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Water Colour

Water Colour

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Published by Mahendra Devu

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Published by: Mahendra Devu on Nov 20, 2010
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Issue number 2



Introducing Smalt, our Commemorative Water Colour
ARTISAN™ Water Mixable Oil Colour explained SIZE MATTERS Painting with Water Colour on a large scale – an increasingly popular trend CELEBRATING 175 YEARS A fascinating history of Winsor & Newton

made up a wash and began work to formulate the closest modern alternative. also known as Dumont’s Blue. The grinding of cobalt-coloured glass for use as a pigment came into common usage in Europe during the 15th century until the pigment became obsolete. Smalt. A limited edition water colour which brings the front cover of Painting Matters alive. Acrylics. Michael Skalka. Michael uses a range of media including oils.winsornewton. our Scientific Director for 50 years. Peter has achieved the closest modern alternative to our 1890 colour. This approach typifies our ethos: to work with and respond to the needs of artists in order to provide new opportunities to explore creativity. P a g e T W O . Emma taught Methods and Materials at many colleges. In 1890. pastels. Sarah WilliamS contents Artisan explained page 3 Artists' Water Colour Large Pans page 4 Interview with artist Susan Shatter page 5 175th anniversary feature page 6 What's new from Winsor & Newton page 8 Sarah graduated from the University of Exeter with a first class degree in Archaeology and European Study in 2001. Inspired by local landscapes in Maryland and in Southern California. Peter Waldron. used by the Egyptians and in classical times to colour glass. materials and technologies. deep colour. 175 years on. Winsor & Newton are delighted to introduce this unique commemorative water colour. Since then she has worked in marketing for a number of well known brands including Ready Mix Concrete and Henkel. Sarah is currently a Senior Product Manager for Winsor & Newton and looks after our Water colour. Graphics and Gift categories.Editor’s Welcome W elcome to this special issue of Painting Matters. our Senior Research Chemist opened that jar. Oxford University and the Tate Gallery. UCL. celebrating the 175th Anniversary of Winsor & Newton. Enjoy our anniversary year! If you want to know more about the history of Winsor & Newton then why not visit the special anniversary section of our website. American artist.com I SMALT? What is n 2007 to celebrate 175 years of colour making. In 2006. Author of Artists’ Materials. In our 175th year we continue to be the largest supplier of the highest quality artists’ materials in the world. Having completed a Graduate Training Scheme at L’Oréal she worked in Marketing on their Skincare category. Through a special selection of raw materials and experience. Sarah Palmer Sarah graduated from the University of the West of England with a combined Business Studies and Combined Science degree in 2000. Its beauty in water colour is its bright. water colour and acrylic. that cannot be mixed from ordinarily available water colours. determined to respond to the needs of artists and offer them the widest choice of colours with the greatest permanence. Sarah is currently a Product Manager for Winsor & Newton and looks after our artists’ brushes including Series 7. resulting in washes which sparkle and suggest texture without overpowering the other parts of the picture. There is no better way for the artist to celebrate the anniversary alongside Winsor & Newton than to create a one-off masterpiece with this beautiful colour. Winsor & Newton Brand Marketing Director Contributors to this issue emma Pearce On graduation from The Slade School of Fine Art. michael Skalka A graduate of Rutgers and Syracuse Universities. labelled up a small jar ‘best quality’ Smalt. as well as our oil colour and mediums categories. a beautiful blue. a range of Artists' Water Colour Large Pans. including The Slade. As we look back on 175 years of colour making we recognise that the single most important element in sustaining our business is you the artist. has been Conservation Administrator at the American National Gallery of Art for over 20 years. www. J Scott Taylor. Featured in this edition is our latest innovation. Michael also serves on the Pastel Task Force for the American Society of Testing and Materials. The Ruskin School of Drawing. Developed to satisfy those artists who wish to paint on a larger scale the pans offer more than 13 times the surface area of a half pan. We have also developed ‘Smalt’. was the first cobalt colourant. the tradition of quality and innovation continues as we actively embrace new ideas. Neil montgomery. Emma also has fifteen years experience as Technical Adviser at Winsor & Newton. Thank you for your continued support and keep your eye out for lots of celebratory activity throughout 2007. and wrote for a number of magazines including Artists’ & Illustrators and Leisure Painter. moderate strength and large particle structure. The Complete Sourcebook of Methods and Media. Winsor & Newton was founded in 1832 by William Winsor & Henry Newton who built their business on the marriage of art and science.

