Rachel Wood tests out Winsor & Newton Artist Paints and Oil Painting Paper en plein air.
As a keen all weather outdoor painter, it was very exciting to be asked to try out seven Winsor & Newton Artists quality paints and the Winsor & Newton Oil painting paper A4 230g/m2 - 108lb.
Winsor & Newton are a well established company that, although has been sold several times, is historically known for producing quality products for artists of all abilities.
Initial findings
The products came securely wrapped, well presented and arrived promptly.
The colours:
- Ultramarine blue
- Cerulean blue
- Alizarin crimson
- Cadmium red
- Cadmium yellow
- Viridian
- Blue black
Colour swatches
Of the paints, the blue black was unfamiliar, the others I have used at various times, so was interested to paint with this particular palette of colours in combination.
Top features
Winsor & Newton Artist paints:
- Strong Vibrant colours
- Paint flowed very well
- Created beautiful marbling effects
- Majority of the colours had very good tinting strength
- Good Value for money
- Versatile and consistent under various lighting/weather conditions
- Good range of colours/tones created from muted to vibrant, light to dark
- Suitable for all levels of artists
Price: From £8.91 per colour
Where to buy: ART SUPPLIES WITH PAINTERS ONLINE
Winsor & Newton Oil Painting Paper:
- Beautiful to handle
- Smooth to work on
- Easy to scrape off passages, leaving a clean mark for re-painting
- Allows for smooth and easy application of paint both with a paintbrush and a palette knife
- Can take and hold thick applications of paint
- No paint sinkage/dulling of paint when dry
- Easy to frame finished painting
Price: From £9.99
Where to buy: ART SUPPLIES WITH PAINTERS ONLINE
Putting the paints and paper to the test
Photograph of the view
I chose a familiar view, on an afternoon around 4.00pm.
It was a cloudy day and the green/blue just above the horizon against the dark clouds were the inspiration for this painting.
I began by putting in the dark of the cloud in case it changed quickly, using both a palette knife and brush with mixes of alizarin, viridian, cerulean, blue black, and ultramarine.
Then applied mixes of cerulean blue and a tiny touch of the cadmium yellow to create the blue/green colour of the sky just above the horizon.
Following this, with the distant horizon and foreground land, using cadmium yellow, alizarin crimson, and a tiny touch of ultramarine blue for the foreground, and combinations of blue black, alizarin, viridian, cadmium yellow and ultramarine blue for the distance and nearer hedge.
As the light was steady for the first hour or so, it was possible to work and develop all areas of the painting, adjusting the tones and colours and developing the sky.
I adjusted the hedge across the painting in taking out the gap on the right as it looked unbalanced.
As the light began to change, a beautiful orange glow from the sun began to peek through the bottom of the dark cloud.
Using cadmium yellow and cadmium red (with titanium white) I added this in.
Continuing to develop the painting, and using some of the violet/purple sky mixes, I darkened the foreground to exacerbate the light hitting the foreground field also adding a hint of the orange to the hedge and ground to balance and harmonise the painting.
I worked for a while longer adjusting the sky and hedge until satisfied with the painting and calling it finished.
Afternoon Light, W&N Artist oils on W&N Oil Painting Paper, (8x6in.)
In summary - the paints
Mixing beautiful greys
Close up showing mixed greys
The blue black was very useful when mixed with the other colours, and made a good range of beautiful greys, see image above.
It is useful for darkening colour mixes but, needs to be used judiciously, as it has a tendency to ‘deaden’ the vibrancy of colour mixes if used in excess.
Great for layering and knife painting
Close up showing layering of the paints
Creating marbled effects
The consistency of the paint also allows easily for its application in layers, see image above, and suits itself well to being used with a palette knife creating beautiful ‘marbled’ effects (see image below).
Close up showing marbling effects
Strength of colour
On a scale of one to five, with one as weak and five as strong, the alizarin, cadmium red, cadmium yellow, blue black are good strong colours of about four to five.
The viridian and ultramarine are about medium of three to four.
The cerulean blue is a lovely hue of paint, but I found it isn’t a particularly strong colour therefore needed quite a lot to produce a vibrant mix.
Performance under different light conditions
Sunrise, W&N Artist paints on W&N Oil Painting Paper
The paints/palette performed well under various light conditions such as Sunrise (see above) and Sunset (below) however, Winsor & Newton Indian Yellow was added to the palette for the Sunset.
Sunset, W&N Artist Paints on W&N Oil Painting Paper
NB Note the marbled paint effects in the sunset painting (see close up below).
Close up of marbling in Sunset
Vibrant colours when dry
These paints lost none of their vibrancy after drying for two-three weeks.
In Summary - the Oil Painting Paper
Holds thick passages of paint
Close up of thick layering applied with palette knife
The paper was superb to work on.
It felt smooth to the touch, was easy to attach to a board with both masking tape or staples.
It held thick passages of paint with ease, both applied with a palette knife and brush, see image above.
Allows for scraping back and re-painting
Close up showing where paint has been scraped back
Due to the paper’s smooth surface, the paint scapes off cleanly on passages needing to be re-painted (see image above).
The paper is also superb to work on using a palette knife to apply paint, see image below.
Close up showing palette knife application on paper
Further findings
There was no sinkage and the paint held it’s vibrancy when dry, two to three weeks later.
The paper was also tested with a coat of gesso and worked equally well, and this is ideal for those who prefer extra ‘ tooth’ on a painting surface.
It was used on the beach and the increased moisture in the air had no detrimental affects on it.
It is also easy to frame work on paper.
Finished painting after framing
Conclusion
I thoroughly enjoyed working with a palette of the Winsor & Newton Artists Oil paints for their strong colour, flow, versatility and general ease of use.
They are good value for money, and a very good addition to any palette.
There is a good range of colours available and they are suitable for artists of all abilities.
The paper was superb to work on, versatile, good value for money and a less expensive option to canvas or boards, also easy to frame.
It is an ideal surface for both complete beginners who perhaps are using oil paints for the first time, and want to experiment without to much outlay, and more experienced artists for finished works.
I was pleasantly surprised by its quality and ease of use, and look forward to using it in future works.
About Rachel Wood
I paint plein air and landscapes are my passion. The changing light, never knowing quite what may happen, searching for a subject, meeting passers by, all add to the excitement and richness of outdoor landscape painting.
My other passion is playing the violin, occasionally in and around the streets and markets of local towns to raise money for charity and at local pub sessions.
You can find more of my art on my website, www.rachelwoodlandscapes.co.uk and on instagram.com/rachelwoodlandscapes.
You can also see more of Rachel's work in the gallery by