Watercolour Brushes Pt 3 - Mops

Following up the previous brush posts, one on synthetics the other sables, comes the third instalment -  Mops. Although I have a number they are not my brush of choice. I've used them only sparingly so once again I have enlisted my good friend John Softly to do the honours. 

MOPS by John Softly

If you know your history you will be aware that Edward Wesson was the first artist to use - and popularise - a French Polishers mop for watercolour. I have no information as to when it was that Ted first started using the French Polishers mop but he purchased them initially from France. In an article in the May 1980 edition of Leisure Painter he wrote "Personally I have always used squirrel haired "polishers mops", and in the smaller sizes, a selection of Daylons (nylon) and oxhair". We can therefore  assume that he was using them prior to his stint in the army in WW2. According to Herrings of Dorchester, artists themselves, they first began getting requests for these brushes from Wesson some time after the Wars end and, after great difficulty,  found them in France. Later they got to know him personally as he held many workshops in Dorset, not far from the Herrings shop in Dorchester PW. 

French Polishers Mops  (Isabey)

I  purchased four French Polishers mops in 1973, for French Polishing, from an artists supply retailer but none came to a point and were, what we call today a wash brush. As far as I can recall none came to a point. Those Ted bought did come to a point and they were his main brush throughout his career.

Today there is more written, and questions asked on forums, about mops than any other brush type. Traditionally made of squirrel hair with a quill ferule, bound with wire, but nowadays more are metal ferruled and synthetic versions are coming onto the market as popularity grows.

Not only are there mops in rounds but we have the Petit Gris, cats tongue, or filberts which, thanks to artists like Gerald Green and John Hoar, are increasing in popularity. Flat squirrel hair, one stroke brushes, are also available but it is debatable whether these come under the `mop' banner.

Possibly the major drawback with mops is sizing as there is no standard between manufacturers (this also applies to rounds in both synthetic and sable. PW. John says in response to this as follows: "Your comment is certainly correct but in round sables and synthetics, a Number 10 say can differ in size by a few mm in hair length and diameter but usually smaller to make it an 9 or 8. With mops sizing means little. Alvaro's go from 00 to 10. Harmony from 1 to 10, Jacksons from 6 to 22, Isabey from 3/0 to 10, W & N from 000 to 12 and Da Vinci from 0 to 6. Unless you know exactly what you are getting it's best to ask the retailer actual size or buy from Jacksons - they list ferrule sizes in their catalogue!"). The rounds are the problem as Petit Gris and flats are usually sized in fractions so when you order - for example - a three quarter inch brush you know exactly what you will get. If you order a No 8 round mop you will have no idea what the size will actually be. Some online retailers list hair lengths and diameters, where the ferrule meets the hair, which takes the gamble out of purchases.

Alvaro Castagnet

Prices vary across the range  with the Isabey - made of Kazan squirrel hair supposedly the best - and the Neef Alvaro Castagnet series at the upper price level with others somewhat cheaper. As usual one gets what one pays for and the hair on some of the cheaper brushes would appear to have started life on the tail of a feline (see what is said on this issue of `authentic' hair in the article on sables. Why should mops be any different? PW). One of the better budget sets is the Harmony brand from  Jerrys Artarama, a large American online retailer. You don't expect Kazan squirrel hair from Siberia at this price but I found them to be good, a no frills mop, albeit the hair a little coarser than most.

Harmony

Cats Tongue

It is purely conjecture on my part but I believe the Isabey genuine mops as used by Wesson were, and are, considered the Rolls Royce of mops. While I am not swayed by artists endorsements, Escoda have most high profile artists tied up anyway, I have bought mops with an artists name on the handle. The full set of Neef brushes marketed under Alvaro Castagnets name, and the single, metal ferruled, Escoda mop that Steve Hall sells. The Neefs have a longer handle and hair than most and I purchased them because other Neefs in my collection have performed faultlessly for 20 years.

Neef also do a synthetic mop which has had good reviews but I went with the Neptune brand. They only offer 3 quill mops, 4, 6 and 8, but their synthetic hair is very close to squirrel and by far the most popular synthetic quill mop brush on the market. I've not come across either the Harmony or Neptune brands on sale in the UK. PW

I bought the Steve Hall brush on impulse when buying his book, and whilst I find it a nice, long-haired, brush, softer than most, it is inclined to be uncontrollable when fully loaded. Rosemary & Co make some generic brushes for the British online retailer Jacksons, but I am unaware if mops are amongst them. Jacksons mops however are an excellent product and like all Jacksons own label brushes, built to a quality. rather than price, which is why I suspect Rosemary & Co are involved.

Jacksons Mops

Steve Hall, Princeton Neptune's and Rekab No8.

Rosemary makes  a series 1 Kolinsky quill brush and Jacksons a  series 777 synthetic quill, see the article on synthetic brushes. Although Rosemary calls her Kolinsky quill a mop there is nothing mopish about her high end series 1. They may bear a resemblance to a mop but are round Kolinsky sables and priced and perform accordingly (here I disagree slightly from what John writes based on my own experience with one of these mops, although mine was bought under the old ABS label. PW).

Traditionally polishers mops have quill ferules tied on with wire, the quill coming from the feathers of ducks, geese or swans, depending on the size of the brush. These days manufacturers use firm plastic sheeting in lieu of natural feather quills, but even if plastic it's still called a quill.

There was a time when all round brushes had quill ferrules rather than metal. Sizes took the name from the bird which the feather came from - the smallest a lark, which was the equivalent to a number 2 or 3 modern brush through thrush, crow, duck, goose ans swan - the Americans even had eagle in the mix! The hair was glued into the small end of the quill and the handle, referred to as the "stick", in the larger end but no glue - just a friction fit.

Due to the amount of water mops hold it is important they are dried with the hair pointing down in order that moisture doesn't creep into the ferrule, expanding the wood thus causing hair to be shed. Perhaps I would have more hair than I have today had I been suspended upside down after every shower.

Almost every high profile artist has at least one mop in their arsenal and I'm sure Ted Wesson would be surprised to see just how his mop, which was considered something of an oddity in the 1950s and 60s, has become a standard watercolour brush.

I am aware I have too many mops but, there again, like Peter, when It comes to art materials I have too much of everything, but if I hadn't got them I couldn't review them.

