gun required) Plop this down on the edge of a butcher tray and I have a compact 15 well palette with a btucher tray as a mixing area. Ideal setup for me. (I hate plastic palettes--even the Cheap Joe's original I've been using--hard to clean and the stain). When finished working I set the palette in a tupperware container with a sponge and a take the butcher tray to the sink for easy washup. | ||
Robert |
What's your standard list of materials (paints, brushes, paper, palette type)? Please list. | ||
Sid |
Mix of Richeson Series 7000 and Pro Arte rounds and flats and Ron Ranson Hake brushes. John Pike palette Azo Yellow Med (M Graham) New Gamboge (Daniel Smith) Naples Yellow (Blockx) Permanent Orange (Maimeri) Quin. Red (M.Graham) Quin. Rose (M. Graham) Ultramarine Blue (M. Graham or Maimeri) (Still experimenting with UMB's) Pthalo Blue (M. Graham) Cobalt Blue (M. Graham) Cerulean Blue (M. Graham) Pthalo Green (M. Graham) Hookers Green Dark (M. Graham) Raw and Burnt Sienna (Winsor and Newton) Colors and brands change periodically, especially after someone on this board raves about a new color!! Almost exclusively, 300# Arches Rough, some CP and some Arches 140# rough in blocks. Sid | ||
Robert |
What's your standard list of materials (paints, brushes, paper, palette type)? Please list. | ||
Robert |
Eric, in addition to the Sapphire, I also religiously use the Grumbacher Aquarelle Flats #6142 in all three sizes--1", 1/2", and 3/4". These are listed as sabeline which is ox hair. They are very stout and hold less water than any brush I've ever used, which makes them great for dry brush and daubbing techniques, as well as sure strokes without depositing excess water. They have been a staple of w/c artists for decades. In my older books and magazines they are used quite a bit. They are at Michael's stores. They might be just thing for canvas. PS--I'm no longer a big fan of kolinsky because they hold and deposit more water than I want. I don't like the synthetic flats that I've tried for one reason--they tend to splay (split) as they get dryer , making a divided stroke. | ||
Kristen |
Here is a list of my evolving materials: Brushes: CJAS Legend Kolinksy rounds sizes 10 and 4 Escoda Kolinsky round series 1212 size 1 CJAS Regal Rigger size 1 Creative Mark Polar Flo 1" flat White stoneware dinner plate for palette Paint: (All W&N) Cadmium Yellow New Gamboge Raw Umber Cadmium Red Permanent Alizarin Crimson Permanent Rose Burnt Sienna Hooker's Green Cerulean Blue French Ultramarine Ultramarine Violet Raw Umber Ivory Black Paper: Arches 140# cold press | ||
Eric |
Thanks for the brush recommendations. I'm using simple synthetic CJ's Golden Fleece brushes now. They work fine for how I paint. I don't like a brush that holds too much water. The only complaint I have with Golden Fleece are the paint chipping off the handles. But that's a very minor complaint. They are satisfactory for me. However, I've experimented a little bit with painting on watercolor canvas and would probably need to use a soft brush that holds a lot of pigment, like a kolinsky sable. I'm stubbornly resisting buying a set of these expensive brushes. So I'm looking for a cheaper alternative that would work well on watercolor canvas (Fredrix) | ||
Robert |
BTW--Joes prices are very good for Sapphires: http://www.cheapjoes.com/art-supplies/4792_robert-simmons-sapphire.asp You would have to make sure you got the short handle variety since they also come in long handle for working in oils. | ||
Robert |
I mis-spoke--Sapphires are part Kolinsky, part synthetic. They behave about like they are half of each also. | ||
Eugene |
Eric-- Like you,kolinsky sables are too expensive for my budget. And I've learned to use and like the synthetics. I think you should try the Royal Langnickel Majestics. They're inexpensive and the best I've found. | ||
Robert |
Description of the line on the Daler-Rowney (parent co.) website: http://www.daler-rowney.com/prod_catalogue/disp_Products.asp?category=9&brand=28 | ||
Robert |
Sapphires have good qualities--they are springy, hold water, release water well, lend themselves to all techniques from drybrush to wash equally well. Part kolinsky, part sable. That being said, one #12 Kolinsky is the only brush some artists ever need. I have gotten used to an array. | ||
Eric |
Robert, why do you like the Sapphire brushes? They're synthetic right? Brushes are a difficult purchase because of their cost. It's expensive to try out a lot of them. I've never owned a kolinsky sable because it's too costly to try it and then decide it's not for me. | ||
Robert |
What's your standard list of materials (paints, brushes, paper, palette type)? Please list. | ||
Robert |
Wow--all maimeriblu--a great choice. Interesting how palettes evolve over time. I try different palettes but always return to what is essentially an Eliot O'Hara palette that I have been using forever. Here is it's present incarnation with the brands that work best for me in each color: Perm. Lemon--Maimeri Cad. Yellow Pale--W/N Indian Yellow--Maimeri Cad. Scarlet--W/N Perm. Red Violet (quinacridone)Rembrandt /Van Gogh Ultramarine (permanent) Blue--Prismacolor Cerulean--Maimeriblu Pthalo blue--Van Gogh Pthalo green--Prismacolor Raw Sienna-Prismacolor Burnt Sienna--Daler Rowney Venetian Red- Maimeriblu I am really hooked on the Robert Simmons sapphire series brushes. Waterford 140# rough paper. | ||
