Simplicity of Watercolours

A couple of weeks ago a attended a Golden product demo. Most of the two hours were spent on acrylics and other products.

As a watercolourist, there are very few products to learn about. We have our paint, water, masking fluid and a few mediums rarely used.

For acrylic painters there are different types of paint, some are thin (high flow) while others are very thick (heavy body) and then there are those in the middle (fluid). There are also a number of different gels, mediums, pastes or additives depending on which thickness of paint you use.  My head was spinning hearing about more than 20 different products.

I have no intention of picking up acrylics, but it appears that anybody wanting to learn on their own would have to do a lot more research than is required for watercolours.

After the demo, I was extremely grateful for the simplicity of watercolour products.

The person giving the demo, spoke to us about the modern and old colours and some of their properties.  The following link might be of use if you'd like to learn more about this topic: https://www.handprint.com/HP/WCL/waterfs.html

Today's artist find is Rukiye Garip

Have a great holiday,
Danielle

Tips for Creating Intense Colors and Strong Values

I have been busier than normal lately with a number of exhibits and a longer term project that I'm working on. Hence, I'm reducing the frequency of this blog.

Watercolours have a reputation for being light and sometimes dull. What can one do to create more vibrant watercolours? It may considered a challenge with watercolours to create more intense colors and a full range of values, but it shouldn't be. Here are a few tips:

1. Adoption of artist-grade watercolours.

Use artist grade watercolours because they have more pigment which means more concentrated colour on the paper, hence more intensity.

2. Use less water in washes

Since watercolour has a unique problem of drying between 50% - 70% lighter than it looks when it’s wet, it’s important not to start off with too much of a watery wash. So it may help to simply mix a wash that’s twice as dark as you want, then test it on a scrap of watercolor paper first.

3. Application of glazes

Sometimes you may be cautious with your washes. When the paint is dry and looks too light and you want more intensity, add additional glazes to the dry surface. Repeat until you get the intensity that you want to have.  This also helps in maintaining light.

4. Application of grisaille

See previous article: http://arttutormembers.blogspot.ca/2017/06/using-grisaille-with-watercolors.html

Today's artist find is Catherine Rey

Happy painting

Danielle

Art in Tuscany

I'm just finishing a vacation in Tuscany and was impressed how pervasive art is. Tuscan art and culture are inseparable and is a model for many countries for years to come and for this area of Italy.

Art is preserved in historical artifacts and buildings from the etruscan, roman, medieval, renaissance times. Art is part of what attracts visitors, from around the world, year-round to this area. Paintings and sculptures by Michelangelo, one of the greatest Tuscan famous artists are found in key areas.

Obviously art is found in some of the greatest museums such as the Uffizi in Florence, however it is also found in the buildings’ architecture and sculptures. Art is intertwined with the beautification of buildings, public areas and homes. In addition there are numerous public art displays and art galleries.

You don’t need to visit large cities to see some great art. Frescos are painted into the plasterwork of the numerous churches, palaces, chapels and cathedrals in every town and there are many wonderful works carved in stone.

Although there is much historical art in Tuscany, the medieval villages and rolling hills of Tuscany will continue to inspire artists for years to come. I appreciated seeing and meeting a high number of Tuscan watercolorists during this vacation.

Today's artist find is Elizabeth Cochrane

Have a great week

Danielle

Too much of a good thing

There are a number of different ways to create technique in watercolour, Here are just a few:

• plastic wrap
• dry brushing
• splatter
• sprinkling salt
• alcohol or water drops
• sponge
• etc.

Like many things in life, just because you can doesn't mean that you should. Although these techniques are fun to learn and use to create various textures, it's easy to overuse them.  When you overdo any of these techniques, you are detracting from the painting.

It's important to know when to use sparingly for impact and not overpower the painting.

This applies to many other things in life. you've probably seen overuse animated objects of effects in Powerpoint slides.

Today's artist find is Sue Dickinson

Have a great week,

Danielle

Tools for applying masking fluid

What's you're favourite tool for applying masking fluid?

Many watercolourist like to use an old brush. Some use a Masquepen or colour shaper. Other options include a dip pen, toothbrush, stencil brush or rolled up paper.  Another option is to build up on a old brush to end up with a unique tool that offers  a number of exciting textures.  You might also want to try applying the masking fluid with a piece of  scrunched up paper towel, plastic or foil. This option will give you the most unpredictable shapes.

It's probably best to use a variety of tools as each will provide different effects or lines. Using the tools above you can paint the masking fluid on the paper, you can draw with it, it can be splattered or flicked and it can be dabbed on.

Let your imagination flow on creative ways to use masking fluid in innovative ways.

Today's artist find is Pat Hall.

Have a great week,

Danielle

Setting up workspace

It's important to have a practical set up for your  painting experience.

Some people don't have much space and cannot have a permanent studio. These artists need to scale things down.  Luckily watercolours can be set up their supplies and put them away quickly in a bag or box.

Typically, you would set up your palette and water on the same side as your painting hand to avoid unnecessary splatters on your painting. The paint brushes you plan to use are normally on the same side.  Have your palette, water and brushes all together and as close to you as possible to avoid reaching while painting.  Here is a typical layout.

The tissues or paper towels are best left on the opposite side since you'll likely be holding them in the opposite hand from your brush.

All of this may seem natural, however, I have seen a few pictures and videos recently with the opposite set up and the watercolorist seemed to move awkwardly, struggle and was not efficient.  So maybe setting up your workspace is not obvious to all.

In addition when setting up, you might want to try not to sit too closely facing a window.  Ideally, if the light comes from the direction opposite of your painting  hand, you will have less shadows when painting.

Today's artist find is Liza Legina.