Peter Wards Mops

The top three brushes are Isabey, the large 4th one is a Rosemary squirrel (ABS), the 5th the Da Vinci Artissimo 44 size 2, while the last one is the Kolinsky sable mop series 1 ABS (Now Rosemary) size 4. The Da Vinci 44 size 2 approximates to a size 14 round, although a different shape so you can judge roughly what the other brushes equate to.. Look at the splayed out Kolinsky series 1! Even when loaded with water it doesn't point terribly well and is only useful as a wash brush (in my experience) PW.

My experience with mops is very limited. Currently the only one I use is the Da Vinci Artissimo 44 size 2. Initially I liked this brush very much but have gone off it a little, mainly because the hair became detached from the ferrule, although it was easy to put back in. I am afraid I am not a fan of the Rosemary series 1. Actually it was purchased under the old ABS label but I believe the brushes are the same.

That's it then folks. Thanks John for taking the trouble to produce this and give us the benefit of your experience. 

Turquoise PB16 (Pigment Blue 16)

A few months ago I purchased a few of the German Lukas paints to try. I had read some good reports about them and  they are very well priced, although the standard tube size, a large 24ml, might put some artists off - but they also have pans.  Great Art are currently running a `special' on the pans. With quality watercolour paints now excruciatingly expensive, a more economical alternative is welcome.  This is the price situation with Lukas in Europe but prices may be higher elsewhere, certainly in Australia, according to my friend John Softly.  I did cover the Lukas range in general recently (January 2013) so if interested you might  refer to that. There are certainly colours worth buying as you can mix paints from several manufacturers whatever may be said to the contrary.

 PB16 is one of the phthalocyanine pigments epitomised by the popular PB15, which appears in all ranges and comes in several versions. PB16 is described by Handprint as "a lightfast, transparent, heavily staining pigment, moderately dark to very dark valued".  Bruce also rates it as a `Top Forty' pigment.  It has been slowly gaining popularity and is available from seven manufacturers. Winsor & Newton call it `Phthalo Turquoise', Maimeri `Turquoise Green', Lukas `Turquoise', Old Holland `Caribbean Blue', Schminke `Helio Turquoise' , Holbein `Marine Blue' and Da Vinci `Phthalo Turquoise'. When Winsor & Newton introduced it Bruce McEvoy said Daniel Smith were sure to follow. So far they haven't but do have the superb Cobalt Teal Blue (PG50) which many prefer. A criticism of the Phalo pigments is that they are heavily staining and the colours can appear harsh and unnatural. On the plus side they are very lightfast and transparent. I used to think the colours were harsh but have changed my mind somewhat. They are also excellent for mixing with several other paints

The top left and middle paint are both PB16, the Lukas and Maimeri versions. I don't see much difference, the Maimeri perhaps slightly darker but that may be down to my mixing not the paint. For comparison purposes I have added the Maimeri  Primary Blue Cyan PB15:3  (Green Shade) which looks very similar and is the PB15 version most often offered. When you do swatches like this it does make one think and perhaps alter the existing perceptions you have. For example is there any point in not just having the PB15:3? Incidentally Lukas have several versions of PB15  (PB15:1 to PB15:6) in different blues as well as PB16.  Names vary with Phalo Blue, Cyan Blue as examples. I recommend always check pigments numbers and don't be seduced by names.

I gave both Yvonne Harry and Jan Weeks of Avon Valley Artists blobs of the Lukas colour to try. Yvonne liked it but is resisting buying any more colours as she has so many, and dreads me coming along - again - saying try this one! Jan much prefers Cobalt Teal Blue from Daniel Smith. I think there is room for both as the shades are distinct but certainly only in an extended palette of 20 plus colours. Look however at the W & N Cobalt Turquoise and compare it to the Daniel Smith Cobalt Teal Blue.

Just out of interest I have included a swatch of Rowney Cobalt Magenta (PV14) more for my friend John as anything else. He has been trying to find one that suits him and appears to be settling on the Graham version. John has tried Rowney, but his is the old version called Cobalt Violet while that above is from the current Rowney range. It granulates beautifully, although a rather weak colour which is a feature of PV14. I did have some little trouble with it which I related in the piece I wrote on the problems with the Graham Mineral Violet PV16  (October 2012 Problem Pigments). Compared to most other PV14 paints the Rowney and Lukas are the most economical price wise, but they are not consistent across makes, as a swatch John put on Wetcanvas of  several PV14s showed  a wide variation.

The compliment to PB16 Turquoise is orange, Handprint say Perinone Orange (PO43). I think it  great with the Schminke Transparent Orange or Lukas Permanent Orange, both PO71. 

Lukas is available from Atlantis Art in London who do mail order www.atlantisart.co.uk/ but the website  seems well out of date, Great Art www.greatart.co.uk/ and W.E Lawrence www.lawrence.co.uk/. In the USA and Canada it appears Jerry's Artarama www.lukasamerica.com/ have the franchise  If anyone has any information to add to the above or  other comments I'd be pleased to hear them.

PO48 & PO49 Quinacridones

PO48 and PO49 are two of the more interesting pigments, transparent and staining,  currently offered by a few -  very few - paint manufacturers. They are both synthetic pigments classified by Handprint in the `Earth' colours section and rated as `Top Forty' pigments. In the case of PO49 Quinacridone Gold the only source of the actual pigment is Daniel Smith and how long that will continue is a large question mark, as according to Handprint, pigment production ceased years ago, due to lack of demand from the automotive industry. As has been said the paint manufacturers are at the back of the queue, a long way behind the automotive and chemical industries so have to take the scraps!. One or two instances have come to light recently of manufacturers changing the formulation of their paints, yet the packaging and literature have remained unchanged. In other words what you see is not what you get! I wonder how this would play with trading standards? It would be foolish to expect the manufacturers to alter everything for the odd pigment substitution, but is to be hoped this isn't something that becomes widespread. When I have asked questions to at least two manufacturers  I received no response.

When Quinacridone Gold was originally introduced Winsor & Newton, Sennelier and Daniel Smith all listed it. They still do but, with the exception of Daniel Smith, the current paints are multi-pigment mixes that should correctly be called `hues'. In the case of Maimeri they changed to PY42 without telling anyone and the tubes still say `Quinacridone PV49'. Note PV49 which is and was incorrect and has never been altered. I found the Maimeri version, called Golden Lake, less than satisfactory. The Winsor & Newton Quinacridone Gold was called, by the doyen of Australian watercolour artists Robert Wade, as the `best thing for years'. It was a very nice paint and I still have two original full pans but is now a three pigment mix. I don't have it and while the shade may be similar the results of mixing it with other paints must surely be different.

