In the September 2022 issue of The Artist, Andrew Field put Wallace Seymour plant-based oils and Co-Co Bello painting mediums through their paces as he paints Boxing Day at Thurlestone Beach (see below).
Boxing Day at Thurlestone Beach, oil on cradled linen panel, (30x40cm)
Here he shares the benefits of these eco-friendly products in a series of video demonstrations.
1. An introduction to Wallace Seymour oils and Co-Co Bello mediums
These oil paints are derived from plants and are formulated using 100% natural pigments sourced from sustainable materials from either rocks, mineral and earth deposits - milled in cold pressed linseed oil from a single farm estate in England.
Cold pressed (as opposed to refined) linseed oil is a premium material used only by the best art material companies for its clarity and ability to realise bright colour resonance.
Once dried linseed oil also affords a long-lasting hard and durable gloss effect (preferable to matte finishes which attract dust and dirt)
Co-Co Bello is a non toxic painting medium made by painters who thoroughly understand their materials. The product is excellent and is a unique product that is only produced by Wallace Seymour.
2. Discover the qualities of Wallace Seymour oil paints
In this video you can see notes on the individual qualities of each pigment before painting with the Coco Bello mediums.
The set of botanical oil paints contains 18 x oil paint 20ml tubes and all are lightfast once dried.
3. Discover Co-Co Bello mediums
This video shows the preparation of a practice canvas ready for working with the Coco Bello Mediums, as well as a brief introduction to the Native Earth palette in comparison to the botanical palette.
Both palettes are available to purchase from www.choosingkeeping.com and individual 20ml tubes can be purchased from www.artreq.co.uk.
4. Learn how to apply rabbit skin glue size
Below is a demonstration of how to stretch and adhere linen to a cradled panel using Wallace Seymour Rabbit Skin Glue.
The demonstration includes an explanation as to how the rabbit skin glue has been made using the rabbit skin glue granules and a brief explanation of the Natural Gesso by Wallace Seymour that has been used to prime the linen panel.
5. Gesso ground explained
In the video below you can see the stages of creating a traditional gesso ground (gypsum) that tend to be found on old paintings made in Italy (south of the Alps) to achieve a ground that absorbs paint films evenly.
6. Using Co-Co Bello soap
Below you can see the benefits of working with Co-Co Bello Soap to clean brushes thoroughly.
Co-Co Bello is a plant-based solvent-free soap with olive oil and is brilliant at cleaning hands, brushes and even removing paint from clothes.
7. Restoring your brushes
A quick demonstration showing how you can effectively restore oil brushes using Coco Bello soap and water.
The brushes that I am using are PAB (Pennellificio Attilio Bagnoli).
Attilio Bagnoli founded the brush Company PAB in Florence, in 1911. They have constantly been at the forefront of Italian brushmaking and the company is still owned by the Bagnoli family.
I use the hog hair flat bristle brush, called the Setola Cinese, as I find that these brushes are incredibly hard wearing and are a classic oil painting brush.
8. Making a cradled panel
Sizing and finishing the cradled panel by wrapping and gluing the sides using Wallace Seymour Rabbit Skin Glue.
9. Discover the Wallace Seymour colours
Here you can see the brilliant range of botanical oil paints presented in a wooden box alongside the range of Co-Co Bello mediums that I have used to create my demonstration in the September 2022 issue of The Artist.
10. Painting preparation
This shows the start of the painting explaining the colours that I will be using, including Vine Black, Maya Blue, Stil de Grain, Orange Madder and Kendal Green.
You will see that the paint has been applied directly to the surface and using the diluent to encourage the pigments to mix to create interesting textures and marks.
11. The painting - stage one
An explanation of the first stage of the painting using plant based oils and Co-Co Bello diluent applied with spatulas, cardboard, brushes, a toothbrush and palette knives.
You will also see also my sandblasted glass palette that I use when painting and the qualities that can be achieved by brushing out Diluent over the natural gesso ground.
12. Stage two
Here you can see me working with Indigo and Cochineal Munich Lake to add interest to the sky.
I have used the Co-Co Bello Diluent to allow the colours to blend and find their own way within the painting, axs well as adding expressive brush marks as well as a tissue and my hands to add drama and movement.
13. Applying natural gesso
Here I start to apply ground to the second cradled panel, explaining the stages and how I apply the gesso with a wet brush as well as sanding in between layers to create the perfect surface for painting on.
There is also an explanation of some of the traditional qualities and uses of the pigments such as Gamboge and Carmine in various cultures and how they have been used as dyes to stain clothes, not just for painting.
14. Applying the first layer
Below I am working on the second painting starting by using Weld combined with the Co-Co Bello Painting Medium which is similar to the diluent but with the addition of the linseed oil.
15. Co-Co Bello oil medium
Working with a very unique pigment called Spirulina Blue and is made from spirulina, a blue-green algae that is also used as a dietary supplement and has been consumed by humans since the Aztecs! It is a bright, royal blue.
This is the next stage of the second painting once the previous layer of Weld has dried.
I have used the Co-Co Bello Painting Medium which retains the natural sheen of oil colours, when used to dilute paint. A blend of polymerised linseed oil and Coc-Bello Diluent, without driers.