buttery quality fresh from the tube and is an exceptionally popular medium due to its versatility. opacity/ transparency. Artisan Water Mixable Oil Colour is made from linseed oil and safflower oil. all Artisan products (Colour & Mediums) can be transported on aeroplanes. Both Series are available in 37ml tubes. impasto and scumbling . Plus all brushes and equipment can be cleaned up with soap and water. lightfastness. and 31 Series 1 colours are available in 200ml (all colours are available in the USA). There are eleven in total. • For travel. (Subject to the agreement of the airline) of which are completely free from hazardous solvents. WhaT iS arTiSaN? The arTiSaN raNge Like traditional oil colour. or simply want to avoid exposure to solvents such as white spirit (mineral spirits) or turpentine. buttery consistency.A T rtisan Water Mixable Oil Colour has all the qualities of traditional oil colour and yet doesn’t require the use of hazardous solvents. only. The only difference is that the linseed oil and safflower oil used in Artisan have been modified so that they will mix with water. hOW dOeS arTiSaN diFFer FrOm cONveNTiONal Oil cOlOUr? The key difference between Artisan Water Mixable Oil Colour and conventional oils is their ability to mix and clean up with water. Artists using conventional oil colour will require the use of solvents such as turpentine or white spirit (mineral spirits) for use when painting and for cleaning up their materials. Oils. thick. performance and drying times of Artisan allow artists to use this range for all oil colour techniques. by Sarah Palmer WhO ShOUld USe arTiSaN? Artisan is ideal for:• Oil painters who are sensitive to. glazing. This offers the artist excellent results for such time honoured techniques as blending. Mediums and Varnishes to allow all techniques to be achieved with Artisan colours. artists can enjoy a safer painting environment. therefore avoiding the need to use any hazardous solvents from start to finish. • Students and teachers in schools and colleges where the use of oil colour is prohibited because of the solvents. The depth of colour. nine are in 75ml and 250ml bottles (varnish remover is only available in 75ml bottles) and Impasto Medium in 60ml and 200ml tubes. As with conventional oil painting. As a result. mediums allow you to alter the characteristics and working properties of your tube colour.NO HAZARDOUS SOLVENTS P a g e T h r e e . It can be thinned with water or any Artisan medium and on top of this it can also be cleaned up with soap and water! Water Mixable Oil Colour explained… raditional oil colour has a rich. Artisan has been specifically developed to appear and work just like conventional oil colour. • Artists who work within a small home environment and wish to reduce the odour of oil painting. The Artisan range offers a balanced spectrum of 40 colours across two Series.the exact same can be said of Artisan. oils and thinners – all SAFER STUDIO PRACTICE WITH arTiSaN . On the other hand Artisan colour can be used with water or Artisan mediums. • Artists working in shared studio space where the build up of solvent levels could lead to a harmful concentration of vapours and a generally unpleasant odour. Artisan has its own specially developed range of Thinners. The Artisan range also offers a selection of sets containing assorted colours – a perfect introduction to Artisan colour.

The permanence of Artists’ Water Colour has increased steadily during its history. the original Winsor & Newton moist water colour continues to be formulated and manufactured according to our founding principles: to create an unparalleled water colour range which offers artists the widest and most balanced choice of pigments with the greatest possible permanence.winsornewton. especially as P a g e F O U r . The availability of the pure. These wooden trays may also be stacked if you wish. offering a completely new format with which to paint. compounding the popularity of this medium. arTiSTS’ WaTer cOlOUr large PaNS – aN exciTiNg iNNOvaTiON At the beginning of the 21st century. in this. The colour range can be seen at www. which includes a brush rest. Painting with water colour on a large scale is a trend that is becoming increasingly popular. ince 1835 when Henry Newton and William Winsor introduced the very first moist water colours to the world. Following the introduction of moist colour in pans.Large Pan actual size 60x40mm. Strong. the first water colour in tubes arrived in 1842. Artists’ Water Colour is again entering a new and exciting age. For the first time. Large Pans by Sarah Williams & Emma Pearce the paler wash is required first. the 175th Anniversary year for Winsor & Newton. vibrant colour from such a large surface certainly makes water colour even more inviting and inspiring. artists will be able to use their larger brushes to their full potential and for generous areas of colour.com or in the Large Pan leaflet available at your local store. more dramatic water colours. Each Large Pan colour is contained in a ceramic dish specially developed by Winsor & Newton. vibrant colour was available instantly with the use of a wet brush. Large Pans are ideal for loading larger brushes with full strength colour. known as pan colour today. Tube colours make stronger washes immediately whilst pans need some working to build up the strength of the wash. flowing washes. we have also introduced Artists’ Water Colour in 37ml tubes. we have also developed a five pan tray. For many painters. At Winsor & Newton we are very proud that during the 170 years since. Artists’ Water Colour has enjoyed constant development. available in 35 popular colours. It can be much more convenient to use the large pan rather than diluting a tube wash. much of our reputation for supreme quality has stemmed from the Artists’ Water Colour range. like skies. Artists’ Water Colour T S he latest innovation from Winsor & Newton™ is the development of a range of Artists’ Water Colour Large Pans. Winsor & Newton has developed Artists’ Water Colour Large Pans. ranging from Series 1 to 4. Thirty of the most popular colours from Artists’ Water Colour are now available in a Large Pan format. this gives a real immediacy and speed which has not been possible with the smaller pans. More and more artists are experimenting with water colour’s fascinating versatility to create larger. and never more so than in the late 20th century when over 50 new colours were introduced. the sides slope to help you control the quantity of wash held in your brush and these are stackable so that they can be easily stored in the studio. perfect for broad. For those using colours in larger quantities. all with greater permanence than previously possible. More than 170 years later. The development of the very first moist water colour. These have been developed to respond to the needs of those artists who wish to paint on a large scale. was a revolutionary introduction. choosing water colour is about the accessibility and simplicity of the medium. the "Large Pans System". With more than 13 times the surface area of a half pan. By the end of the 19th century water colour had overtaken oils as the most commonly used media. and 6 times that of a whole pan. If you prefer to house the Large Pans together. The larger format pans also allow the artist to enjoy the different strengths of wash which come naturally to the tube and pan variants of each colour.