From left to right we have Quinacridone Gold, Quinacridone Rust, Quinacridone Burnt Orange and Gold Ochre. Click on the photo to enlarge it. For more details go to www.handprint.com/HP/WCL/waterfs.html and then to the `Earth' section. I am not entirely happy with these swatches. The first attempt at photographing them turned out too light and using the colour adjustment feature has improved that, but there appears to be more difference between the two PO48 swatches than in actuality. My impression is that the Daniel Smith paint is equally rich if slightly redder. Gold Ochre is a lovely shade but very opaque.

The second paint featured is PO48 Quinacridone Orange. Handprint originally said production of this pigment had also been discontinued, but it appears this was untrue and it is currently available from at least three pigment suppliers. It is a lovely colour but the only sources, as far as I am aware, are Daniel Smith, Graham and Da Vinci. Graham call it Quinacridone Rust while the others Quinacridone Burnt Orange.  I have both the Daniel Smith and Graham paints and they are one of my favourites.

In the UK Daniel Smith paints are available from Jacksons www.jacksonsart.co.uk , Ken Bromley www.artsupplies.co.uk and a few others. Graham and Da Vinci only from Lawrence of Hove www.lawrence.co.uk . In the USA all  are freely available. I believe you can get Daniel Smith in Australia but (at a price). Whether any of the European art suppliers stock any of these makes is unknown, although Great Art certainly don't.  

Watercolour Brushes PT 1 - Synthetics

 For some time I have been contemplating doing a series of posts on brushes. The problem is that being a poor amateur I don't get free samples and can't afford to spend ever more on products just to review them. Over the course of the last few years I have become friendly with a number of fellow enthusiasts through Wetcanvas and Facebook.  John is one such friend. Originally from Norfolk, East Anglia, he is long established in Australia. John is a similar person to me in that he accumulates art materials, actually though he seems even more acquisitive!

I switched to sables fairly early in my painting hobby so don't have a great deal of experience with synthetic brushes. You will find many - not all - professionals advocate the use of sables. What some don't seem to understand is that many amateurs cannot afford the very high prices and even prefer synthetics. Yvonne Harry does and has mainly Pro Arte brushes, often bought as `seconds, at the annual Patchings Art Festival. I partly  persuaded her to try some of the Jackson's own label sables which they introduced last year but she still mainly prefers synthetics. Johns piece follows. All illustrations have been supplied by him.

Synthetic Watercolour Brushes by John Softly

These days synthetic brushes are, for many artists, a viable alternative to the traditional natural sable brush and the quest to produce a synthetic brush with the properties of sable is a task which research and development departments of major brush manufacturers strive for but have yet to achieve. The insurmountable problem is liquid retention and, so far, no synthetic fibre has been able to match the liquid retention of natural hair.

Some manufacturers have managed to produce brushes that come close to the characteristics of sable and synthetic squirrel hair which is very similar to the natural product, albeit also lacking in water retention. After trying several products to find a synthetic brush that behaves like a sable I have put the search in the "too hard basket" and gone back to my sables with the odd foray into synthetics.

My conclusions are as follows:

Daler Rowney System 3 Brush

These are listed as acrylic brushes but, together with one other, are the closest I have found to sable. As a traditionalist I am used to a tapered wooden handle and almost didn't buy these as the handle is yellow plastic with a similar diameter throughout the length. The ferrule is black aluminium and there is no indication as to what the hair is. Water retention is similar to every other synthetic I own but it is soft, points remarkably well and feels very much like a sable. The big surprise with the brush is the balance. The first time I used the size 10 all negative thoughts about the yellow plastic handle vanished and the sizes 8,10, 12, 14, and 18 all have the same well-balanced feel, something one doesn't expect to find in a cheap brush. www.daler-rowney.com

Neef Series 552 David Taylor Riggers

I first saw these brushes being used by Herman Peykel and, apart from a squirrel quill mop, they are the only ones he uses. Most manufacturer riggers finish at a size 6 but the Neef 552's, and incidentally Rosemary's Shiraz series, go to size 12. Used like a standard round brush they are very expressive and water retention is good due to the length of the Taklon hair.  The handle is long and well  balanced. Ideal for a loose tecnique and together with the Daler Rowney System 3s are the closest I have found to sable. I have a couple of Neef white Taklons which are similar to the Escoda Perlas. www.neef.com.au/brushes/index.htm

Rosemary Series 344 Golden Synthetic Designer Brush.

These brushes, like all designer brushes, have longer hair than their round equivalent. In theory this should mean a softer brush but in this instance the hairs are not as soft as the previous two products. and are much stiffer than sable. In other words they are what one has expected to see from a synthetic brush. There is an long-handled option , something I should have chosen as I found the regular handle a little short. I also have a Paul Weaver Freestyle, Paul being a well-known Bristol artist who has received various awards at the annual Bath Prize Exhibition www.paulweaverart.co.uk . This is a `One size fits all brush' and the only one he uses. It is equivalent to a size 32, is longer than usual, and comes to a fine point. It can be used as a wash brush but falls down on water retention, although a good try.

Jacksons Synthetic/Sable Series 777 Quill Brushes

Although these brushes look like a quill  mop there is nothing `moppish' about them.The six brushes in the series are a pleasure to use and are slightly softer than Rosemary's 344s but firmer than the Daler Rowney's. Not a true synthetic. If you want  a true synthetic quill try Rosemary's series 304 - better still you could mortgage  your house and buy a Rosemary series 1 Kolinsky quill, brushes to dream for!

The Jackson's are a well made brush and it's nice to see the quill method used in brushes other than squirrel mops. I have quite a few older brushes that have shrink wrap where the ferrule meets the handle - due to the ferrule becoming loose. That doesn't happen with quills.