Have a great week,
Danielle

Does gender biais exist in art?

Do women artists get as much exposure as men artists?

A 2011 survey investigated New York museums and found just four percent of the artists in the Metropolitan Museum's contemporary section were female. MOMA and the Guggenheim fared somewhat better, with 26 and 23 percent respectively.  In addition, the National Museum of Women in the Arts estimates that five percent of art currently on display in US museums was made by women.   I don't have statistics for Canada but suspect, the situation is not very different.

I've heard that some women don't even sign their full names on their paintings in order not to give away their gender.  Some only put their first initial while others only sign the back of their paintings. 

I get the impression that women gravitate disproportionately toward paper media (watercolour, pastels, ink) as compared to men. If exposure is any indication, these paper media have less prestige and lower prices as than do oil paintings.

In looking at the board of directors and faculty members of our local art school, I'm pleased to say that women are very well represented.

Why is it that some people have greater overall respect and admiration for men artist than for women artist?  I have a lot of difficulties understand why gender discrimination exists in the art domain or other domains.  

What can we do to change the gender balance?

Today's artist find is Alessandro Anastasio

Have a great week,
Danielle

New Product from Art Graf

A few weeks ago, I was in Montreal exploring small art supply shops and in one of them, the salesperson demonstrated the Art Graf Artist Tailor Chalk. She explained how the set of earth tones was popular and she was waiting for some new supplies. I purchased the carbon black chalk after her short demo.  She rubbed the chalk (1-3/4" x 2") on dry watercolour paper, then ran a wet brush on it and it became a beautiful intense black.

The various online reviews of this product is incredible.  Users love how the colors are rich and intense and how a little goes a long way.

There are a few different ways to use this product from Portugal:  https://www.youtube.com/watch?v=Cb4avnrWPOc.   

I haven't used it yet in a painting but I know I will enjoy it.  Once I start using it, I'll consider if it's worthwhile purchasing the earth tones.  However, they number of colours of this product are very limited.

Today's artist find is Antonio Bartolo.

Have a great week,
Danielle

To gouache or not to gouache

Some watercolourist are purist and would never use gouache as it is not considered a transparent medium.

Other watercolourists will use gouache on occasion and depending on the desired effect.  The most common colour of gouache to used on watercolours is white for key accent areas or special effects or to create contrasts.  One advantage is that adding gouache for accents avoids the cut-out effect often seen with masking fluid.

When used in large quantities on a painting, gouache gives a completely different feel to the painting as there are some areas that would appear muted or give off a different atmosphere.   I've heard one artist recommend that if you are to use it on a significant portion of a painting that you ensure consistency through the painting which could mean using gouache in a couple areas to balance things off.  Some others add watercolours on top of the gouache.

The opportunities are endless, the artist is free to experiment.

One key consideration is any potential plan to enter a painting in a competition. Ensure that you are aware of the rules on the use of non-transparent paint like gouache.

Today's artist find is Luybov Titova.

Have a great week,

Danielle

Which Brand of Watercolour Should You Choose?

Happy Canada Day to all of my fellow Canadians

Since I'm currently on holidays, I'll share with you a blog that I recently came across about brands of paint (original link: http://wonderstreet.com/blog/which-brand-of-watercolour-should-you-choo)

Which Brand of Watercolour Should You Choose?

Someone once said that painting with watercolours is a lot like playing golf… every stroke counts. Unlike acrylics and oils, the artist who paints with watercolours has less margin for error and lacks the possibility to go back and correct mistakes. For this reason, it’s particularly important to choose the right brand of paint. In this article, we compare the brands most frequently used by the watercolour artists of the WonderStreet community, using their feedback and consumer reviews from a number of online retailers.

Watercolour painting may be one of the oldest forms of artistic expression, dating back to the images that have been found inside caves of the Paleolithic period. It was utilized by the ancient Egyptians and the monastic orders of the European Middle Ages for manuscript illustration, was popularized during the Northern Renaissance and reached its height during the 18th and 19th centuries. Notable artists who often painted with watercolours include: Albrecht Dürer, J.M.W. Turner, Winslow Homer, John Singer Sargent, Paul Klee and Georgia O’Keefe.

The paints themselves consist of four different ingredients: 1) pigment, 2) gum arabic, 3) additives and / or preservatives and 4) solvent. The gum arabic fixes the paint to the support (usually paper or parchment). The additives (usually glycerin or honey) change the consistency and durability of the paint. The solvent (usually water) evaporates as the paint dries or hardens. Some mistakes can be "lifted out" by a process of re-wetting the paper and removing the unwanted area with a brush or paper towel. However, the ability to use this method depends on the specific pigment. Some pigments are more prone to leaving stains than others.

Modern watercolours are sold either in tubes or in pans with small dried cakes of paint. We’ve broken this article down into three different categories – tubes, pans and gouache, which is a more opaque form of watermedia. Within the tubes category, we also made the distinction between professional and student grade products.

This article is the third installment in our series exploring the best brands for the three main types of paint media:
acrylic paints, oil paints and now watercolour paints. The brands are presented in alphabetical order – not by any sort of ranking system. We remind our readers that a “pro” for one artist might be a “con” for another (or vice versa). A section titled “Final Thoughts” at the end of this article provides a summary of our findings and our recommendations.

TUBES

Professional Grade Tubes

Blick Artists' Watercolours

PROS: affordable, good selection of colours, high pigment load

CONS: more binder than other professional brands, does not flow very well, some separation of pigment and binder in the tube

The general consensus on Dick Blick’s line of professional grade watercolours is that they are perfect for the beginner / intermediate-level painter who wants a product of significantly higher quality than most student grade paints for a reasonable price. The pigment load is considered to be quite high, adding to the value of this particular brand. Several artists noted that the larger-sized tubes offer an even more economical option. However, it’s clear that the consistency of Blick’s paint leaves much to be desired. There was more than one complaint about the amount of binder in each tube and how this affected the way the colour could be spread across the support.