Eugene |
I've listed my materials before , but have made changes. I'm presently using---- John Pike Big Well Palette Waterford 140# paper, rough and cold pressed and sometimes Bockingford 140# rough I use Royal Langnickel Majestic almost exclusively mostly the flats, but sometimes the rounds too in all sizes but favor the big flats. also a big soft squirrel mop for glszing. My colors now are all MaimeriBlu Always on my palette-- Ultramarine deep Primary Blue- Cyan Primary Red- Magenta Primary Yellow Sap Green Raw Sienna Burnt Sienna Raw Umber Cad Red Light sometimes--- Cobalt blue light Perm. Violet Reddish Cerulean Blue Ivory Black Perm. Orange Pebeo Drawing Gum if I do Masking | ||
Robert |
What's your standard list of materials (paints, brushes, paper, palette type)? Please list. | ||
Eric |
I'm thinking it was 140# cold press. As for texture, cold press is in between rough and hot press. Cold press is what most watercolorists use. | ||
Andrea Hall |
I used to be given watercolor paper by my art teacher. I know she used Arches and the paper was not terribly textured, nor was it terribly smooth. The paper was not as thick as cardboard but it was not thin, either. I am guessing that she used to give me Arches 140 rough press. Can anyone help me on this? I just want to be sure before I buy the paper online. Thank you. | ||
Eugene |
An unusual complaint. I can't imagine trying to make backruns, and then trying to find a painting in them. But each of us has his own technique. that's what makes painting interesting! | ||
Anonymous Painter |
One reason I'm not very happy with the Saunders Waterford paper I just bought (200#, CP) is that I can NOT make backruns with it! Normally, it's easy to make them or not make them, once you understand what they are: Pigment is on the paper. Unless the paper is completely dry, the paper (with pigment) has a certain level of moisture. If you add MORE moisture to the already moist or damp paper (where the pigment is), this additional moisture pushes the existing moist pigment out in a ring. That ring, which is fairly irregular, is called a backrun, or oozle, or cauliflower, etc. Think of a sponge: The paper is like a sponge. Put more moisture in, the water already in it has to spread out to equalize the moisture all over (a flat sponge doesn't normally stay more wet in one spot). I think the reason the Waterford paper won't let me make backruns is it is very thoroughly sized, both on the surface and internally. This would explain why even a fully loaded large brush (#14 sable round) makes 'drybrush' marks, and why my normal methods of producing backruns don't work. (That gelatine must be acting like micro-dikes!) I've even tried soaking this paper first, but I still can't make backruns. Normally all I have to do is put down some pigment (wet-in-wet), wait for it to dry just a little, then apply a brush loaded with water or wet pigment, and the previously applied pigment spreads out to form those irregular edges, which I then like to 'elaborate' within my compositions. It's too bad the Lana paper also tends to prevent backruns, assuming it's as you say. I'm fast running out of papers to try! | ||
Raliegh |
thanks Robert, I just bought 3 sample packs of Strathmore, the one I bought last spring had Lana but these new packs don't have that included. They must consider Lana their best paper. This pack has Aquarius, Gemini and Imperial. | ||
Robert |
Raleigh--You might give a sheet of lana CP a whirl. It seems to cut backruns by about 75%--for me. | ||
Raliegh |
From my own observation, I got a backrun or blossom from a mixture of Red cad, Winsorblue and cerulean (all W/N) on Arches #140. I thought I read somewhere it was the property of the paint, though after looking at a few of my favorite sites, I not sure now. Handprint is such an informative site, however, there is so much there it's hard for me to see the tree for all the forest! | ||
Robert |
In pondering this question of what exactly is a backrun and what causes it, I went to handprint.com. In one segment Bruce suggests that backruns are the result of sizing in the paper: "Backruns (Surface Sizing). Lay the paper flat, and with a 3/4" acrylic flat brush, paint three joined stripes of a strongly blossoming pigment, such as dilute quinacridone magenta (PR122), iron blue (PB27) or dioxazine violet (PV23), at the top edge of the lefthand side of the sheet. Leave the paper flat, and let the paint completely dry. " He also, in the following segment, suggests that backruns are connected to "blossoming" a quality of certain pigments to participate in backruns: "What to look for: This stroke partly dissolves the paint swatch, as the water gradually diffuses up the swatch, producing a blossom or backrun. Does the paint dissolve immediately, or only after a time? Is the dissolved area limited to the stroke of water, or does it expand up the swatch? Is the backrun or blossom barely visible, or very obvious? (A greater amount