Susan prefers to avoid the use of masking fluid leaving voids for the white areas instead and carefully paints around them. Layering creates the optical mixing effects that are apparent in her work. The hard water colour cakes of the past forced the artists to paint small paintings. For Susan. In Susan’s hands. Susan lays out an oversize piece of paper on the floor or mounted to a wall. water colour “pads” are translated into paper that is 51 inches high and 360 inches long. Burnt Umber. While Susan does not work an entire 10-yard roll of paper all at once. we are familiar with the images of soft. Susan Shatter’s compositions examine rock filled coastlines. a palette would be far too confining. Artists exploited the medium and worked with the inherent properties of the finely ground pigments. The granularity and interaction of pigment with the qualities of the paper are greatly emphasized. The logistics of large format means that an artist must scale up materials. of working large in a medium that is known for small delicate works is Susan Shatter. An artist can bring out the best qualities of water colour in a large format and enjoy the ease of laying down wash after wash of transparent colour in a bold new way. marks the boundaries of her painting and then wisely employs the edges for colour testing during the painting process. detailed and jewel-like paintings has dominated. it allows her to create pieces that are beyond the largest manufactured sheet size. the edges are trimmed to create a finished work ready for framing. Looking Out. water colour becomes ideal for depicting rock wet by the action of waves. Throughout the 20th century. 2006 50" x 60" • In preparing her paints. Frequently she paints the sea and rock formations in harsh light. pigments show their true characteristics easily – transparency. P a g e F i v e . opacity. depending on how much paint is required for her composition. Susan applies paint with hake brushes. Even if you are not familiar with the names of these English watercolourists. The paper is expensive and mistakes at this size are hard to disguise. Add ancient ruins that recall the classical past and you have all the elements that embodied Romantic English water colours. Working in thin washes the rocks and water are built up layer by layer. • Once completed. She lays out the warm and cool areas of the painting. Passages of wet into wet paint capture the essence of water bathed in refracted sunlight. granulation (when pigments separate into grainy clusters) as well as their natural degree of staining. Raw Sienna and Burnt Sienna. The soft powdery surface of a dry water colour becomes magnified when painting large. One modern day artist who continues to embrace the notion BreakiNg BOUNdarieS The boulders. The high point of water colour painting appears to have been the Romantic Period in 19th century England. The advent of large tubes and pans of colour provides the means to have massive quantities of paint readily available to apply to the surface of large sheets of paper. 2006 42 x 116 inches or centuries the notion that water colour is the domain of fairly small. 'Emperor' (40" x 60"). • On paintings larger than 40" x 60". The sizes of these paintings were all relatively small. • She uses about 18 colours for a typical painting including French Ultramarine. Raw Umber.Water Colour grand scale on a by Michael Skalka F Crash. Susan carefully plots out her work. Susan SUSaN’S meThOd prepares her colours in containers of varying size. Winslow Homer had a profound influence on late 19th and 20th century water colour paintings. tools and the appliances that are used to accommodate works of such size. His work elevated water colour to a high level of importance and set the stage for many prominent artists to take up water colour and expand the vocabulary of the medium. muted landscapes in exotic locations with lush vegetation. swirling foam and translucent shimmering surf transport the viewer to a vantage point just above the rocks and water to carefully examine the wide variety of colour found in these common objects. In water colour. water colour paintings became larger and bolder as technologies advanced.