Da Vinci Artists' Permanent Watercolours

PROS: affordable, available in large quantities, high pigment load

CONS: air bubbles in the tubes, some colours can be a bit muddy

Like Blick’s brand of professional grade watercolour paints, Da Vinci Artists’ Permanent Watercolours are also prized for their reasonable pricetag and pigment load. However, they have the added benefit of also having a smoother consistency. They flow and diffuse well, and they also mix well with other colours and brands. A few artists stated that they also never had to deal with the annoying problem of paint drying in the tube – even after several years of disuse. There were a few reports of defective tubes and displeasure with the vibrancy of the colours, but most seemed to be quite happy with the quality offered by Da Vinci. It is a favourite with many artists, some of whom have been using this brand for more than 10 years.

Daler-Rowney Artists' Watercolours
PROS: mixes well, high pigment load, re-wet easily

CONS: sticky, syrupy consistency

Though we didn’t receive an overwhelmingly negative response to Daler-Rowney Artists’ Watercolours, we also didn't receive a response that was overwhelmingly positive. It seems to be a solid brand with an adequate pigment load. The price is reasonable and it mixes well with other colours and brands. The range of colours is wide and appropriate for glazing. At least one reviewer was very disappointed with the texture of the paint and likened it to syrup.

Daniel Smith Watercolours

PROS: great colour selection, high pigment quality and load, mixes well

CONS: expensive, some separation in the tube

Manufactured by hand in Seattle, Daniel Smith offers two different variations on the professional watercolour paint. His Daniel Smith Extra Fine Watercolours comes in a staggering range of 235 pigments, while the Extra Fine Luminescent Watercolours have an additional titanium-coated mica particle included to give them extra lustre and shine. Both products do have a sort of “graininess” to them, which can either be a pro or a con, depending on an artist’s personal technique and style. They mix well with other brands and though the price is quite high, several artists remarked that a “little bit goes a long way.”

Grumbacher Finest Artists' Watercolours

PROS: good value, re-wet easily, vibrant colour

CONS: poor consistency, dries unevenly, separation in the tube

With Grumbacher Finest Artists’ Watercolours, it appears that they’re either loved or hated. Fans of the brand praise its selection of colours and its relatively good value within the professional grade category. However, it is not well rated for glazing and / or washes and has a much more “solid” appearance than many other brands. We also received more than one complaint about the “gummy” texture of the paints when initially squeezed from their tubes and the underwhelming way they spread across the support. Some artists noted that the Grumbacher Academy Artists’ Watercolours (see our student grade section below) offer a better price to quality ratio.

Holbein Watercolours

PROS: does not dry out in the tubes, mixes well, good selection of colours

CONS: recently changed the colour names, some pigments are not very lightfast

Holbein produces two different lines of watercolour paint from its factory in Japan. Holbein Artists’ Watercolour Tubes offers the standard range of European pigments, while the Holbein Irodori Antique Artists Watercolours are modeled after pigments used by traditional Chinese and Japanese artists for the last 15 centuries. The latter are produced with pure pigment in gum arabic and are highly saturated, opaque colours. Both are quite smooth and don’t have the same “granular” texture that artists observe in a brand like Daniel Smith. The only criticism was that some of the reds in the Irodori Antique line are not as lightfast as some other brands. Also, one reviewer noted that the company recently changed the names of some of its colours, which could potentially cause some confusion for long-time users of Holbein’s paint.

M. Graham Artists' Watercolours

PROS: reasonably priced, high pigment load, do not dry out in the tubes

CONS: do not mix well, somewhat sticky texture

Because M. Graham uses pure honey as an additive, its Artists’ Watercolours line dry well on the support, but not in the tubes. This is great for artist who prefers a thicker, moister consistency. However, for the artist who likes to refill his or her pans with tube paints, beware. These particular paints do not mix well in pans because they will not adequately harden. It is recommended to mix them only with other M. Graham Artists’ Watercolours to avoid any unwanted effects on the consistency of this product. That being said, many artists were quite happy with M. Graham’s professional line, considered it to be a good value and a pleasure to use and are loyal to the brand.

Maimeri Blu Artist Watercolours

PROS: reasonably priced, re-wet easily, vibrant colours

CONS: limited selection of colours, can only be purchased online in many areas, do not flow well on the palette

Maimeri is an Italian brand that can be somewhat difficult to source from brick and mortar shops. However, its Maimeri Blu Artist Watercolours can be ordered from a number of online retailers. Artists valued its moist consistency and the electric quality of the colours. The gum arabic used by Maimeri comes from the Kordofan region of Sudan and is prized for its solubility. However, some reviewers were unimpressed by this feature and critiqued the flow of the paint across the support. We also noted some disappointment about the limited range of colours available.

Mijello Mission Gold Watercolours

PROS: very reactive to water, mixes well, high pigment load

CONS: confusing colournames, expensive, limited selection of colours

There seems to be some controversy surrounding the naming system used by Mijello for its Mission Gold Watercolours line. According to several artists, the colour name used by the company is not necessarily reflective of the pigments inside. However, to the best of our knowledge, this is not unique to Mijello and can be avoided by carefully reading the contents label before making a purchase. We do not believe that the company meant to be intentionally misleading. The products are also quite well rated for their vibrancy and for the way that they handle on the support.

