Issue number 2

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Celebrate

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

Michael Skalka. Thank you for your continued support and keep your eye out for lots of celebratory activity throughout 2007. determined to respond to the needs of artists and offer them the widest choice of colours with the greatest permanence. 175 years on.Editor’s Welcome W elcome to this special issue of Painting Matters. as well as our oil colour and mediums categories. materials and technologies.com I SMALT? What is n 2007 to celebrate 175 years of colour making. the tradition of quality and innovation continues as we actively embrace new ideas. 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. 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. Having completed a Graduate Training Scheme at L’Oréal she worked in Marketing on their Skincare category. also known as Dumont’s Blue. made up a wash and began work to formulate the closest modern alternative. The Ruskin School of Drawing. www. Winsor & Newton are delighted to introduce this unique commemorative water colour. Peter Waldron. 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. In our 175th year we continue to be the largest supplier of the highest quality artists’ materials in the world. that cannot be mixed from ordinarily available water colours. The Complete Sourcebook of Methods and Media. Emma also has fifteen years experience as Technical Adviser at Winsor & Newton. Michael uses a range of media including oils. deep colour. and wrote for a number of magazines including Artists’ & Illustrators and Leisure Painter. celebrating the 175th Anniversary of Winsor & Newton. Sarah is currently a Product Manager for Winsor & Newton and looks after our artists’ brushes including Series 7. our Senior Research Chemist opened that jar. J Scott Taylor. 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. Sarah is currently a Senior Product Manager for Winsor & Newton and looks after our Water colour. We have also developed ‘Smalt’. In 2006. a range of Artists' Water Colour Large Pans. has been Conservation Administrator at the American National Gallery of Art for over 20 years. 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. Inspired by local landscapes in Maryland and in Southern California. Neil montgomery. A limited edition water colour which brings the front cover of Painting Matters alive. P a g e T W O . Winsor & Newton was founded in 1832 by William Winsor & Henry Newton who built their business on the marriage of art and science. used by the Egyptians and in classical times to colour glass.winsornewton. moderate strength and large particle structure. including The Slade. our Scientific Director for 50 years. michael Skalka A graduate of Rutgers and Syracuse Universities. 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. Graphics and Gift categories. This approach typifies our ethos: to work with and respond to the needs of artists in order to provide new opportunities to explore creativity. was the first cobalt colourant. In 1890. Winsor & Newton Brand Marketing Director Contributors to this issue emma Pearce On graduation from The Slade School of Fine Art. Michael also serves on the Pastel Task Force for the American Society of Testing and Materials. water colour and acrylic. Oxford University and the Tate Gallery. Sarah Palmer Sarah graduated from the University of the West of England with a combined Business Studies and Combined Science degree in 2000. UCL. pastels. Through a special selection of raw materials and experience. Its beauty in water colour is its bright. Acrylics. Featured in this edition is our latest innovation. a beautiful blue. American artist. Since then she has worked in marketing for a number of well known brands including Ready Mix Concrete and Henkel. Peter has achieved the closest modern alternative to our 1890 colour. resulting in washes which sparkle and suggest texture without overpowering the other parts of the picture. labelled up a small jar ‘best quality’ Smalt. Author of Artists’ Materials. Emma taught Methods and Materials at many colleges. Smalt.

(Subject to the agreement of the airline) of which are completely free from hazardous solvents. mediums allow you to alter the characteristics and working properties of your tube colour. lightfastness.the exact same can be said of Artisan. glazing. performance and drying times of Artisan allow artists to use this range for all oil colour techniques. Artisan has its own specially developed range of Thinners. • For travel. only. The Artisan range offers a balanced spectrum of 40 colours across two Series. The depth of colour. oils and thinners – all SAFER STUDIO PRACTICE WITH arTiSaN . As a result. There are eleven in total. and 31 Series 1 colours are available in 200ml (all colours are available in the USA). opacity/ transparency. WhaT iS arTiSaN? The arTiSaN raNge Like traditional oil colour. The only difference is that the linseed oil and safflower oil used in Artisan have been modified so that they will mix with water. This offers the artist excellent results for such time honoured techniques as blending. The Artisan range also offers a selection of sets containing assorted colours – a perfect introduction to Artisan colour. nine are in 75ml and 250ml bottles (varnish remover is only available in 75ml bottles) and Impasto Medium in 60ml and 200ml tubes. impasto and scumbling . • Artists who work within a small home environment and wish to reduce the odour of oil painting. Both Series are available in 37ml tubes. buttery quality fresh from the tube and is an exceptionally popular medium due to its versatility. • Students and teachers in schools and colleges where the use of oil colour is prohibited because of the solvents. Artisan Water Mixable Oil Colour is made from linseed oil and safflower oil.NO HAZARDOUS SOLVENTS P a g e T h r e e . all Artisan products (Colour & Mediums) can be transported on aeroplanes. Oils. by Sarah Palmer WhO ShOUld USe arTiSaN? Artisan is ideal for:• Oil painters who are sensitive to. As with conventional oil painting. thick. Artisan has been specifically developed to appear and work just like conventional oil colour. 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. Plus all brushes and equipment can be cleaned up with soap and 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. 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. or simply want to avoid exposure to solvents such as white spirit (mineral spirits) or turpentine. buttery consistency. artists can enjoy a safer painting environment.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. 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. Mediums and Varnishes to allow all techniques to be achieved with Artisan colours. therefore avoiding the need to use any hazardous solvents from start to finish.

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

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

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

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

and 200lb/425gsm in a luxury hard-back sketchbook. Plus a unique contoured matt finish handle providing a number of painting positions and the ultimate in comfort and control. England © Winsor & Newton 2007. Satin & Matt Varnishes and a Varnish Remover. this helps remove errors and allows scratching out. Safflower Oil.winsornewton. www. Whitefriars Avenue. 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. made using acid-free fibres so that your water colour painting stays cleaner and brighter for longer. point and shape retention in every brush. There are 6 new products a Thinner. HA3 5RH. I ntroducing the new range of Artists' Water Colour Paper.com WINSOR & NEWTON. Gloss. ARTISAN and the GRIFFIN device are trademarks. 7544968 P a g e e i g h T . A high quality artists' water colour paper with a cold pressed/NOT surface. Artists' Water Colour Paper is a mould made. 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. ‘Artists' Water Colour Sable’ as the name suggests has been developed especially for water colour artists.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. Artists' Water Colour Paper is a must for the artist who demands quality. using specially selected Kolinsky Sable hair to ensure excellent colour carrying. With internal and external sizing for control. Harrow. Published by Winsor & Newton. 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. wood free paper of crisp white colour. SERIES 7. The brushes are made by hand. Available in weights of 140lb/300gsm in gummed and spiral pads. giving the artist a wider palette of colours to choose from.

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