Pro Arte Connoisseur brushes

Before discussing these brushes I have to say mine are over fifteen years old  and are rarely used. The reason is that when I started I purchased sables from ABS (now Rosemary) that pointed perfectly. I then bought Pro Arte synthetics and did not like the way they pointed, with the tips folding over. After failing to make them point, using starch etc, they went into a container and were forgotten. Bringing them out for this appraisal  I find I was far too critical fifteen years ago. The tip problem remains but only when using a dry brush tecnique. Fully loaded the brushes behave like other synthetics. The fibres are similar to Daler Rowney System 3 and the smaller sizes don't bend at the tip. I haven't read any similar complaints so assume that (a) The problem has been rectified or (b) I am too fussy. I have purchased Pro Arte squirrel hair brushes and rate them highly. www.proarte.co.uk

Escoda Perla Synthetic brushes

 These are a recent acquisition and are the stiffest of the group. Escodas sizing is smaller than most, as are all Escoda rounds , and one of their champions, Joseph Zbukvic, uses them for detailing - putting red lights in cars, white highlights etc. They are excellent for placing thick paint as they are tightly flexed and very precise. I have yet to be convinced of their value for overall general watercolour work. There is no doubt Escoda make attractive brushes and I am an admirer of their sables and squirrels. www.escoda.com/

In the 1980s Grumbacher www.grumbacherart.com/  used a slogan in their sable brush advertising "Some say synthetic brushes are equal to natural ones. We say that claim doesn't hold water" To me that sums up the situation nicely.

I will still use my sables mostly and revert to synthetics if and when I think a painting will benefit from a different approach. I look forward to the day that someone comes up with a synthetic that actually imitates sable.

 I will close with a quote from Virgil Carter, a fine and knowledgeable artist,that was posted on Wetcanvas when discussing brushes.

" A squirrel mop must be used in a certain way, while a synthetic must be used in a different way, if one wants to get the maximum from both. Using brushes of every fibre type in the same manner is pointless and frustrating. It's a lot better to stick to a single fibre type and learn how to use it effectively. REMEMBER IT'S THE ARTISTS SKILL. NOT THE TOOLS, THAT MAKE STRONG PAINTINGS"

These then are Johns conclusions on synthetic brushes and I will make a few observations to round them off. My own experience with synthetic brushes involve the Pro Arte Prolene and Prolene plus series which are claimed to be the largest selling brushes of their type in the UK. They are well made and well priced. Yvonne Harry uses mainly these type of brushes. Pro Artes wide distribution in UK art shops undoubtedly contributes to this popularity. Pro Arte also make the popular Connisseur series which is a blend of sable and synthetic. I bought a size 16 years ago when starting and it is still in good shape but it never pointed terribly well and is only useful as a wash brush. The Daler Rowney brushes System 3 are usually listed along with the acrylic paints of the same name. They don't normally appear on the brush pages and are very cheap, size 8 from Jacksons only £4.75p.

As to synthetics manufacturers continue to make claims about closing the `sable gap' and Rosemary herself states in her latest catalogue that "The development of nylon continues to improve....." . John Yardley wrote that he had frequently been given synthetics to try with the statement they were equal to sable but found such claims to be false. He does use Winsor & Newton series 7 size 10 though costing over £100!

An alternative choice are the many sable/synthetic mixed brushes that are generally superior to pure synthetic in water retention but nothing like the price of sables,  Rosemary's series 401 www.rosemaryandco.com is one such and the SAA www.saa.co.uk have recently introduced another under the SAA own  label. There are many other options, in fact the choice is bewildering. The Da Vinci Cosmotop series, a mixed hair brush, is the preferred choice of Viktoria Prischedko and Piet Lap, two very fine artists. Available from Jacksons  www.jacksonsart.co.uk  and Great Art www.greatart.co.uk 

One thing John did not mention is that controlled paint release is also something where sables are considered much superior to synthetics.  John also mentioned the ABS Pure Kolinsky Sable Mop. This is now the Rosemary Kolinsky Sable Mop, exactly the same brush. This ranges from size 1 to 12 with the 12 costing £420! I have a size 1 ABS that cost around £50, the dearest brush I've bought. It is very large, more than double the size of the Connisseur size 16 round. I wouldn't recommend it unless you know exactly what they are like and what you wish to do with it. You can get a good wash brush for a fraction of that price. I wish I'd bought the smallest size 0. I rarely use it.  I do use the Da Vinci Artissimo 44, available in three sizes from Jacksons and others. It isn't in the latest printed catalogue but I expect is still available on the web. Many products are now only listed on the web due to the need to keep the printed version within bounds. 

I'm very grateful for John for giving us  the benefit of his  experience with these brushes. Thanks John. Comments and additional information welcome. I plan to do a future piece on sable brushes and have been accumulating material.

Landscapes

As readers might have noted I have suffered something of a relapse in my landscape paintings, not helped by a very limited number of plein air outings this year. This has resulted in a reliance on photographs. Concentration on portraiture and still lifes has brought about improvement in those areas but one step (or more) backwards with landscapes. What actually defines a definitive landscape? Is it just a rural scene depicting trees and fields, perhaps dotted with animals like sheep, cows or horses? How do you define a scene with buildings the main shapes? Does it all depend on the variety  or which are the major players?

A few weeks ago I showed the painting below of a scene in Keynsham park, somewhere I know well and have painted several times in the past. I've lost count of the number of times I've walked around this relatively small area bisected by the River Chew.

 

Keynsham Park looking along the River Chew.

Painting No.1 Gerstaeker Acquarell 16" x 12" Not

This is the original painting which failed to get  single vote at Bathampton and generally went down like a lead baloon with most others. I rather liked it (!)

When at first..... I then thought hard about this subject and consulted both Gerda Mertens (`A way with Trees' ) www.gerdaaquarel.be/  and John Palmer to see if their approach might help.

Keynsham Park Version No.2 Waterford (?) Not 16" x 12"

I rather liked this initially but the more I study it the more I can see it is overworked,and much too busy with too many trees crowded in, and a more simplified approach would have been better. Still progress of a sort or not? I frequently do more than one version until I arrive at a better result.

 Keynsham Park Version Number 3. 16" x 12" Centenaire Not

This is my `definitive' version and I am quietly pleased with it. This has been simplified and the large tree stump at the front eliminated. Although essentially a `cool' painting I have added some warm colours. Brushes for all three paintings  Isabey 6228 No.8, Da Vinci Artissimo 44 No.2 mop, Da Vinci Maestro Size 6 and Isabey 6201 retractable Size 6, together with a Pro-Arte Series 103 Size 4 rigger. The rigger is a synthetic, all the rest Kolinsky sable.