of gum arabic in the vehicle, and smaller particle sizes, increase the tendency of the paint to blossom or backrun.)" My idea of a backrun(of what the term means to me) might be described as what happens at the bottom of a large was where a bead of water remains at the bottom. The bead of water will slowly seep back up into the wet paper, carrying with it the pigment. When it dries the pigment will depoist at the upper edge of the backwash leaving a line that looks like a stalk of broccoli. Some papers enhance this phenomenon (fabriano comes to mind) and some resist this phenomenon (lanaquarelle CP comes to mind). Fortunately hnadprint gets very helpful. In the guide to watercolor pigments, the relative degree of each pigment to blossom is documented, so you can look up any pigment and to the right find how much it blossoms. if you also read his reviewws of papers, you can rates each one on how much it resis blossoming. So backruns must be a result of the inerplay of pigment, type of paper (sizing amt.) and amt. of H2O used. | ||
Robert |
I am not sure what you mean by backrun--dispersion of the paint in water caused by oxgall or water marks caused from too much water? In any case, I don't use W&N brand Winsor Blue (there are two -- red and green shades--made from different pigments, PB 15:1, PB 15:3) so I haven't experienced this phenomenon. | ||
Raliegh |
Thank you for transcribing. That's funny I always thought backrun was caused in Winsor Blue from phthalocyanine making the paint dry at a different rate than the others,slower maybe. | ||
Robert |
Re. Wilcox split primary palette--here it is in Grumbacher Academy--cheap and readily available in Hawaii-- lemon yellow Golden Yellow Cad red hue Thalo red Ult. Blue Thalo Blue Thalo Green Bt. Sienna Raw Sienna (Cerulean not offered except as a thalo based hue) | ||
Robert |
Raleigh--Hee's the Wilcox split primary palette in MaimeriBlu: Green biased yellow: Permanent Lemon Orange Biased Yellow: Cadmium Yellow Light Orange biased red: Cadmium Red Light Violet biased red: Primary Red Magenta Violet Biased Blue: Ultramarine deep Green Biased Blue: Cerulean Blue Green Biased Blue: Primary Blue Cyan (pthalo) Raw Sienna Burnt Sienna ***************** Re: MaimerBlu paints having a backrun-- Backruns are created by paper and sizing and the amount of wetness in the paper and water on the brush. Perhaps you are referring to dispersement or diffusion, caused by the presence of ox gall in the paint. Certain MaimeriBlu paints contain ox gall which cause the paints to quickly spread out when they touch wet paper. Primary blue cyan, the main pthalo, has a diffusion coeffiecient of 4, according to Handprint, which means it will agressively disperse. Berlin Blue has a diffusion coefficient of 2 which means it will barely disperse away from the spot that initially touches the paper. | ||
Raliegh |
Thanks Robert, I just reread the MaimeriBlue thread. And that info was already listed. I'm giving some workshops to kids and I'm advocating Maimeri as well as Wilcox Split palette. Since they are beginners I want to keep it simple and basic. Do you notice Maimeri Berlin Blue having a backrun? Do all pthalos have that tendency? | ||
Robert |
Also note that the hue angle of Berlin blue 256 makes it greener than the hue angle of daler Rowney Green shade 259 and far greener than W/N red shade at, as I recall, 271. The closer to 300, the redder. | ||
Robert |
When you click on the link, look at the top and click on the color family you are investigating. You will find a table of pigments listed by pigment number. For pthalo blue red shade, go to PB 15:1. You will also see his reviews of the various brands. Most helpful is the table to the right. Scroll down to see what it means. You can fully research all of these categories on the site if you are interested but you will have to surf the site. | ||
Robert |
Tip--To find a pigment you use in another brand, go to handprint's guide to watercolor pigments: http://www.handprint.com/HP/WCL/waterfs.html Find the one you use and see what others from different companies are listed with it. | ||
Robert |
FWIW--Another excellent pthalo blue red shade is Van Gogh pthalo blue. | ||
Robert |
No. Wrong information. Permanent violet reddish is a mixture of carbazole and quinacridone violets. Here are Maimeriblu's pthalo blues: Primary Blue Cyan (PB 15:3)--pthalo blue green shade--highly concentrated like Winsor blue-- Berlin Blue--a redder shade pthalo but not intense--concentration weakened to more in line with concentrations oif other colors. Treat it as a normal paint and not "radioactive" pthalo. I liken it to Daler-Rowney Pthalo red shade which is also not as highly concentrated, though the DR is a redder red shade than Berlin Blue. I think Berlin Blue might be likened in hue and intensity to Antwerp Blue, but it is PB 15:1 , prthalo Blue red shade. | ||
Raliegh |
what would the equivalent of Winsor blue, red shade be in MaimeriBlu brand? I called a catalog co. and they gave me Permanent violet reddish # as 465? Can this be right? | ||
Dake |
Bergamot huh? the same herb that goes into Earl Grey tea...trust the English. | ||
marie |
