Painters made up their own paints during earlier times. As they became able to they paid someone else to do this for them. Then it became fashionable and even desirable for the master painter to offer student apprenticeships in return for their free services of cleaning modeling and making up paints.
This was a good deal for the student. The would-be painter learned first hand the possibly secret craft and chemistry of making pigment into paint. This gave the student a contact with painting materials unknown today. Some artists now mix their own paint and claim benefit in their painting because of this.
Perhaps this is not so good an idea as it might sound.
There is no doubt the principle in theory is sound but I doubt if the longevity of the painting should be risked against the undoubted advantage the big paint manufactures have not only of expenditure in R&D but in the techniques of testing. Adopting testing standards is a policy and a science in itsel f. Who else has the time and resources to do this? The painter has more pressing uses to invest in time.
Watercolor Paints are the same as any other paints with the exception their medium of transfer or thinning to the paper-ground is water. Water is used instead of oil because a paper ground would be destroyed by oil. Water simply dries out leaving the paper ground unharmed.
Pigment is the first unprepared vital basic raw ingredient in all paints. Pigment is simply color. There are no specific watercolor Pigments or oil Pigments. Pigment is derived from natural substances such as rocks earth shells animals plants and c hemicals. Some Pigments are simulations of natural pigment substances.
When Pigment is prepared to make it suitable for a specific surface type it becomes paint. This preparation is the result of research over the years and is directed towards achieving long life over some hundreds of years for each specific use.
Understanding this is part of the technique of painting with all mediums and when painters opt to ignore the technique of this they are likely to short change those who will buy their work because the painting will not retain its original integrity for very long. It will disintegrate. This is exacerbated by the increase of toxins in the air as these find paintings easier to destroy than most other objects.
Watercolor Pigments are simply Pigments prepared for use on paper or silk grounds for ready use by painters in watercolors. The medium of watercolor is water not oil!
This preparation involves grinding the pigment to a fine powder and then adding substances to manage evenness of flow from either the tube pan or stick and prevent of sediment lines or edges within the wash between brush strokes.
Watercolors are graded according to permanence against fading from exposure to light. These liabilities to light sensitivities are graded by four levels of star rating. Pigments with one star rating are described as Fugitive one star. Moderately permanent - two stars. Normally permanent three stars. Permanent four stars. The rating is noted on each tube or pan sold.
Watercolors are also graded for transparency. The quality of transparency overcomes the tendency of overworked and denser watercolor washes to appear opaque or even muddy in appearance. Opacity in a watercolor sense means its ability to allow light to hit the pigment - go through it and between its particles onto the ground - reflect back from the ground through the pigment and emerge clear bright and clean rich in the color of the pigment.
Colors in a catalogue roughly correspond to the maker's description and color likeness of each color sold. The color likeness will only approximate to the actual color of the paint because of printing difficulties.
Watercolor paints are normally sold in two ranges economy for st udents and a pro range [finer ground and therefore brighter for professional and top end amateurs. In general the Pigments are the same but may vary to price within the price range.
As permanence varies from one color to the next the price for paints may vary because of this and usually has a price letter code in the color sample chart. Paints not only come in tubes but also in pans jars and powder boxes.
The color catalogue code is given for comparison and color derivation chemical information. Toxicity standards have to be met in the US these are set in Boston US.
Planning is necessary before using paints - their selection to produce good work is vitally important.
Order or select a color from a catalogue sample for later comparison never from a rack or shelf.
Beginners and experienced users alike are advised to select the colors listed below.
PRO-GRADE [ARTIST GRADE [CORE LIST
Six colors I use to form my basic color-mixing list. These are transparent and permanent - buy all six. These two groups of three are to be used separately. Do not mix paint from group [1 with paint from group [2.
[1 Lemon Yellow - Permanent Rose - Cobalt Blue
[2 Permanent Yellow - Rose Dore - Monestial Blue.
STUDENT GRADE [ECONOMY GRADE
If you have the money buy all your paints from the Pro-Grade. These colors are best for particular landscape effects. They are not generally graded for permanence or transparency in the student grade but are carefully selected for value.
Yellow Ochre - Raw Sienna - Burnt Sienna - Warm Sepia.
STUDENT GRADE [ECONOMY GRADE
These colors have heavy granules are ideal for textured washes. They are not generally graded for permanence or transparency in the student grade but are careful ly selected for value.
Light Red - Crimson Alizarin Coeruleum - French Ultra - Raw Umber - Lamp Black.
A SELECTION OF PAINTS I JUST LIKE USING. This is a selection of colors I just like using.
Prussian Blue Indigo Viridian - Terra Verde - Olive Green.
Obtain and use these colors as you find necessary. Build up to the suggested list according to your means and needs. Group colors for easy use. Only certain of these colors will probably be used regularly. Always keep back-up stock so you will not run out. Replace your back-up stock when you find a gap in a particular use group.
You will notice paints act and react and perform in their own distinct characteristic way. Indian Red and Coeruleum for example always feel dirty or gummy to use. Indian Red stains the hands and difficult to remove. The reasons for these and other comments are explained in greater depth in other articles.
My very best wishes.
John Blenkin is a retired archite ct and is now a watercolor painter and article writer. His interests are wide covering both technical and philosophical subjects. He also writes online articles on the technique of watercolor painting.
http://www.freefolios.com/
foka@spidernet.com.cy
Author:: John Blenkin
Keywords:: Technique of watercolor painting,selecting colors,watercolor paints,aquarelle paints,Pigments,
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