This is a slightly different approach to the first painting when I was using the Co-Co-Bello Diluent to dissolve the colours but this time I am using the Co-Co Bello Painting Medium which is thicker in consistency due to the addition of the linseed oil and allows more control.
16. Translucent qualities
Here I am adding some warmer colours to the painting and showing the translucent qualities of Gamboge, Madder Lake and Cochineal Munich Lake oil paints combined with Co-Co Bello Glaze Medium.
17. Co-Co Bello diluent
Here is an explanation as to how I have used the Co-Co Bello Diluent to remove paint in the same way that other traditional solvents are used by artists.
An exploration of Maya Blue which is a really unique and specialist form of Indigo wherein a fibrous clay and magnesium silicate have been mixed with the blue pigment. With these additions unlike Indigo, which fades over time Maya Blue has very good lightfastness.
Co-Co Bello is a revolutionary plant-based, natural & odourless oil painting diluent - an ideal replacement for traditional solvents and thinners such as turpentine, white spirit & alcohol.
Unlike traditional oil painting solvents, Co-Co Bello is non-hazardous, non-flammable, and does not require any hazard/dangerous labelling. It really is an amazing product, and is perfect for those who suffer irritation from traditional turpentine, white spirits and would like to work in a cleaner and safer environment.
18. Co-Co Bello Veneto
Here is an explanation of how I have worked with the diluent to create different effects such as the introduction of Carmine and allowing it to run and reveal the intrinsic qualities of the pigment.
I also review the painting so far and explain how the composition has been created to encourage the viewer to wander and see through the landscape and how a series of happy accidents has led to this stage of the painting so far.
At this stage I have also started working with the Co-Co Bello Veneto Medium which is a high gloss painting medium, ideal for transparent glazing with oil colours. It is a blend of Venice Turpentine with polymerised linseed oil, dammar varnish and Co-Co Bello Diluent and contains no drying agents.
19. Co-Co Bello fast-drying glaze
Working with the Co-Co Bello Fast Drying Oil Glaze Medium which is a blend of linseed stand oil and dammar varnish, with drying agents.
If you add approximately 10-20% to oil colours to create deep gloss and depth, especially to transparent colours.
It speeds drying time - typically 1-2 days for thin paint films.
You can dilute as required with Co-Co Bello plant-based diluent.
This is a demonstration to show how I am applying the glaze over certain areas of the painting to strengthen the darker areas and reveal the transparent qualities of the pigments.
20. Co-Co Bello painting medium
Here you can see me applying Concheal Munich Lake over the top of the Weld and Gamboge with the Co-Co Bello Oil Painting Medium.
This is a glazing technique that can be used with either the Co-Co Bello Painting Medium, the Co-Co Bello Fast Drying Oil Glaze Medium or the Co-Co Bello Veneto Medium.
21. Co-Co Bello beeswax impasto
Introducing Maya Blue combined with the Co-Co Bello Impasto Paste Medium.
This is a soft, matt wax paste and can be added to oil colours to create impasto layers that dry to a matt sheen.
There are no drying agents present but it does dry after about 3 or 4 days depending on how thickly you apply the paste.
22. Working with Madder Lake
One of my favourite colours in the Wallace Seymour Botanical set is Madder Lake.
It is so unique and the colour is so beautiful and I find that it can be applied as a transparent colour or layered to achieve a more opaque appearance.
The consistency of the paint is more like a gel than traditional oil paints which is very rare and takes some getting used to.
Madder is a pigment that has been around since antiquity - It can be found in ancient Egyptian artwork - commonly found in mummy portraits and cloth dyed with Madder was even found in the tomb of Tutankhamun.
I used this colour frequently with my second painting and am very impressed with this pigment.
23. Working with Co-Co Bello oil glaze
This shows the final stage of the second painting and explains how I have worked with the Co-Co Bello Mediums at various stages.
I also talk about how the linen fabric has become a large part of the final painting as you can see the linen through the work and the texture that has been achieved by introducing Co-Co Bello Beeswax and allowing the brush marks to show.
I have used a lot of the madder colours especially Madder Lake, Cochineal Munich Lake as well as Carmine Red and Carmine Purple.
I have been experimenting with mixing colours together such as Maya Blue with the Carmine Purple and Indigo and I have managed to achieve some beautiful transitions of colour within the sky and water.
All of the paints and mediums that I have used to create these paintings can be purchased from Artreq in Glasgow.
Choosing Keeping in London stock the botanical oil palette set that is presented in a wooden storage box.
All PAB brushes can also be purchased from Artreq.
See more of Andrew's work on his website
The full range of Wallace Seymour Natural Pigment paint sets can be purchased from Choosing Keeping
Individual tubes of Wallace Seymour paints and Co-Co Bello mediums can be purchased online from ArtReq Ltd
CLICK HERE TO VISIT THE WEBSITE
This demonstration was taken from the September 2022 issue of The Artist. Enjoy endless inspiration with access to past and present issues of both The Artist and Leisure Painter magazines, plus exclusive video demos, tutorials and more, with our Studio Membership! Discover how you can join today.