Old Holland Classic Artist Watercolours
PROS: good transparency, high pigment load, blend well

CONS: not available in larger size tubes, expensive, sticky consistency

Old Holland is one of the oldest manufacturers in the business. The Dutch company has been producing artist-quality paints since 1664. They use more pigment than many other professional grade products and use a pure binder that creates a very thick and creamy consistency. Some artists like this aspect of Old Holland Classic Artist Watercolours,some don’t. The price is a bit higher than some of the other brands on this list, but many reviewers insisted that they “got what they paid for” in terms of value. The only major complaint was that the product is not sold in larger tubes, eliminating the possibility of purchasing a more economical size.

QoR Modern Watercolours

PROS: silky flow, vibrant and unique colours, re-wet easily

CONS: expensive, not available in larger size tubes

QoR (pronounced “core”) watercolours are produced in the USA by Golden Artist Colours. The name is derived from “Quality of Results,” a technical acronym. QoR paints are unique because they contain a revolutionary new polymer binder available exclusively in Golden products, which prevents cracking and creates a silky (or as some artists described it – greasy) flow across the support. The range of colours was characterized as “modern” and “funky” by several reviewers, who also said that QoR pigments cannot be compared to those of a more traditional brand, like Daniel Smith, for example. A recurring critique was the price, which some felt to be too high for the quality offered by Golden’s watercolour line.

Schmincke Horadam Aquarell Artist Watercolours

PROS: intense colour, mixes well, nice translucency

CONS: can only be purchased online in some areas, some packaging defects, expensive

Schmincke’s range of Horadam Aquarell Artist Watercolours includes 110 colours, including 70 that are made with pure pigment. Though they are quite expensive and can usually only be purchased online or at brick and mortar stores in Germany, where they are produced, the quality of this particular paint is considered by many to be quite high. Unlike some other brands – M. Graham, for example – Schmincke Horadam Aquarell Artist Watercolours can be squeezed into the company’s line of pan colours and left to dry and harden. Just a little bit of water will re-wet the paints and they are easy to use again. This brand is well-suited to glazing and washes because many of the pigments have a very nice translucency that is great for creating delicate layers of paint.

Sennelier French Artists' Watercolour Tubes

PROS: vibrant colours, nice translucency,larger tube sizes

CONS: expensive, some colours crack, lower pigment load

Sennelier recently expanded the palette offered in its French Artists’ Watercolour Tubes line of product to include more rich dark pigments. The 98 colours available are ground using traditional methods on a granite surface, but the content of the pigments have been updated to reflect modern advancements. Like Schmincke’s watercolours, Sennelier French Artists’ Watercolour Tubes can be used to refill pans. However, one artist noted that some of the yellow pigments cracked when left out to dry. Sennelier is also like Schmincke in the translucency of the paints. This brand is also very well suited to glazing and layering techniques.

ShinHan Premium Artist Watercolours

PROS: vibrant and unique colours, good value

CONS: offers fewer single pigment paints, not very lightfast

Though the lightfastness of a watercolour paint generally depends more on the specific pigment used than on the brand, we received several complaints about the lightfastness of many ShinHan Premium Artist Watercolours. According to one reviewer, the colours quickly faded to brown when the painting was exposed to sunlight. There were also some artists who recommended caution when purchasing products from this manufacturer because it could be difficult to determine which contain only pure pigments. However, most agreed that the price to quality ratio for this brand is acceptable and many were pleased by the wide range of exclusive colours offered by ShinHan.

Winsor & Newton Professional Watercolour Tubes

PROS: high pigment load, larger size tubes available, mixes well

CONS: poor labeling, expensive

Winsor & Newton Professional Watercolour Tubes might be the most popular brand among watercolour artists. This brand is valued for its high pigment load, smooth consistency and overall quality. However, because of the high demand for this “mainstream” product, many retailers offer special deals and promotions on a regular basis. Tubes come in two (and sometimes three) different sizes. Aside from the hefty pricetag, the biggest negative point for most reviewers was the somewhat difficult-to-read labeling.

Student Grade Tubes

Blick Liquid Watercolours

PROS: affordable, vibrant colour

CONS: thick and difficult to mix

The manufacturer recommends this product for use in the classroom and, in fact, many users are elementary and middle school teachers. However, we also read that Blick Liquid Watercolours can be used by professional artists to achieve a variety of different effects. It can be used in its pure form or diluted with up to four parts water to create washes. Artists who use a pouring or spraying method will also find value in this product. However, some reported that the paint is quite sticky and difficult to evenly dilute.

Grumbacher Academy Artists' Watercolours

PROS: affordable, can be mixed with professional grade products, wide range of colours

CONS: colours are not necessarily true to colour chart, chalky texture when dried

This particular student grade paint is used by student and professional artists alike. The price makes Grumbacher Academy Artists’ Watercolours an excellent choice for the painter on a budget, without having to sacrifice too much in regards to quality. The application of this paint is smooth and many artists were pleased by the selection of colours available. The Academy line also mixes well with Grumbacher’s professional line. One major issue is that the colours in the tubes are not reflective of the colours on the charts provided by the company. Therefore, it’s recommended to try each colour out before purchasing, if possible.

Winsor & Newton Cotman Watercolour Tubes

PROS: affordable, wide range of colours, mixes well

CONS: some colours are a bit grainy

Winsor & Newton Cotman Watercolour Tubes are made with traditional pigments and with some synthetic ingredients to keep costs more reasonable for the student artist. This brand is quite popular among beginners, but opinions are divided among professional artists. Some say that Cotman Watercolour Tubes are of high enough quality to complement a collection of more expensive, professional grade paints. Others strongly disagree and recommend sticking to the artist quality products. At such an affordable price, we feel that it’s worth trying out a colour or two from this brand to see if it has a place on your palette.

