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Article in Artist magazine (Watercolour)
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Message
Posted
Hi all,
Very new to the point of first post!
I was trawling through the back issues of Artist Magazine and somewhere since I think 2000, there was an article, where part of the content said that a mix of Bt Umber? and 2 other colours was actually a mix of 8 colours.
The concept I understand BUT, I am trying to find the article as I didn't note it down.
Does anyone here recall this article at all?
Does anyone here know where I can actually access this sort of info on the web?
TIA
Khris
Posted
It’s highly unlikely that anyone on here will recall such a small piece of information that was written in an article…zero chance in fact!
23 years is a long time!
The obvious way forward is to Google your question and see what turns up… however unlikely that might be!
If you let us know what it is that you are specifically interested in knowing, perhaps one of us just might be able to offer you some advice.
Edited
by Alan Bickley
Posted
Sorry, I messed up.
That should have read 2020 NOT 2000
The sort of info I am looking for is where to find out the breakdown of colours in watercolour paints basically.
I was surprised at the comment and was: a mix of Bt Umber? and 2 other colours was actually a mix of 8 colours
I meant to go back to the subject, as I didn't have time to sit and read the whole item....but alas I forgot.
I am curious as to what the whole breakdown of the colours were, in this mix and other mixes.
Posted
There are several places where this information can be found, one being the Handprint website - it's a big site, so look out for watercolour; what you need to find out are the pigment numbers, to identify the different paints that are mixed together. There are other sites - most of which I can't remember, but if you Google "components of artists' paints" or something similar, you'll find them.
Burnt Umber was traditionally a heated earth, obtained from Italy and ground in oil or water depending on the medium. It may now be synthetically produced by some manufacturers, in which case it will contain several different pigments - thus, if you find a suggestion to use it with other colours to create a result, and those other colours are in fact mixes of different pigments, you could well find that rather than using just two, you're using a good many more. The only question which need concern us is - would this matter? Provided the components of a pigment are themselves lightfast, no it wouldn't; conversely - well, that's obvious. I don't believe that the inclusion of a non-lightfast colour in a mix in any way limits its tendency to fade - an exception to that MIGHT be Alizarin Crimson in mass tone, but I've no confidence in it, nor in the so-called "Permanent Alizarin", which anyway has absolutely nothing to do with the Alizarin pigment.
This is a bit of a rabbit hole to go down, unless the components of pigments really interests you: it interests me, so I'd be happy to explore it further, if that's what you want. It might not be, of course - and possibly I've missed your point altogether!
Posted
Correction for geeks only: the umbers originally came from Turkey; I was confusing Umber with Umbria. Oh, and while I'm at it - other than the Daniel Smith mineral-based paints, a specific range, virtually all, if not totally all, manufacturers used synthetic pigments for earth colours - so far as I can see, anyway. Too many artists, not enough earth, I suppose!
Edited
by Robert Jones, NAPA
Posted
I’ve got a set of watercolour discs (Turner inspired palette) from Pip Seymour, now Wallace Seymour, and another rather expensive set in a wooden box that was sent to me by Pip to try out… also wonderful Turner inspired colours). I did showcase them in a recent Turner article that I wrote for TA magazine!
Everything is sourced from natural materials from around the globe, nothing synthetic or so they claim. All the grinding and preparation is done in-house…
Lovely paints but quite difficult to use, you need warm water to get them working! I’ve got the hang of them now!
Apparently based on the same, or we’ll say similar raw materials that Turner himself used…
That’s good enough for me!
I’ve actually been using them today, working on a Turner inspired watercolour sketch for a small artist’s profile section for a newsletter, which is scheduled to appear next month - it’s for Two Rivers Paper Mill in Somerset, who make fabulous hand-made rag watercolour papers!
If you don’t receive these newsletters, just go to their website and sign up to receive them, they don’t harass you!
Posted
Wallace Seymour - though Seymour was just a Pip at the time, so to speak - made a very interesting set of acrylic paints, that dry with a gloss; and recently introduced a genuine Manganese Blue oil, which had been unobtainable before. Got to try their watercolours, instead of the mix of Reeves and a couple of student brands I've been using lately. I bought their blue from the Supreme Paint Company, together with some Rublev paints.
I don't get many free samples - he mourned; soulfully ... it's all these articles you get published that do it! Heaven KNOWS, I don't begrudge you.....
Posted
Khruschev? I could have sworn he'd passed on to his Reward some years ago....
Synthetic issue - really not synthetic so far as the reds and browns are concerned they come from iron oxides; it's a little concerning that Yellow Ochre is now often Mars Yellow, passed off as the same thing, which just using it will show it isn't.... The history of those Mars colours - red, yellow, brown, black, orange, violet - is very interesting as a study in itself: I use them quite often.
Anyway, there we are: back to sleep now.
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