My usual palette featured with much reliance on  the earth colours, Burnt Sienna, Raw Umber, Raw Sienna, Burnt Umber and Gold Ochre (W & N). I mixed the greens mainly with various blues and yellows, the yellow the Daniel Smith Hansa Yellow Medium (PY97). The blues primarily Cerulean (W & N) and Ultramarine with some Cobalt Bue (+ Phalo Blue?). I do like Grahams Prussian Blue and it is in there somewhere. I also incorporated some Graham Hookers Green, a colour I like a lot as it is, in my opinion, more natural looking than other Hooker Greens. For darks I seem to frequently use Ultramarine with Burnt Sienna, or less often Burnt Umber, not overmixed but the Charles Reid way in which you can still see the original colours and let them intermix on the paper. There are many other combinations that make good darks and I will probably do a post on this in the future. Not an expert view just mine as a hobby painter.

I'm not absolutely certain what the paper is on number two (or is it three?), as it was painted on the back of a failure. I've gone off the Gerstaeker Acquarelle paper completely. I don't know if this latest block is somehow different but it doesn't take the paint terribly well. In future I'll just use it for  drawings with perhaps a small amount of paint.  I like Centenaire and both Yvonne and Jan from my AVA group have given it  qualified approval, especially at the current price. This is exclusive to Great Art www.greatart.co.uk

What do you think? Comments welcome.

Latest Paintings

Since returning from the Charles Reid workshop I've been pouring on the gas! I'm not suggesting what follows is good  - just my modest efforts. I've been trying to put into practice certain things I picked up in Cornwall. None of it is really new as I've been on three previous workshops with him. My feeling this time is that I was better equipped to benefit from the lessons learned and - maybe, just maybe - I can move my painting up a notch or two over the next six months. We'll see.

Chief Joseph - Nez Perce 15" x 11" Fabriano Artistico Not 90lb (200gsm).

I'm none too happy with the resemblance to the real Joseph as it isn't quite right, so will be doing this one again and will post a fuller biography if I manage to achieve success.

 Autmn fruits 16" x 12" Centenaire 140lb (300gsm) Not.

This was the subject at a recent AVA Thursday morning workshop. I took along the apples with leaves and added the gourds that another member of the group had brought. As you can see I've gone for a colourful representation and used some of the Daniel Smith and Graham colours. 

Quinacridone Gold (PO49) from DS and Hookers Green (PG7/PY110) from Graham feature but there are others. I like these colours very much although how much longer Daniel Smith will be able to offer Quinacridone Gold remains to be seen with no manufacture of the pigment since 2001 ( according to Handprint). The Graham Hookers is the most natural version I have come across, very dark at full strength.  Many Hookers tend to look artificial. Daniel Smith watercolours, if somewhat expensive, are available from Jacksons www.jacksonsart.co.uk/ and  Ken Bromley www.artsupplies.co.uk/  One or two other retailers like Pegasus Art www.pegasusart.co.uk/ are also stocking at least part of this huge range.

 In their last but one catalogue Bromley made a big thing introducing both Daniel Smith and Schminke watercolours but the latest catalogue has no mention of either! Previously Bromley majored on Winsor & Newton with Rowney as a second string. Do I sense industry politics here or is there another explanation? I think I'll e-mail Bromley and ask them what is happening. Graham are only available in the UK from Lawrence of Hove www.lawrence.co.uk

Harvey 15" x 11" Fabriano Artistico 90lb (200gsm) Not.

Harvey is my eldest grandson aged 7. This is quite a good resemblance but I've overworked , especially around the eyes. I will  have another shot at him soon.

Mackenzie aged 5 - 11.75" x 15.75" Vivace Not. 140lb (300gsm)

Mac, Harveys brother, is my youngest grandchild and this has caught his likeness quite well. I'm not 100% satisfied ( I never am with good cause!) and will be doing further studies. The third grandchild Evie will be attempted very soon. About two weeks ago I took a series of photographs of all three with the object of turning them into portraits.  After Cornwall I feel more confident about attempting such studies. A friend who has painted many portraits tells me children are particularly difficult.

One departure with the latter paintings is the use of  an Isabey Kolinsky sable Size 8 series 6228, the one with the black handle with green tip. I've had it a while and in size by size  comparisons with Raphael and Da Vinci it was seen to be smaller - less hair in other words. Jacksons  offer this brush at £25.90 while the comparable Raphael and Da Vinci are £31.90p and £28.15p respectively. I have quoted the Series 35 Da Vinci but the excellent Series 10 is only £24.15p. I was already a big fan of the Isabey retractable Series 6201 Size 6, very slim but quite small compared to others in this size, and this 6228 is superb. It is long and slim, holds a good charge of paint and releases beautifully, very controlled. It is early days yet but my first impressions are very positive.

Quinacridone Rose - Pigment Violet 19 (PV19)

PV19 is one of the most important pigments for the watercolour artist and seems to feature in an increasing number of manufacturers paints, mostly as single pigments, but also in quite a few mixtures. This is an interesting pigment which is available in two major versions, Rose and Violet, but things become complicated in that there is also a `red' form not far removed from the Rose, all covered by the same PV19 designation. However a study of the palette choices of several well-known professional artists indicated it has certainly not replaced (for example) the fugitive  Alazarin Crimson (PR83) which is still widely used and only partially replaced by the `Permanent' version. Probably the best known PV19 paint is Winsor & Newton's Permanent Rose, a favourite of many flower painters. Winsor & Newton recommend Permanent Rose as the red  in a  three colour primary palette, although some other manufacturers tend to favour a magenta shade.

 Above are nine different versions of PV19 which include both the Rose and Red shades and Violet. The only violet shade is the Rowney Permanent Magenta which is obviously different to the rest. Permanent Rose from W & N is the Rose shade, Primary Magenta from Maimeri is also the same shade, while Maimeri's Rose Lake is the Red shade. Schminke say, when describing their Ruby Red version that `different colour layers have a strong influence on character'.