PANS

Finetec Artist Mica Watercolours

PROS: subtle shimmer, look great layered over dark colours

CONS: slow to react to water, expensive, not very heavily pigmented

This product is made with mica, a mineral that adds sparkle and shine to watercolour paint. Finetec Artist Mica Watercolours can be used to add highlights and definition to a watercolour painting or for calligraphy projects. They are available in a set of 6 or a set of 12 colours and are noted for the subtlety of their shine. Several artists recommended spritzing the cakes with water and allowing them to sit for a few minutes before use, to really allow the mica to activate and the colour to become more opaque.

Grumbacher Watercolour Pan Sets

PROS: vibrant colours that do not muddy when mixed

CONS: no refill pans available, slow to react to water, expensive

Each Grumbacher Watercolour Pan Set comes with either 12 or 24 different colours, a brush and a small (5mL) tube of Chinese white. The manufacturer offers opaque and transparent colours in both sizes. The pans can be detached, but, unfortunately, refills cannot be ordered. Some artists noted that the paint handled better than Grumbacher’s paint in tubes and were pleased by how easily they mixed. One thing worth mentioning is the rather large size of this pan. This is great for artists who want more value for their money. However, the pan is quite heavy and must be placed on a table, rather than held in the hand. It’s not the ideal choice for painters who want to travel with their watercolours.

Pelikan Watercolour and Gouache Pan Sets

PROS: affordable, compact size, durable packaging

CONS: does not mix well, gouache pans can be somewhat chalky in consistency

This German brand of pan sets also comes with either 12 or 24 colours, with the option to choose a more opaque or transparent palette. Some reviewers reported that the opaque palettes had an undesirable grainy consistency, but this is often true of gouache paints. The quality and compact size of the packaging were mentioned several times and many artists said that Pelikan Watercolour and Gouache Pan Sets are perfect for traveling. The price to quality ratio appears to be quite reasonable. However, one artist pointed out that it’s much cheaper to buy an entirely new set than to buy a full set of re-fills.

Raphaël Watercolour Travel Pan Set

PROS: vibrant colours, good flow, includes a colour chart

CONS: the included brush is quite small, not a lot of room for mixing colours

Shaped like a round make-up compact, this pan set includes 10 half pans of student grade watercolours and a small watercolour brush. It fits perfectly in a backpack and is great for doing watercolour sketches on the go. A very handy little colour reference guide is also included in the set, to demonstrate the actual colour of each paint once dried. The biggest downside to this product is the relatively small area provided for mixing colours. Therefore, the Raphaël Watercolour Travel Pan Set is best for an artist who mixes paints on a more limited basis.

Rembrandt Watercolour Pan Sets
PROS: smooth texture, includes high quality sable brush, good selection of colours

CONS: colours are weak

The Rembrandt Watercolour Pan Sets come with either 12, 24 or 48 pans of triple-ground pigmented colour, combined with a special gum arabic mixture as a binder. Several watercolourists noted that having a set with 48 pans of colour is a lot more convenient than having 48 tubes of colour. The texture of this product was routinely praised and many artists were delighted by the included brush, mixing trays and travel case. However, there were a number of complaints about the vibrancy of the colours. If you are an artist who prefers to paint in layers and washes, this is unlikely to be a problem for you. However, if you’re searching for a more opaque product, Rembrandt Watercolour Pan Sets are probably not for you.

Sakura Koi Watercolour Sketch Box Travel Pan Sets

PROS: affordable, convenient size, nicely opaque colour

CONS: colour pans are very close to each other and can dirty easily, sponges not very absorbent

Sakura Koi offers its Watercolour Sketch Box Travel Pan Sets in 12 and 24-pan sizes. Both are roughly the size of a postcard and include a sponge and a refillable water brush. Colours can be mixed in special compartments molded onto the inside of the set’s plastic lid. The quality of the paint has been compared to Winsor & Newton Cotman (student grade) Watercolour Tubes. They are quite a bit more opaque than other watercolour sets in this category. The extras included with the set, namely the sponges and brush, are a nice convenience, but not of particularly high quality. It’s a good product for beginner to intermediate-level watercolour painters.

Schmincke Horadam Aquarell Watercolour Pan Sets

PROS: multiple size options, high pigment load

CONS: expensive, flimsy packaging

You can purchase the following options from Schmincke’s line of Horadam Aquarell Watercolour Pan Sets: Full Pan 12, Full Pan 18, Full Pan 24, Half Pan 24, Half Pan 36, Half Pan 48 and Half Pan 8 in a metal travel box. The smallest size is very easy to hold in the hand because it features a finger ring at the bottom. However, it does not sit well on a table or flat surface because the lid of the set flips backwards. This is something to take into consideration if you plan to use these colours in your home or studio, rather than en plein air. The quality of the paint itself does appear to be a bit higher than most student grade watercolours.

Sennelier French Artists' Watercolour Half Pans

PROS: mixes well, re-wet easily, intense colour

CONS: colours are sometimes sold out

Sennelier French Artists’ Watercolour Half Pans seems to be a favourite among the artists of the WonderStreet community. This brand is one of the few to offer watercolour pans that utilize honey as an additive, which gives these colours a remarkable lustre. It also ensures that they wet and re-wet quite easily. Reviewers were generally pleased with the pigment load and consistency of Sennelier’s paints. They also liked the portability of the set. Another positive aspect is that colours can be purchased individually to create a customized set. However, there were some complaints that certain colours could be difficult to source and were often sold out at major retailers.