with Newtons employed until the late 1970’s. 1851 Great Exhibition takes place in the Crystal Palace. London. a chemist. This enabled artists such as Turner to paint even more prolifically as they were much easier to use. enter into partnership at 38 Rathbone Place. This was the first of many successful exhibitions. 1892 The Composition & Permanence of Artists’ Colours first published. and Henry C. Present. Newton. P a g e S i x . The newly incorporated firm included members of both families amongst the shareholders.1850 1851 . 1835 The world’s first moist water colours are launched. 1841 Royal Warrant issued by Queen Victoria & Prince Albert. Winsor & Newton were awarded the only prize medal open to competitors for artists’ colours. A publication wholly dedicated to empower the artist with accurate information about their materials. which made painting outdoors far easier. 1842 William Winsor patented the first screw cap mechanism for a collapsible metal tube. tubes were quickly accepted as containers for oil colours as opposed to pigs’ bladders. 1882 Winsor & Newton Limited Company is formed.Winsor & Newton . an artist.Past. Future ™ 1832 . William Winsor.1900 1832 Winsor & Newton is founded. Following this.

175 years of colour making 1901 . “Our World in the Year 2000” attracts entries from over 22. 1976 The world’s first artists’ alkyd range is launched.H The Prince of Wales. 1937 Winsor & Newton launch Designers’ Gouache. Smalt. enables outdoor artists and designers to complete oil paintings in a fraction of the time required with conventional oils.000 artists in 51 different countries. a beautiful blue pigment which was originally available from Winsor & Newton in the 19th century is re-introduced as a limited edition colour.1950 1951 . 1946 Brush making facility opens in Lowestoft. 2000 Winsor & Newton run the world’s largest painting competition to celebrate the Millennium.R.2007 1940’s Advertising Campaign. 1998 Launch of Artisan Water Mixable Oil Colour. This range which can be thinned and cleaned up with water allows artists to enjoy oil colour without the use of hazardous solvents. now called Griffin Alkyd. The last 175 years have been dedicated to meeting the needs of artists. 2007 Winsor & Newton celebrate 175 years of colour making. with judging chaired by H. To mark the occasion. This fast drying oil colour range. P a g e S e v e N . As we look to the future it is this commitment to artists that will ensure we continue to provide the world’s finest artists’ materials. 1937 Colour Works open at present day Harrow Site.

The brushes are made by hand. I ntroducing the new range of Artists' Water Colour Paper. Safflower Oil. With internal and external sizing for control. The artisan™ family just got bigger… W ith the introduction of 31 Series 1 colours in 200ml we have also developed new mediums which allow artists to achieve all the traditional oil colour techniques and styles using exclusively Artisan. ARTISAN and the GRIFFIN device are trademarks. Published by Winsor & Newton. Artists' Water Colour Paper is a must for the artist who demands quality. There are 6 new products a Thinner. In addition to 200ml tubes and new mediums we have also introduced two new Artisan tube sets – 10x21ml + 10x37ml with 10 colours in each set.winsornewton. Gloss.W h a T’S N e W F r O m W i N S O r & N e W T O N™ NEW L NeW artists' Water colour Paper Artists’ Water Colour Sable ook out for our new range of brushes. Plus a unique contoured matt finish handle providing a number of painting positions and the ultimate in comfort and control. With 30 short handled brushes in total and four popular head shapes it is quick and easy for you to choose the appropriate Artists' Water Colour Sable brush for your painting needs. HA3 5RH. Harrow. this helps remove errors and allows scratching out. ‘Artists' Water Colour Sable’ as the name suggests has been developed especially for water colour artists. giving the artist a wider palette of colours to choose from. Available in weights of 140lb/300gsm in gummed and spiral pads. point and shape retention in every brush. and 200lb/425gsm in a luxury hard-back sketchbook. A high quality artists' water colour paper with a cold pressed/NOT surface. wood free paper of crisp white colour. using specially selected Kolinsky Sable hair to ensure excellent colour carrying. Satin & Matt Varnishes and a Varnish Remover. 7544968 P a g e e i g h T . Whitefriars Avenue. Artists' Water Colour Paper is a mould made.com WINSOR & NEWTON. made using acid-free fibres so that your water colour painting stays cleaner and brighter for longer. England © Winsor & Newton 2007. www. SERIES 7.

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