The wonderful smell in RMG is bergamot. I recall reading once that the vegetable matter in RMG smells awful as it begins to decay. Hence, W&N has always added bergmot to mask the actual smell. If only it were lightfast. I love the personality of the pigment. | ||
Dake |
Robert, re Cascade, I've never noticed archival problems but i may have simply forgotten. RMG would make sexy lipstick, at least it would fade from the collar before the Mrs notices as well as tasting good...well smelling...do you know it takes six weeks to make(true) and six minutes to disappear(almost). | ||
midnight_baseball |
re: RMG yeah - i'm relatively new to w/c (just over a year) and when i first opened up a tube of rose madder genuine - i swear - i never smelled a smell like that! that intense - i could practically taste it... for days, people were asking me what that pink stuff was under my nose - got too close to the tube a few times i guess. addictive. oh - and i like my lager too. | ||
Robert |
So, Dake, you mix your paints with Cascade Lager? Does this affect the archival quality of the paintings? | ||
Dake |
W&N FUB Cobalt Blue Deep, Cobalt blue, Indigo, Manganese, Quin Gold, Cad Yellow, Raw Sienna, Indian Red, Cad Red, Scarlet Lake, Winsor red, Perm Aliz, Rose madder Gen(just for the aroma) Burnt Sienna, Burt Umber, Rw umber, Cobalt Violet. Blue Lake paper hand-made paper 320 gsm(150lb) Rosemary #8 kolinsky mop, CJAS Dragon Tongue #18, 1inch CJAS flat kolinsky, Art Spectrum flat 1/2 inch kolinsky blend, Charles Reid signature #16 kolinsky, #12 Rowney Daler Dianna Kolinsky(favourite all-rounder) W&N series 7 #10(not all it's cracked up to be) W&N #4, and a few riggers and tiny detail synthetics several synthetic flats 21 well plastic rectangle palette with lid of unknown brand. 400w tungsten light, 500w halogen. Nike hydraulic draghtsmans table Cascade Premium lager | ||
Dake |
W&N FUB Cobalt Blue Deep, Cobalt blue, Indigo, Manganese, Quin Gold, Cad Yellow, Raw Sienna, Indian Red, Cad Red, Scarlet Lake, Winsor red, Perm Aliz, Rose madder Gen(just for the aroma) Burnt Sienna, Burt Umber, Rw umber, Cobalt Violet. Blue Lake paper hand-made paper 320 gsm(150lb) Rosemary #8 kolinsky mop, CJAS Dragon Tongue #18, 1inch CJAS flat kolinsky, Art Spectrum flat 1/2 inch kolinsky blend, Charles Reid signature #16 kolinsky, #12 Rowney Daler Dianna Kolinsky(favourite all-rounder) W&N series 7 #10(not all it's cracked up to be) W&N #4, and a few riggers and tiny detail synthetics several synthetic flats 21 well plastic rectangle palette with lid of unknown brand. 400w tungsten light, 500w halogen. Nike hydraulic draghtsmans table Cascade Premiun lager | ||
Robert |
What's your standard list of materials (paints, brushes, paper, palette type)? Please list. | ||
Grace |
I also think you might like Lanaquarelle CP 300#. | ||
John Preston |
Anonymous painter, Before you get a roll of Arches 260# check the grams/sq. meter on it . I believe it's just a bit heavier than 140# maybe about 150#. | ||
Anonymous Painter |
Palette (hold paint, mostly dried): Jones II Round (a rectangular covered lightweight palette with 12 wells arranged in a circle plus 2 triangles in each corner, and a couple small mixing areas on each side and in the center). I don't use the mixing areas; I use a cut-down bristle brush to scrub the paint when I want that pigment. Palette (mixing): set of nesting porcelain dishes. Brushes: an old W/N Regency angle shader (1/2"), a new da Vinci #20 (almost 1") flat, and several Escoda 1212 rounds: #s 20, 14, and (in travel brush format) 12, 10, 6. I also have a synthetic flat 1" I never use, and a very old broken-handled rigger I use, but can't remember any specs. Also have to have small natural sponge(s) occasionally, often for foliage or blossoms. Pigments: all W/N; used to select limited palette for each painting. I still select my pigments before starting a painting, but recently abandoned the limited palette concept: burnt sienna, raw umber, gold ochre, new gamboge, transparent yellow, lemon yellow, cadmium yellow pale winsor green BS, viridian (because it's non-staining) cerulean, manganese blue hue, cobalt, French ultramarine, cobalt blue deep, Winsor blue RS (ph/thalo), Winsor violet (dioxazine) permanent rose, permanent alizarin crimson, Cadmium red, Quinacridone red, Indian red (occasionally, usually when using cerulean) Paper: Used to use Curry's 200# and really liked it, but they won't fulfill U.S. orders any more (too much hassle). Have not found a good replacement yet. Do not like Arches 140# CP (too lightweight), do not like Arches 300# HP (too hard to work with/alter, like cardboard). Thinking of ordering Waterford 200# (handprint.com gives it a good review; one person on this site didn't like it). Might order a roll of 260# Arches HP from NY Central Art Supply, but hate to commit to buying the whole roll in case I dislike it. Would really prefer to buy a roll, something close to 260#. Misc: very plain, single-ply toilet paper; the 'moisture control mechanism' Zoltan Szabo recommended in his books (remove core from tp roll, flatten, and wrap with a good paper towel -- invaluable not only for moisture control, but also to see if the brush is really