Winsor & Newton Watercolour Pans

PROS: affordable, wide range of colours, mixes well

CONS: complicated packaging

Winsor & Newton offers 14 different products split between its “Cotman” student grade and professional line of watercolour pans, including field box sets and lightweight sketcher’s box sets As with the Winsor & Newton Watercolour tubes, both its student and professional grade pans are immensely popular with artists of all skill levels. Some of the Cotman sets were negatively reviewed because each pan is wrapped very tightly in plastic wrap, making it a pain to open and begin using right away. Some also complained that the Cotman sets were even smaller than anticipated.

Yarka St. Petersburg Professional Watercolour Pans

PROS: creamy consistency, vibrant colours, mixes well

CONS: pans do not fit well in the case, some colours do not hydrate well

This brand, which is manufactured in Russia, offers five different options for its watercolour pans: the original set with 24 traditional colours, the expanded set with 24 more exciting colours, the master set with 12 colours presented in a wood box, the sequel set with 24 additional colours and the ultimate set with 36 colours. The quality of Yarka St. Petersburg Professional Watercolours is often compared to that of Daniel Smith, so these are considered to be a top-of-the-line product. Our artists were delighted by the high pigment load and brightness of the colours and while most of them wet quite easily, there were one or two colours that proved to be more disappointing because they did not react well to water.

GOUACHE

Da Vinci Professional Gouache

PROS: available in larger size tubes, high pigment load, does not dry out in the tube

CONS: sticky texture, does not dry evenly on the support

Most of the artists who reviewed Da Vinci Professional Gouache said that it probably belongs in the student grade of gouache paint, but that the size of the tubes and affordability made it a good option for a professional artist on a budget. Da Vinci offers twice the amount of paint for the same price as many other brands in this category. However, a common complaint was that the colours had a very gummy or tacky texture when they were squeezed out of the tube, that they needed to be diluted and that, even after dilution, they did not dry very evenly on the support.

Holbein Artists' Gouache
PROS: vibrant colours, smooth texture, mixes well

CONS: expensive, lower pigment load, not available in larger sizes

Holbein Artists’ Gouache seems to be a solid choice for gouache colours. It has many loyal fans, who appreciate the overall quality of the brand. Many are devoted users of Holbein’s other watercolour products. However, some artists feel that the colours are too thin and do not spread well across the support. There is also some dissatisfaction about the price and the smaller 15mL quantities available. Though its considered by many to be superior to Da Vinci Professional Gouache, the latter might be a better choice in terms of value.

M. Graham Artists' Gouache

PROS: creamy consistency, re-wet easily, no chalkiness

CONS: some separation in the tube, some colours do not mix well

In general, M. Graham Artists’ Gouache was very well reviewed by our artists. They found to the overall quality to be a step above other brands in this category, particularly because the M. Graham paints do not leave behind the “chalky” residue that is so typical of gouache colours. Instead, the finish is matte and smooth. Aside from a handful issues that were very specific to certain pigments and some separation of the pigment and medium in the tube, which can be remedied by kneading the tube to mix it before use, our artists were quite happy with M. Graham. The creamy consistency and vibrancy of the colours was frequently noted.

Schmincke Horadam Artist Gouache

PROS: high pigment load, unique colours, re-wet easily

CONS: uneven flow, expensive

Schmincke Horadam Artist Gouache is one of the most expensive gouache brands available on the market and while the artists of the WonderStreet community generally agreed that they are high quality, they were not entirely convinced that the quality justified the price. Some artists who had previously mixed their own gouache to achieve a higher pigment load were very pleased with the pigment load of Schmincke. Many said that the colours did not leave behind a chalky residue when they dried on the support, but at least one reviewer noticed that the finish was a bit “streaky” and uneven.

Winsor & Newton Designers Gouache

PROS: mixes well, vibrant colour, creamy consistency

CONS: small tubes, labels are difficult to read

As with Winsor & Newton Professional Watercolour Tubes and Winsor & Newton Watercolour Pans, Winsor & Newton Designers Gouache is quite easy to find in stores, reasonably priced and of sufficiently high quality to make it a favourite among our artists. Several referred to it as the “workhorse” of gouache paints. The only major complaints were about the packaging. Winsor & Newton only offers a few of its gouache colours in larger sized tubes. Also, the small print on the labels is very difficult to read.

Final Thoughts

With such a wide selection of products and brands reviewed, it’s a difficult task to narrow it down to a handful of favourites, especially because painting materials and supplies are often a matter of personal preference. However, we’ve done our best to consider the pros and cons for each brand before giving our general recommendations.

For the professional artist who enjoys painting with watercolours from tubes, there seems to be no product more highly rated than Daniel Smith Watercolours. Other favourites for the watercolourists in our community include: Holbein Watercolours, Schmincke Horadam Aquarell Artist Watercolours and Winsor & Newton Professional Watercolour Tubes.

For the watercolour student, we recommend Blick Artists' Watercolours. This particular product falls under the “professional grade” category, which means that the quality is much higher than student grade paints, while the price remains accessibly low. The Winsor & Newton Cotman Watercolour Tubes are also an acceptable option because of their affordability and ease of use.

If pans are more your preference, Sennelier French Artists' Watercolour Half Pans may be the ideal product for you. They are customizable and our artists were pleased with the lustrous texture provided by the brand’s honey additive. We also think that the Raphaël Watercolour Travel Pan Set is the best option for the watercolourist on the go, because it offers a compact size without making sacrifices with regards to quality.

Finally, in the gouache category, our artists found M. Graham Artists' Gouache to be the superior product because of its smooth, matte finish.

Using Grisaille With Watercolours

The latest issue Watercolor Artist magazine has an article about an artist using the most interesting approach for his watercolours.  Tim Saternow uses grisaille as an underpainting. This technique is normally associated with oil and acrylic painting.