In this instance I'll cover the Rose and Red versions, which are very similar and the Violet in another post. Quinacridone Violet (Gamma Quinacridone 1958) comes in deep red to violet-red shades depending on manufacturer. There are at least 20 pigment suppliers Worldwide and small variations may exist in the raw pigments they sell, while differences in the various manufacturing processes  also affect the final product. The red shade is warmer and darker than the Rose but I doubt most of us can tell the difference, more likely those between different makers. Although considered lightfast and semi-transparent Bruce McEvoy detected some fading after 800 hours exposure and suggests that variations may exist between the different makes on offer. He always says it is safer to carry out ones own lightfastness tests but I suggest only a few are prepared to go to such lengths. However it is rated, even by Bruce `Excellent to Very Good'.

To see what is on offer I looked at 14 leading manufacturers. The Australian company Art Spectrum and the American Da Vinci have the most paints with  five single pigment PV19's. Art Spectrums names vary from Spectrum Crimson to Rose Madder with four (or is it three?) Rose or Red versions. Da Vinci, possibly the most recent company to reformulate their paints have Alazarin Crimson (!), Carmine, Red Rose Deep, Permanent Rose and Quinacridone Violet as well as several mixtures including PV19. Of the 35 paints I identified only seven were called either Quinacridone Rose or Violet (mostly violet) with some pure marketing hype, `Genuine Rose', `Rose Pale Lake', `Thio Violet', ` Ruby red' etc.  The only company that calls it like it is  Daniel Smith with respectively Quinacridone Rose, Red and Violet. Surprisingly Holbein only market one colour Primary Magenta and so do Sennelier. I also note that Van Gogh offer Quinacridone Rose and Permanent Red Violet, Cotman Permanent Rose while Maimeri have Venezia versions of both Primary Magenta and Rose Lake. All this seems to confirm Bruce McEvoys assertion that paints should be selected by pigments not colours. There are two sources of pigment information, the manufacturer's website (usually) and that printed on the tubes. The latter is usually so small you almost need a magnifying glass.

If you wish to go deeper I always suggest the Handprint website www.handprint.com/HP/WCL/water.html Look under paints where very extensive information is available. If that is not enough try www.artiscreation.com. I would imagine these two sources are enough for most artists. I once again pay tribute to Bruce McEvoy of Handprint for his wonderful resource for the watercolour artist which I have leaned heavily on..

Latest Special Offers

It seems the slowdown in the economies of Western Europe is beginning to show in the increasing number of  special offers. As art materials are very expensive, especially for watercolour artists, this is to be welcomed.

Great Art are offering until 31st August Daler Rowney artists quality watercolours at 50% off. This applies to all sizes and means the 15ml tubes cost £5.10p for the A,B colours and £7.25 for C. This is an incredibly good offer. In addition Great Art have reduced the minimum £ amount for free delivery to £24.95p. Check them out because there are other offers. www.greatart.co.uk

Lawrence of Hove www.lawrence.co.uk/ are becoming more competitive on price and next to Jacksons have the largest number of artist quality watercolour brands. These include Lukas, Art Spectrum, Old Holland, Da Vinci and Graham. They are the only UK source of Graham and Da Vinci and you won't find Art Spectrum very often. To my mind Art Spectrum are overpriced and I have no experience of them. They do seem to have a lot of mixed pigment paints in their range.

With Graham Lawrence have increased their offer when you buy 6 tubes from 20% to 30%. This makes the price of this highly regarded American brand competitive with Winsor & Newton. Prices  range from £7.95p to £12.95p (30% off £5.56p - £9.06p). The website www.mgraham.com/ has a very good accurate colour chart and details, pigments etc, of the watercolours. The offer is now back to 20% off if you buy 6 tubes and the extra 10% has expired. 4/09/11

Da Vinci have both 15ml and 37ml tubes, the latter in a limited number of colours. Prices range from £7.95p to £14.95p (20% off for 6 - £5.50p to £11.96p). The 37ml tubes start at £10.95p to £25.50 (20% off £8.76p to £20.40).  The new Da Vinci range is highly regarded in America and £8.76p for 37ml!!!. The Da Vinci website is also very good www.davincipaints.com/ with an excellent colour chart, again with pigment details.

That isn't all. Lawrence, together with Great Art, also sell the German Lukas brand in 24ml tubes. Prices are very competitive from £5.50p to £7.95p. The Lukas website has details of the watercolour range, colours, pigments etc, which can be downloaded as a pdf. www.lukas.eu/

In addition for this weekend only Lawrence are offering a further 10% of all purchases. The only downside is they have a fixed carriage charge of £4.99p so this has to be added. Why can't they follow the lead of Jacksons, Bromley and Great Art and have a minimum price over which carriage is free? I would certainly buy more if they were to do so.

June/July Challenge

The June/July Challenge between Mick Carney www.thepaintingstruggle.blogspot.com/ was selected by me. I chose four photographs taken at Dartmouth and Slapton Sands on a recent day trip. The ones at Dartmouth were of the inner harbour with boats marooned as the tide was out. Slapton Sands is some miles away further down the coast and is not so photogenic so I picked only two, one of the Inn there - supposedly the `best fish and chips in Devon' - and another of a beach scene.  The fish and chips were average but that's by the way. Dartmouth is an attractive small coastal town in South Devon and Slapton Sands a long stretch of coastline of no great attraction. Slapton Sands was the scene of a notorious WW2 disaster- details were suppressed until after the war - when a large pre DD landing exercise was attacked by German E boats and nearly a thousand American troops lost their lives. There is a memorial there, a Sherman tank fished out of the bay, and a large plaque giving details of those who died. I'm a WW2 amateur enthusiast, if that's the right word, so having read about Slapton Sands have long wanted to visit.

The Sherman Tank at Slapton Sands

At this stage I don't know what Mick has selected as his subject but I decided to attempt one of boats in the inner harbour.

Dartmouth Inner Harbour

For me the main problem was the background as the shapes (boats) all connected very well. How to handle the harbour wall in the background? I confess the painting I've posted is my third attempt as I was unhappy with the previous two, mainly due to my treatment of the wall, although some problems were also obvious with the boats. 

Boats marooned in the inner harbour. Fabriano Artistico 18" x 14" Not

I first made a loose but fairly accurate drawing trying not to be over fussy with detail. This was one of the problems with the first two. I then painted starting with the largest boat on the foreground and continuing across the painting connecting the shapes. I also partially painted the wall where the boats met. Finally I completed the wall and also added some detail of the mud the boats sat in. A John Yardley painting of boats on the beach was used for inspiration and simplification. 