clean, esp. after using Winsor green!). A rectangular plastic water container (originally held sidewalk chalk) with a cover for rinsing, with a clear container inside that clean water. A 2" housepainter's bristle brush to put lots of water on both sides of the paper when I want to work wet, and a large sheet of plexiglass I use at that time. (At other times I sometimes use Coroplast, if I want a support.) Ott-lite (table lamp) for illuminating my work (always); 'daylight' swirly fluorescent bulbs for illuminating the subject if I'm working on a still life. I have other odds & ends, too, including a very small swing-top trash container (for used tissues), w/c pencils for sketching, a metal L-square, 'portable drawing tables' (good when gridding paper with w/c pencils, or drawing buildings), masking fluid with Incredible Nib, compass & protractors, etc. Paper advice would be very welcome. :) | ||
Eshkenazi |
Alrighty, here is my list: Paints: (all are either maimeri or w/n) ultramarine deep raw sienna (mai meri right now but when this tube is empty, I'm going to find another one because this one is to radioactive orangey) raw umber (lots of it) sap green cad red cad yellow paynes gray (if I'm feeling lazy) Brushes: squirrel mop #2 synthetic #2, #6 princeton mini liner 18/0 (Yes, I use tiny brushes. 'Tis the nature of my art) Palette: Random cheap plastic thing Paper: Crescent hot pressed illustration board | ||
tachee |
marie and katydid, i like your ways of thinking! i have boxed meself in a corner of "my palette". how refreshing to read your ideas. i want AHHHHHHHHHH. and i am 57 and am going to go buy me some crayons. | ||
marie |
My secret vice is that I have never been able to settle on a standard palette. I rarely use more than 6 pigments on any given painting, and I often use fewer. Yellow ochre and burnt sienna are standard for me, but I have never been able to settle on the remaining pigments. * There's usually one inorganic blue/cool pigment on my palette --- ultramarine blue if I want crispness and contrast, cobalt if I want moodiness, cerulean if I want something bright and sunny. * Cad. Red Light is a favorite, especially for figurative work. But I might go toward quinacridone rose or red, depending on the model. * Then, I often pick something for a dark -- perylene maroon or burnt umber for warm darks, or thalo blue or green for cooler darks. Or even black ... The list goes on ... My one consistent point is that I set my palette *before* I start a painting, and I don't change it once I begin. | ||
katydid |
A postscript to the message I just posted...I guess having so many colors is a childhood memory that I still hold dear...the "AHHHHHHHHHHHHH" I used to feel when I opened my new "BIG" box of Crayola crayons...I am sure many of you know exactly the feeling I am speaking of...it almost felt like heaven. I just turned 48 and this summer I bought two big boxes of crayons and when I opened them...I went "AHHHHHHHHHHHHHHHHH" I sure enjoyed doing quick sketches with them on the beach using as many colors as I pleased. I think I have all these colors and intend on buying more for the "AHHHHHHHHHHHHHHHHHHHHH" factor. Maybe I won't ever create a masterpiece, but wow, I sure enjoy myself. | ||
katydid |
I use plastic white plates with three compartments...picnic plates I guess you could call them. I mix my colors in these or let them just mingle and then use them. Though I have a lot of colors I try to use no more than five per painting. I also have notebooks filled with color swatches I have painted showing how each color mixes with another...they help me greatly in my watercolors. I also just toss these plates on a shelf when I am finished for the day, rehydrate them when ready to work again and keep painting. | ||
Eugene |
I'm amazed at how many colors some artists have on their palettes. (great, if you can handle them) I generally have not more than 12 colors on the palette and use only about 5 of them in each painting. Maybe I'm missing something, but for me, too many colors in one painting leads to confusion. I also am most successful when I allow one color to be more important than the others in a painting. | ||
Grace |
Since you hold the colors in ice cube trays, what do you use for a mixing surface? | ||
katydid2005 |
My favorite new addition is keeping my watercolors in white ice cube trays. Better than the old palette I used to use because they are deep and the colors don't splash on each other. The only problem I found with this was they are so deep the colors are a little shadowed, so until I remember where I've put all the colors I wrote with permanent marker on the top of each one the name. This also lets me have an abundance of watercolors in a relatively small space...Each tray has fourteen wells in a small area. I have three filled now and a fourth empty and ready to go when I see a new color I want to try. I absolutely don't believe in limiting the paints I have, but I do believe in trying to keep myself limited to about five colors per painting. This seems to make the painting more of a challenge and tends to keep me more alert about my choices...but I am quick to break my own rule, and if I want another color I will use it. I also use salt, and this past year on the beach found some hard frondy things that seemed like a hard sea sponge. I have placed these on my applied paint, dampened of course, and weighted with something to keep it pressed into the paper. I have had some interesting looks develop with these. | ||