I didn't know much about this technique and had to research it. Some artists execute a grisaille for its own sake  while others use it as an underpainting. A grisaille allows the artist to focus on composition, shape and values and not have any distractions from the colours.  Grisaille paintings often time resemble monochrome drawings.  When used as an underpainting, successive layers of transparent colors are glazed over the grisaille to finish the process. This layering technique helps achieving great realism and luminous effects.

This technique can also be adopted by watercolourists. First start with a monochrome underpainting. Once the underpainting is dry, add layers of  transparent washes.

There are a number of different ways to create the first layer of underpainting for your watercolour.:

• You can use watercolours. Apparently, the most commonly used color for underpainting with watercolours is purple (a mix of cadmium red and ultramarine blue works very well). Artists also have had success with neutral colors, such as blue or green.  The artist in the article mentioned above uses Paynes Gray

• A light wash of India ink also works, as long as the ink is waterproof so it won't smudge once dry, allowing you to paint watercolour on top.

• It's also possible to use a graphite. Since you do not want the water to dilute and muddy your colours, add a fixative before starting to paint so the water doesn't disrupt the graphite. However, the fixative will impact the behaviour, including the absorbency, of your paper.

Depending on the colour of the grisaille, it will certainly set the mood of the painting.

This week's artist find is Tim Saternow (mentioned above)

Have a great week,

Danielle

Supportive family member

Many of us have a partner who supports our artistic activities. Recently I read an article that provided advice to those who are close to artists. Here is a quick overview of the tips they had for our supporters:

• accept and do not attempt to change the artist even if there is an appearance of non-conformism;
• respect the way the artist works which may include the need for solitude or odd hours dedicated to painting;
• attempt to understand the artist's goal even if they may appear non-conventional;
• when times get difficult, continue believing in the artist;
• make any contribution that you can such as keeping inventories, assist with finances, set up at art fairs, help with the resume, etc.;
• never stop telling the artist that you continue to believe in their art, especially through difficult times;
• be present at show openings.

I hope that you are as lucky as I am and have someone who constantly shows their support.

Today's artist find is Chan Dissanayake

Have a great week,

Danielle

What is a colourist

When an artist claims they are a colourist, what do they actually mean. I know some local artists who claim they are colourist. How does one know if they are a colorist or not? As an art admirer, how does one determine if they are looking at an artist who is a "colourist?"

Many believe that a colourist is one who is more concerned with the play with colour and who will exaggerate a colour, or use an unexpected colour rather than the colour that is really there.  Colourists also seem to have an aversion to greyed colors. They'd rather play with pure colours and insinuate gray, than "dull" down a passage with grays.

Others believe that a "colourist" depends on the impact of colour and is less interested in 3D form as achieved through light and tone.

Today's artist find id Marc Folly

Have a great week,
Danielle

Value of stretch learning in arts

When you choose a photo to paint do you always select one that you are confident that you could succeed with? If that's the case, you are most likely staying within my comfort zone. The learning experience remains limited when an artist stays in that zone and doesn't stretching him or herself.

If you decide not to push yourself and stay in the comfort zone, there is a risk that you won't be learning as much as you could. 

There are three learning zones: the comfort zone, the stretch zone and the panic zone. Most of us naturally drift towards the comfort zone. However, the main place that learning and development takes place is in the stretch zone.

How do you know that you are approaching a stretch zone? You will likely get butterflies or feel the urge to walk away or give up prematurely.  Whatever the sign, it is important to recognise that it indicates your personal stretch zone and an opportunity to make a decision there and then to grow. If you don’t take up jump you might never do so

You might think that if working in the stretch zone helps improve your skills, then working in the panic zone is better (more is better yes?). Unfortunately, research has demonstrated that this can lead to ineffective learnings and weaker performance.

If being in the stretch zone is challenging why do some artists push themselves?  The answer probably lies with the artist's desire to better their art.

This week's artist find is Nicola Morrin

Have a great week,

Danielle

Chagall Exhibit in Montreal

A week ago I had the pleasure of seeing the Chagall exhibit at the Montreal Museum of Fine Arts.  This was a large exhibit that highlighted the importance of music in the artist's work.  There are about 340 works on display, including paintings, sketches, costumes, sculpture, ceramics, lithographs and stained glass. The exhibit is unique as it has on loan works from other museums, private collectors and from the artist's family.

It was fascinating to see the many medias he worked in and how his background influenced his art.  It was not only interesting, but moving to hear his story.

The Jewish artist was born near Vitebsk, in what is now Belarus, in 1887 and lived to almost 100. He made art in a variety of media for eight decades, working around the globe and living in several countries, including France and the United States.  Chagall had a unique style that was influenced by cubism, fauvism and surrealism with Jewish folk art.

The highlight was seeing the 40 costumes he designed for ballet and opera. These were truly inspiring and beautiful.  The stained-glass windows he created for the Metz Cathedral in France were also worth seeing. 

Although I have respect for the art and its unconventional use of luminous colours, most of it was not aligned to my personal taste.  However, the art piece I do like is the painting on the ceiling of the Opéra de Paris which I have seen a couple of times.

This week's artist find is Nina Petrovskaya.

Have a great week

Danielle

Escoda brush losing its point

I'm having challenges with some of my Escoda Reserva sable brushes. For some reason, some of  the brushes don't seem to be able to come back to a sharp point. Is anyone else having the same issues?

There might be a few causes for this:

• the longest hairs of the tip of the brush may have been broken or split.
• since I paint mostly on rough paper, it's possible that the hairs are wearing down.
• dry brushing may also be damaging the brush.
• could be that I'm too rough on my brushes.

I've had these Escoda brushes for a couple of years. What's a typical lifespan of such a brush?