 I actually tried some different tecniques for the wall with stippling, using a sponge dipped in paint, and also some Indian ink put on with a quill pen. Some of these marks were softened using a small bristle brush. I'm currently studying a John Blockley book (Watercolour Interpretations 1987 -William Collins & Sons) obtained from the library and he used a lot of  `marks' as he calls them. The asking prices for used copies are ridiculous. He says `marks', others might say tips and tricks, but his work illustrates the remarkable effects one can attain.

In order to avoid fussiness I used only two brushes. The main one was my Da Vinci Artissimo 44 Kolinsky mop No 2 plus a rigger. The Da Vinci is roughly equivalent to a standard Size 14 round.

Paints used were Cobalt and Cerulean Blue with some Avignon Orange (Maimeri PR206) and Permanent Carmine for the red boat, A mix of Viridian and Cerulean for the boat on the extreme left. Darks were mainly a mix of Burnt Sienna or Burnt Umber and Ultramarine, while Raw Umber and Raw Sienna were used for the mud and also wall colours. Greys on the wall were heavily diluted Burnt Sienna and Ultramarine. Touches also of Cadmium Orange (Maimeri PO20). I think that's it. Where two colours feature I mostly mix on the paper. Comments welcome.

William H Macy

This is William H Macy the well-known actor pictured in his new role as `Frank' in the American TV version of the British soap Shameless. No I don't watch it. This photograph was on the cover of the Weekend Guardian colour magazine. I immediately thought he would make a great subject for a watercolour portrait.

Initial drawing.

This was my second attempt. I rejected the first painting because the resemblance to Macy was not good enough and I also realised I was beginning to tighten up, something I'm always fighting against. For the outline drawing I used a Shorty  Propelling pencil. This is a tool I first read about in Robert Wades last book  and on perusing the Great Art catalogue I saw and ordered one. It is unusual in that the pencil is short and stubby 10.5cm long 1.5cm wide, hence the name, with a quite large 7B 0.3mm lead. It is soft being a 7B so I was careful not to press too hard. It's in the latest Great Art catalogue if anyone is interested. I've not seen it anywhere else in the UK mail order specialists. Robert Wade said he bought his in an art shop in Venice and that he believed it was called a `Stumpy' in the USA. Code number is 28391/2 black or white. It costs £6.95 and comes with three leads. I presume you can get replacement leads although they aren't listed in the latest `small' GA catalogue, possibly on the website. www.greatart.co.uk Note Added 13/06/11.Yes they are available.

The `Shorty' compared

William H Macy `Frank' - Waterford High White 140lb (300gsm) 11" x 15"Not

I've just compared this with the actual painting and the painting is better, not quite so truncated (my ad hoc photography!). I also think the values are better in the actual painting.Note Added 11/6: I have rephotographed the painting, using a tripod and different settings and removed the original. Still far from perfect. Overall I'm pleased with the result. I first did a loose drawing making sure the proportions were correct by using the variscaler and just putting dots in which I then used as guides for the drawing. I used the Shorty for all the intial drawing but switched to a normal B pencil for the  eyes etc.

Paints used were a mix of Cadmium Red Light or Pale, Cadmium Yellow Light and Cerulean for the features but in order to get the darker shades, especially around the eyes, I mixed Ultramarine Blue with Burnt Sienna. The eyebrows and moustache are a mixture of mainly Gold Ochre with some Raw Sienna, Burnt Sienna and a little of the dark mix. Touches of Ivory black for the dark areas above the eye and corners and also the pupils. The hair is mainly Ultramarine Blue, Burnt Sienna and Gold Ochre partially mixed on the paper. Touches of Hookers Green in the corners of the eyes. The shirt was a mixture of Cerulean and Cobalt Blue, with the jacket mainly Raw Umber. I think that's it.

Brushes used were the Isabey No 6 retractable for the eyes, nose and mouth and Rosemary No.6 and 9 series 33 Kolinsky for the rest of the face. I used the Da Vinci 44 Kolinsky Mop No 2 and Rosemary No 9 for the hair.

This was also another trial of the Waterford High White paper and I'm beginning to change my opinion and becoming more positive about it.

Wild Flowers

The other day I wandered along the lane near my home and collected a bunch of wild flowers, both from the verges of the road, down into the farmers field, and beyond into the community forest. I have done two  paintings with flowers collected from my small garden in the last two weeks, but wasn't really that enamoured of them. Recently I have started to question whether I was becoming too focussed on portraits to the detriment of other subjects. What exactly do I want to paint? I like doing portraits in the loose manner but also  still lifes, incorporating flowers and other objects in the manner of Charles Reid. Pure landscapes? Not really as I prefer old buildings with thatched roofs, and small boats on the rivers and canals around here.

 I managed to collect a good mixture of wild flowers, including a dark-coloured geranium from the verges outside one of the very old buildings along the lane, that may have been a garden escapee. Here is the result.

Wild Flowers- Fabriano Artistico Extra White Not 16" x 12"

I used a lot of colours in this painting. Transparent Yellow (W & N PY150), Cadmium Yellow Pale (Rowney PY35)), Indian Yellow (Rowney PY153) plus Green Gold (Rowney PY129). Reds were Permanent Carmine (W & N PR N/A), Opera Rose (W & N), Permanent Rose (W & N PV19). Greens were mixed partly from  yellows and blues except for Hookers Green (Maimeri PO49/PG7)) which was modified with Burnt Umber, Burnt Sienna and darkened with  Faience Blue (Maimeri PB60). The geraniums were Permanent Mauve (Rowney PV23) with some Carmine added. Other blues were Cerulean (W & N red shade) and French Ultramarine (Rowney PB29). A lot of the colours were mixed on the paper. The limited palette artists might flinch but flower painters usually have larger palettes and so do I. Opera Rose? A paint with limited lightfastness, although W & N say it is still better than many paints used in the past. I used it sparingly.

Conversely I only used three brushes. All Rosemary, Series 33 Kolinsky rounds in sizes 6 & 8 and Series 44 pure Kolinsky rigger size 7. Although this brush is called a rigger it is quite full bodied compared to most riggers and more like a very long No.6. I have bought a Da Vinci Series 35 No 8 specifically for flower painting but not used it yet. I quite like the result. Comments welcome.