Tiff |
You guys use a lot of colors. I use a very limited earth color palette to do landscapes. I use Maimeriblu Brand raw sienna, burnt sienna, and maimeriblu ultramarine dark and somes Maimeriblu venetian red. I red in the Best guide to Watercolor Paints by Wilcox that maimeriblue earth colors are one of the only ones to use the authentic earth pigments (probably becasue they are mnade in Italy, the home of the earth colors--sinna etc) and not synthetics being passed off as earths as with almost all of the other brands. He also rated them highest for handling and quality (the use abolutely clear gum arabic from Kordofan, Africa). So I use them to good results. I use a single brush--a Grumbacher golden edge flat 1/2" and 3/4" I can get fine lines using it on edge or nice washes flat. Really good brush -- I get mine at Michael's. Paper--Lanaqarelle cold press. White, resists backruns--very friendly and forgiving paper. Palette--Grumbacher plastic box palette I've had since 1984. | ||
pam clerihan |
Thanks midnight baseball. I have about 65 colors. should I put them in palettes of 30 wells or more. Should I put them in any order. ex. All reds (cool/warm etc.) and just keep going until I end up using all of them. I saw a color wheel that was big. It was called the artist color wheel. I have CHEMO BRAIN SO BE PATIENT WITH ME MY FRIENDS..hAVE ANY OF YOU HEARD OF pENNY sOTO'S COLOR PALETTE? | ||
midnight_baseball |
!ALL COMMENTS/ANALYSIS/CRITICISM ARE WELCOME! PALETTE ======= * FRANK WEBB PALETTE > 25 wide angled wells - good for wide brushes > large flat mixing area > no dam between the well and the mixing area > 3 larger separated mixing wells in the lid JUNE JONES PALETTE (used to use) > 20 wells > 2 separated mixing areas > nice large compartment in lid PIGMENTS: *=MOST_USED +=ALSO_USED >=JUST_ADDED ========= > naples yellow (AJ) * hansa yellow (AJ sour lemon) + aureolin (AJ) > indian yellow > benz. orange (AJ halloween orange) * naphtol red (AJ red hot momma) * opera (AJ wild fuschia) + permanent rose (AJ) * quinacridone red (AJ perm. alizarin crimson) + thioindigo violet (AJ passionate purple) > cobalt violet (AJ) * thalo blue (AJ joe's blue) * ultramarine blue (AJ) * cobalt blue (AJ) > manganese blue (AJ) * cerulean blue (AJ) > cobalt teal (AJ andrew's turquoise) > permanent green light (AJ spring green) * thalo green (AJ joe's green) + sap green (AJ) + quin burnt orange (AJ copper kettle) * quin gold (WN i like more than AJ harv.wheat) + raw sienna (AJ) PIGMENTS JUST MOVED OFF PALETTE: (AJ cad yel light) (now use sourlemon+aureolin) (AJ cad red med) (repl w/ red hot momma) (WN cad orange) (repl w/ halloween orange) SECRET VICE: WN payne's gray (i haven't touched it in 4 months - i swear!) FUTURE VICE: AJ titanium white (experimentation w/pastels and opaques) PIGMENT NOTES: most of the newly added pigments (mixable yes) are from being under the influence of a very outstanding don andrews workshop ;) thalo blue & green used mostly for mixing darks thinking about maybe bringing WN burnt sienna to replace quin burnt orange BRUSHES: *=MOST USED ======== *daVinci Maestro Leonardo Kolinsky Sable #16 Lowell-Cornell Synthetic 7700 Grande Round #36 (both of these are about the same size) *daVinci Series 5080 Synthetic #50 (2") Simmons Skyflow 1 1/2" WN Cotman 666 1" Richeson Kolinsky 1" Richeson Kolinsky 1/2" Richeson Kolinsky #4, #8, #10 (my CJ Legends disappeared at a workshop ;) CJ WEBB Liner #12 CJ WEBB Liner #6 PAPER: ====== Fabriano Uno 140# CP Fabriano Artistico 140# R Arches 140# CP (back to it when my Uno is gone) Aquarius 90# Synthetic Yupo Synthetic (this is on order now) MISC: ===== hard rock cafe casino coin cup (for water) 3M blue painter's tape (very versatile) Bulldog Clips (for holding paper to board) small spray bottle (keeps paints wet) Viva paper towels Kleenex tissue bathtub full of water (when i really screw up) Dixon Ticonderoga #2 pencil Derwent 4B carpenter pencil kneaded eraser or CJ eraser | ||
Tony the lurker |
I use the Wilcox palette of paints. I buy the whole set directly from Wilcox online at school of color dot com. The set includes Hansa Lemon Cadmium Yellow Light Cadmium Red Light Quinacridone Violet Ultramarine Blue Cerulean Blue Pthalo Blue Pthalo Green Burnt Sienna Raw Sienna Yellow Ochre I use the Wilcox round color wheel palette I also use Arches CP 140# All of my brushes are synthetic--Robert Simmons White sable I rely mostly on large rounds and the 1 1/2" flat. | ||
sara |