I love how much water these brushes hold, therefore, I hope that I can continue using them for a while longer. I appreciate any tips you can give me.

A number of people have moved to synthetic brushes because they have gotten so good and are far less expensive and you don't have to worry about treating them gently enough. They also generally stand up very well to rougher painting techniques.

Today's artist find is David Chauvin.  I adore his style.

Have a great week,
Danielle

Trying out Moulin de Larroque paper

A few weeks ago I was in a different city and found a different brand of paper - Moulin de Larroque.

I purchased one extra large sheet and one regular sized sheet, both of them rough and 200lbs.  The regular sheet was to practice on before I start on the large sheet since I've already had one bad experience with a different brand of paper.

I've been painting on the regular sheet for the past week and here are my observations:

• The sheets are very very white
• The texture is uneven and highly irregular (see photo below). As a result,
• the paint flows in very unpredictable directions and is difficult to control
• it is not possible to have precise edges
• it is not possible to draw straight lines
• blooms would be difficult to create
• produces different effects.
• The outside are not parallel and the corners are rounded, hence the paper is not a perfect rectangle
• The surface has great sizing as the paint does not immediately sink in. This makes it easier to paint wet in wet. To lift paint, it's easiest to wet the paper, and then lift gently with a paper towel
• The surface is fragile. It does not take well to the scrubbing brush.  The surface is easily damaged. The thin rolls of paper break with little pressure.
• The paper also does not handle Pebeo or W&N masking fluid. It tears the thin sheets of paper.

This week's artist find is Sandra Busby. She paints gorgeous still life paintings but you'll find some humour in some of her paintings.

Have a great week,

Danielle

Painting trees in winter

Painting trees in a winter landscape requires an important amount of observation, as does a number of other subjects.

It's important to notice the different parts of the tree: trunks, limbs, branches and twigs. These follow a certain growth pattern. One example is how the limbs attach to the tree. Branches are heavy and have a base to support them. There are usually a high number of branches and twigs. Also branches always divide in two at the ends.

Look carefully and you will see that the thicker the limbs are the darker they become. Pick a major limb and follow it until its end. See how the value lightens in the same proportion, as it becomes thinner until they practically become invisible by merging with the sky. Obviously it will be too overwhelming to paint every limb and branch that a real trees has. As always artists must simplify.

It's also important to notice that branches never grow straight. They form nice angles that give them their character. Some trees have more gnarled branches than others.  Another point to consider is the angle of the tree branches as they split form the larger limbs. The lower the branch the more open the angle. As the tree goes higher the angles tend to close.

Consider the following:

• Make sure both sides of a limb don't run straight and parallel to each other and/or other limbs.
• Make them look round by lightening the value where the light hits and rendering reflected light.
• Consider that some branches project outward towards you and farther from you, the latter would lighten in value even if the branches were thick.
• Limbs will cast shadows onto each other on a sunny day.
• Add character by putting in cut off limbs, squirrel holes, bark peeling off, leaves that didn't fall, a bird's nest, etc.
• The shadow side will pick up some reflections from the sky. Add touches of sky color to this area.
• Variegate the color of bark. Even though in nature their color seems to be a brownish gray add blue combines with siennes, umbers, ochers, reds, even green moss. Mix these colors on the paper instead of the palette.
• Preferably don't allow your tree to shoot up straight. A leaning tree is more interesting. Make sure it leans into the picture.
• At the top of the tree there are many little branches, many more than at the bottom.
• Don't allow the tree shape to fit into any geometrical shape such as ovals, circles, triangles (for pine trees) etc.
• Don't overdo the amount of branches. Open areas are good for breathing space.
• Some branches break off during their life span.
• Snow stuck to branches is a lovely sight.

Today's artist find is Edmond Henry Osthaus.

Have a great week,
Danielle

Challenges of staining colours

Ever notice that some paints are more difficult to lift or leave stains on your plastic palette.  Once applied on paper, these colours will sink quickly into the fibers of the paper making it difficult to “lift” or remove.

Some colours such as phthalo blue or dioxazine violet stain quite heavily.  No amount of sizing can change the fact that the paint is difficult to lift.  Apparently many of the staining pigments are synthetic organic or inorganic pigments.  It appears that recent manufacturing methods produce pigments that are more staining and less transparent.

It might take some time to learn which colors are staining. To speed up the process you can easily test them by painting squares of color on paper  and allowing them to dry completely.  Then run the paper under water and use a clean brush to gently scrub the paint swatches and rinse off the paint. Any colors that sit on the surface of the paper will come off, but those that sink into the fiber of the paper will leave a stain.

The easiest way to identify a staining colour is to read the labels on paint tubes.

Today's artist find is Dan San Souci

Have a great week,
Danielle

Inventory of your paintings

If you've been painting for a couple of years, it's likely that you have a few paintings around the house or studio. As a result, you have probably said to yourself  that it’s time to make a list of your paintings for a number of reasons including  making sure that the works are adequately insured and know what has sold for how much. Keeping an inventory of your paintings could appear to be a daunting experience and you might have been procrastinating about it.

In reality, preparing an inventory of your art is not that hard to do, as long as you understand it takes time and as long as you have a system.

So where do you start? Here are some of the information you should keep

• title;
• date of creation;
• measurements;
• sale status;
• client name if painting has sold;
• exhibits where painting has been exposed; and
• small image.

Some people suggest numbering all of your paintings.

All of the above can be easily stored in an Excel spreadsheet for tracking purposes. There are also online service for inventory of your art.

In addition, some artists have labels to the back of their paintings to provide some of the information you are looking for.

This week's artist find in Matthew Bird:

Have a great week

Danielle