More on Viktoria Prischedko

Viktoria demonstrating

The interest in this artist has been considerable, one of the most popular posts recently, and I determined to find out a little more about her tecnique.

I've confirmed she uses Hahnemuhle 600gsm (300lb) rough paper which she lies loose on a plywood board. After an initial sketch with a soft pencil both sides of the paper are wetted with a sponge. She immediately dabs with a paper towel the focal point, approximately one third to two thirds vertically and horizontally, and some other places that are important in it's composition. Once she starts painting she varies the tone between warm and cool to determine relationships. Mostly she paints wet in wet but keeps the paper towels handy to dry off where she wants to place details.

She uses a lot of pigment and a little water for the detail. Lemon Yellow is an important colour used to contrast with dark colours in the background. Apparently her people are always Lemon Yellow + Orange with some Ultramarine. Paints are `Russian' (St Petersburg?) and Scminke. This is logical as she is originally from the old Soviet Union (Moldavia) and currently lives in Germany. She uses 3 - 4 colours up to a  maximum of 5 for each watercolour. Colours are Orange (Scminke), Ultramarine, Violet, LemonYellow, Green Gold.  I'm amazed at this with the riot of colour she creates. Looking at her paintings it is difficult to reconcile some of the above, at least on some of them. This additional information was obtained from a piece  on his website by a Dutch artist Dominiek Reynt Jens, who attended a course in 2009.

Nothing much to add on brushes which are described as `Da Vinci-type filbert sable in thickness and type 30/20/15/10 (broad brushes with fine tip) and a fine tug for details'. Quite what a `tug' is I'm unaware - could it be a rigger? Note Added: 01/05/11 .I looked up `tug' and eventually found someone selling them. They appear to be riggers.

Although virtually unknown outside the continent of Europe she is a very highly regarded and popular artist. Although her approach couldn't be more different than the path I am currently (trying) following I think she is a fabulous artist and should be better known outside her home turf. Do look at her website which is also for her husband ( I presume) Slawa. I am on the track of more great European artists and hope to feature others in the coming months.

Once again I make the proviso that I don't actually have permission to show the above paintings but as I am promoting the artist and have no commercial gain in mind hope this is okay. I will remove the material if asked to do so. Her website gallery is: www.prischedko.de/

Daniel Smith Watercolours (or is it watercolors!)

At long last the good news is that the acclaimed Daniel Smith range of watercolour paints, 247 colours and rising, is now available in the UK via Jacksons http://www.jacksonsart.co.uk/  or e-mail sales@jacksonsart.co.uk.
The bad news is that price is a problem, not so much for the professional artist perhaps but  certainly  for the amateur. While this range has a whole raft of unique colours and is widely praised by American artists as ` the best'  UK prices are higher than those in the USA and dearer than Windsor & Newton, as well as ALL  other leading makes. Are they worth it? Time will tell. The other benefits of the DS range, apart from the huge choice  http://www.danielsmith.com/ are a very high number of single pigment paints, high pigment content and a formulation that means the paints can be easily re-wetted.

With Graham http://www.mgraham.com/  now being stocked by Lawrence of Hove http://www.lawrence.co.uk/ and also the new Da Vinci range http://www.davincipaints.com/ we have the three leading American brands. Without doubt they are a serious combined threat to the long standing supremacy of Windsor & Newton. I have already ordered two colours to try, a small sample true but I am very well stocked with paints at the moment! I shall certainly buy more over time but I already have a good number of Grahams.

The ones ordered are Quinacridone Gold (PO49) and Quinacridone Fuschia (PR202). I am told by American friends on the Wetcanvas forums that the Quinacridones are particularly lustrous, but they have many other favourites. DS have apparently  bought  the remaining stocks of PO49 and are probably the sole source of this unique pigment, which has been discontinued by the usual producers. Many of these pigments are developed for the automotive industry and if they drop the colour then demand from the art world is insufficient to keep production going. Maimeri supposedly still offer Golden Lake which proclaims `quinacridone' on the tube but also details the pigment as `PV49'. A question to Maimeri about this went unanswered!  PV49? A  mistake it seems because this is an uncommon violet pigment (DS may offer it|) but what actually is in this paint?The Maimeri version is gritty and slightly greasy not at all like the original W & N version which unfortunately is now a three pigment mix. I still just happen to have two full pans of the original W & N version.

Latest Indian Portraits

I'm still beavering away and here are the latest:

Big Bear Cree Chief 1895

Waterford 16" x 12" Rough

Big Bear was involved in the Riel rebellion of 1895 in Canada. He actually tried to prevent his followers from taking part but to no avail. He was captured and imprisoned for two years, dying one year after release. The painting depicts him after capture, actually in chains in the original full length photograph.

 

Wanduta Lakota Sioux. Waterford 16" x 12" Rough

This was my second attempt at Wanduta and I think it much better than the previous one on the blog.

Apache Warrior 1880's 16" x 12" Waterford Rough

This is better than  the previous one shown on the blog but I am still not entirely satisfied - not that I ever reach 100% satisfaction far from it - and may try again.

I painted the features with my usual mix of Cadmium Red  Light and Cadmium Yellow Light but actually used a colour new to me, Windsor and Newton's Gold Ochre (PY42). This was used quite a lot instead of Cad Yellow and Raw Sienna. I rather like it. It is a rich golden yellow and was introduced in W and N's most recent changes to their colour range. Blues used were Cobalt, quite a lot of Ultramarine and a little Cerulean. I used the Ultramarine to get a darker face mix. Notice `Waterford Rough'. I normally use NOT papers but these Indian portraits do seem to suit it. On the Apache portrait I introduced Quinacridone Rust from Graham (PO48) in the clothing on the right hand side. It is rather brighter than Burnt Sienna - a lovely colour. Other colours used, other than in the features, include Ultramarine Violet (PV15 Rowney), Burnt Umber (Maimeri), Quinacridone Gold (PO49 Maimeri) and Permanent Alazarin (W and N). I forget to mention a touch of Hookers Green in the eye sockets and Black for the pupils.

As for brushes for the features I used two long handled Windsor and Newton Cirrus, Nos 2 and 4, Either Da Vinci or Rosemary Kolinsky No.6, and for the rest my Da Vinci Artissimo 44 No 2 Kolinsky Mop. This latter is a lovely brush roughly equivalent in size to a normal number 14. I also paint fairly upright.