OK....I am enjoying this. I use primarily winsor newton colors. Any and all except green. I have not found a green I like. Too fake. I mix my own with Indian yellow or winsor yellow and different reds, but prefer w/n thalo red. I use W/N colors because I have read that the colors are supposed to be the most permanent/professional grade/etc....of course, now reading this, I have discovered otherwise. Paper is arches 140 wt c/p. I used to use w/n 140 wt c/p, but found the colors are not as crisp as the Arches. Of course, I do soak my paper for about 5 minutes in warm water to remove most of the 'stuff' on it before I stretch it. Brushes: I was taught that Kolensky (sp?) sable was the brushes of choice if you could afford them. I have since discovered I really like synthetics. I am a very 'loose' girl and go for the ones that 'feel' good to me. :0) | ||
Grace |
Palette-- Large ceramic 7 well bowl with lid Paints-All Rembrandt Brand Cad. Yellow Cad. Red Ultramarine Blue Pthalo blue-- red shade Pthalo Green Quinacridone Rose Brushes Grumbacher Aquarelle Sabeline flats 1", 3/4", 1/2" Paper--Fabriano rough | ||
John Preston |
Ben, What's that paper like? That's one you don't come across too much and probably few here, if any, have tried it. I'm sure many would be curious. | ||
tachee |
*existed* and tach, my evil twin sister, tells me i cannot type or spell. | ||
tachee |
i read sarcasm where none exsisted. mea maxima culpa. | ||
ben |
for the time being: Velke Losiny CP 280g/m2 (vgl 140lbs) (I visited the papermill in Chech republic) van Gogh Prussian blue (PB27) Schmincke translucent yellow (PY150) van Gogh purple madder deep (PR264) my palette is a glass plate or a dinner plate Comet black line round #12 and #20 da Vinci Nova flat brush #16 Gioconda (Koh-i-noor) red chalk pencil Indian Ink (Lefranc & Bourgeois) | ||
Robert |
I think you read somthing that wasn't there. I was giving positive kudos to "Tach" and realized after posteing that it was actually the same person as tachee. So I corr3ected my error. That's all. No bad vibes from this end. All the best. Be happy. | ||
tach/tachee |
my. lighten up, robert. It was apropos. sheeze. | ||
Robert |
Oh, I'm sorry. I should have caught that tachee and tach are evidently one and the same. Thanks for posting your palette tachee. | ||
Robert |
This is a very good way to learn value relationships. Is this your palette, Tach, one color? | ||
tach |
"For a long time I limited myself to one color.. as a form of discipline" Pablo Picasso | ||
Robert |
What's your standard list of materials (paints, brushes, paper, palette type)? Please list. | ||
Robert |
I understand this, Terry. I used to write poetry but painting and music express the otherwise inexpressible depths much better, more directly. | ||
Terry |
Or as the famous painter Georgia O’Keeffe once said, “I can say things with color and shapes that there are no words for.” | ||
Robert |
What's your standard list of materials (paints, brushes, paper, palette type)? Please list. | ||
tachee |
thanks, eric. gotta try this. | ||
tachee |
thanks john, those dragon tongues sound like something i will want to try. i often think i might paint looser if i put the alcohol in the artist, not on the paper! first time i used it in a painting, i was doing a pond with water lillies. a few drops in the water of the pond made for really cool effects. | ||
Eric |
red hot momma is American Journey. It's a red that leans a bit in the orange direction. The pigment is PR 188 Napthol red AS, and it's staining/semi-transparent. | ||
John Preston |
Tachee, The alcohol thing sounds interesting...it goes on the paper and not in you, right? Dragon Tongues are a sable round sold at CJAS and apparently made by Escoda. They don't have quite as much belly as some rounds and have medium spring. They "draw" nicely yet hold a fair amount of paint. They're not quite as pointy now as when brand new but a good brush for the money I think. | ||
tachee |
reading these lists of colors makes me remember some i have forgotten about over time. time to make an order and call in some old friends...and a few new ones. like red hot momma eric mentioned. what brand, eric? | ||
tachee |
john, i'll answer your question, if you answer one for me. a drop or two of rubbing alcohol makes for very interesting background texture.sort of like rock salt on steroids. your turn...what are dragon tongues? | ||
John Preston |
Tachee, I'm curious, what does the rubbing alcohol do? I use a Pike palette with W&N French Ultramarine, Cobalt, Antwerp Blue, Paynes, Raw Umber, Burnt Umber, Indian Red, Burnt Sienna, Q-Gold and Aureolin. Daniel Smith Viridian, Ultramarine, Raw Umber, Yellow Ochre and Ivory black. Grumbacher Finest Burnt Sienna and Rose Madder Hue and American Journey Titanium White. My brushes are Dragon Tongues, sizes 16, 12 and 8 and a sawed off Utrecht Sable Bright size 20 (approx. 3/4") and a Daniel Smith Ox-synthetic mix size 8. I like 140lb Arches and Uno CP and W&N 140lb Rough (but it's frequently poorly sized) | ||
tachee |
this is fun reading. some of my colors: pthalos and quinnies, ultra. blue, prussian blue, indian yellow, vermillion, any violet, opera, colbalt blue, perylene maroon. brands usually w&n, grumbacher, someone gave me a gift set of royal langnickle paint and brushes, am liking both. use a butcher's tray. seem to reach for w&n clear handled brushes the most. use aquarelle blocks, #300 paper, and ampersand textured cradled claybord. always at hand are 3 kinds of salt, rubbing alcohol, and saran wrap. | ||
marie |
