Artiste Botanique
This is it… we knew this moment would come but it still makes me sad. Quinacridone Gold, the real Quinacridone Gold PO49, is now completely gone… When the pigment manufacturer stopped production in 2001, they offered Daniel Smith (who were the first manufacturer to use Quinacridones in their paints) the opportunity to buy all their… Continue reading The final batch of Quinacridone Gold
Some watercolourists seem to find it hard to make the difference between neutral colours (especially browns) and muddy mixes. There is a huge variety of browns that are clean, transparent and without a hint of mud in them, not even the detoxifying cleansing spa kind. Unlike primary and secondary colours that are found on the… Continue reading How to avoid muddy colours
This question comes from Stella, who was at my West Dean course in September: What exactly is the difference between transparent and opaque paints and how does it affect my paintings? The answer is that transparent paints let the light through to the underlying paper while the opaque paints reflect the light, effectively blocking it… Continue reading Transparent vs opaque colours
When I heard that there was a new, Non-granulating French Ultramarine, my heart missed a beat. It definitely didn’t feel right. I had that feeling you get when a long trusted and beloved friend does something so bad you didn’t even know they were capable of it. My favourite blue had stopped behaving like it… Continue reading Pigment Spotlight- The non-granulating French Ultramarine aberration
The Perylene family is relatively new to the exclusive pigment neighbourhood. The first Perylene was discovered in 1912 but didn’t move in until the 1950’s. Even then, it was not widely seen and only became part of the artist community in the 1980’s. Even today, their position is not as prominent as other families, such… Continue reading Pigment spotlight – The Perylene family
Sandrine Maugy 