Here's my list: Pigments: * W/N Cad. Yellow Pale or W/N Winsor Yellow (sometimes) * New Gamboge - W/N or DS (sometimes) * W/N Yellow Ochre * M. Graham Cad. Red Light * D/S Permanent Rose * D/S Benzimidazalone Carmine or Perylene Maroon (sometimes) * W/N Burnt Sienna * W/N Ultramarine Violet * W/N Ultramarine Blue * W/N Cobalt Blue * W/N Cerulean or D/S or MG Cerulean or D/S Cobalt Teal Blue (sometimes) * Thalo Green or thalo blue (any brand) or Prussian Blue (W/N only) (sometimes) * M/G Hookers Green (sometimes) * M/G Raw Umber (sometimes) * W/N sepia or D/S Ivory Black (sometimes) Palette: * John Pike Paper: * 140#, Arches or Waterford, CP or Rough Brushes: * Kolinsky rounds: #16, #12, #10, #8 * Kolinsky flat: 1" * 1 1/2" Princeton flat | ||
Eugene |
My tools are as follows. PIGMENTS (I am happy with Maimeriblu, W/N, Rembrandt, Van Gogh, and change brands from time to time) Permanent Rose Cadmium Red New Gamboge Lemon Yellow (sometimes) Thalo Blue Ultramarine Blue Cerulean Blue (sometimes) Burnt Sienna Raw Sienna Raw Umber, W/N only Sap Green Ivory Black, (seldom) PALETTE John Pike (Big Well) PAPER I’ve always used Arches 140 # c/p or rough. But I won $200 worth of waterford and like it just as well. I use 300# only if painting full sheets. BRUSHES. I used to use only sables but I’ve learned to use synthetics, and now like them better than sable. I recently found Royal Langnickel MAJESTICS, and think they’re great. (Don’t let the price fool you) Majestic ROUNDS, #4, #6, #8, #10, #12. FLATS.--- WASH, 1 in., 1/2 in., 3/4 in. -- Shader #8. TONY VAN HASSELT 1 1’2 in. ox hair wash JOES HAPPY STROKE RIGGERS, #1, #2, #5. (these are excellent for aspplying masking materials.) PEBEO Drawing Gum (different from all other masking fluids - easy flowing) GATOR BOARD I stretch my paper on it with staples -- easy to remove staples. | ||
Robert |
What's your standard list of materials (paints, brushes, paper, palette type)? Please list. | ||
Robert |
Actually, the mentioned student paints came to my attention in the Wilcox guide -- each he said was the same as the equivalent professional series color and cheaper. That doesn't go for all colors in these student brands, just these few. Here's specifically why i use them: 1. Van Gogh pthalo blue is the traditional hue of the old Winsor/newton Winsor Blue that W/N dropped in favor of a red and blue shade, neither of which is this particular shade. Even thre Rembrandt pothalos don;t match its hue. It is highly concentrated 2. Van Gogh Permanent Red Violet (quinacridone violet) and Permanent Blue violets are indespensible to my palette and are the same as the Rembrandt with about, my guess, 90% of the concentrateion as the Rembrandt professional grade, which I also use, and the exact same hue and pigments as the Rembrandt, the more expensive cousin. 3. Grumbacher Academy Ultramarine blue is very far to the violet side, providing a nice contrast with Cobalt blue. It is very concentrated. It also is very coarsely ground which makes it granulate beautifully. Holbein Ultramarine deep is similar. 4. Grumbacher Academy Thalo green is beautiful and as concentrated as any professional brand of PG7. | ||
Eric |
Robert Wood pallette Paints- all Amer. Journey or DaVinci(unless noted) alizarin crimson (quin.) red hot momma raw sienna quin. burnt orange gamboge hue lemon yellow olive green Joe's green (phthalo) permanent green #2 (Holbein) Joe's blue (phthalo) ultra. blue mauve paper- Arches bright white cold-press 140# brushes- Golden fleece rounds #6 and #8 and #12 (rarely use the 12) golden fleece flats 2", 1.5" and 1" (most of the painting is done with the flats) riggers-#3 and #6 Robert, I notice some of your paints are so-called "student grade". That's surprising since the conventional wisdom says that student grades contain less pigment and more filler and you have been a strong opponent of paints with less pigment. Is there a reason for your choice of Grumb. Academy and Van Gogh for some of your colors? | ||
Robert |
I notice at all the workshops the presenters always give an advance materials list for the paticipants. They vary alot but they always include palette, colors, brands, paper , and brushes. I think it would be interesting (very!) to get the "materials lists" of as many participants here as wish to take the time. I myself find this information fascinating. No need to expound upon "why" the list as as it is (since everyone varies for personal reasons), simply list it. I'll go first, though I'm less interested in posting mine than in reading yours. Palette--Cheap Joe's Original (17 well). Paints: Permanent Yellow Lemon--Maimeriblu Cadmium Yellow Medium--Rembrandt Indian Yellow--Mainerible Cad. Scarlet--Winsor Newton Perm. Red Violet--Rembrandt or Van Gogh Perm. Blue Violet--Rembrandt or Van Gogh Ultramarine Blue --Grumbacher Academy or Holbein Cobalt Blue--Maimeriblu Cerulean Blue-Maimeriblu Pthalo blue--Van Gogh Thalo Green --Grumb Academy or Joe's Green --AJ Earths--all maimeriblu: Raw Sienna, Bt. Sienna, Venetian red, Raw U, Bt. U Paper: Waterford Rough 140# Brushes: Kolinsky #12 round, #7 round, 1" flat Squirrel mops #8 and #1 Rigger #3 and #0 Robert Simmons Sapphire Oval wash 3/4" |
