This and That

Just received the latest e-mail from Ken Bromley. Bromley have taken on Maimeri watercolours and also have Daniel Smith, as well as the long-standing Winsor & Newton and Daler Rowney artist watercolours. They also sell St Petersburg which they describe as `artist quality', as do the other mail order specialists. Maimeri are excellent paints with one or two reservations.  A very good French professional artist who I met on a Charles Reid course said, when I mentioned them, that they were `too bright'. I think I know what he meant but others may like that. I've used them for some years and they are mostly pretty good, but avoid `Quinacridone Gold' (called Golden Lake) which isn't. They are well priced but watch out for the more expensive series. Maimeri Cerulean is more expensive than the excellent Winsor & Newton paint. Series 1 & 2 are reasonably priced but 3 and 4 are expensive and you might prefer Daler Rowney or Lukas. Interestingly Bromley stocked Schminke a year or more ago and soon decided to drop them. Richard Bromley said this was due to `lack of demand'  but it seemed a very hasty decision to me. They are selling off what they have left. Bromley continue to prosper and each edition of the twice yearly catalogue contains a photograph of the staff, who seem to increase each time. I had an issue with  them a while ago when the wrong surface paper was supplied. They offered to replace it but required me to send it back at my own expense. I still have it and contrast this with Jacksons, who if they make an error, send a freepost label for  returning the incorrect items. Bromley have an excellent well-designed website and many loyal customers. www.artsupplies.co.uk

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Great Art have www.greatart.co.uk/    just redesigned their website and I placed my first order on the new one last week. I didn't like it at all and found it much less user friendly than previous. When I placed an order by post recently I complained but have had no response except an e-mail has now arrived with `your step by step guide' to the new website. I don't imagine this has just gone out solely to me but perhaps they have had other complaints. A lot of the problems with these things are they are designed by computer `geeks' who seem to assume everyone has their level of expertise. When I bought my first PC - a long time ago - the lady who owned the shop in Bath told me  a popular seller was a series of simple `how to' computer books, actually designed for children. In this respect the series of `Dummy' books are pretty good.

I've found Great Art very efficient, although they won't keep out of stock items on backorder and are a little inflexible. They don't accept the order.  However they stock Lukas at excellent prices as well as many other makes, a large range of different papers and brushes. Currently Winsor & Newton watercolours are on offer at excellent prices and the first order on the new website qualifies for an extra 10%. Saunders Waterford blocks are also very well priced but only the original as they don't appear to stock the newish `High White' version.

Great Art have a very large range of products including many not stocked elsewhere, even by Jacksons.

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I am also awaiting another order from Jacksons ordered late yesterday. An e-mail has just informed me it has been despatched today. I find their service excellent and mistakes (infrequent) are rectified with a freepost label supplied for returned items. I noted that Winsor & Newton watercolours are being offered at well below the current catalogue prices.  This may be in response to the Great Art offer or Bromley. The same thing seems to be happening as occurred last year. We had quite a hike in W & N prices in January but they were soon being discounted. I thought at the time that this was due to the threat from Daniel Smith, not because they were cheaper but due to the vast range and many unusual and unique colours. The reason for so many orders is I order for Avon Valley Artists so we can avoid carriage charges. With the price of paints, paper and much else so high it is very easy to exceed the amount needed for free carriage. This also applies to Bromley and Great Art. I've ordered a Mijello palette for myself with 24 paint wells. www.jacksonsart.co.uk/

 Added 13/04/2013. Jacksons have just announced they have the exclusive UK rights for the well-regarded American Strathmore range of art papers.

Added 18/04/2013 Jacksons have also announced they are now selling the Frank Herring designed palettes comprising five units. Two are half and full pan plastic versions of the Roberson, two versions of the Liz Deacon and the Dorchester. All sturdy palettes made from hard plastic.

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Another pigment bites the dust! Apparently PY153 Nickel Dioxide Yellow has been discontinued so the hunt is on for existing supplies or a suitable replacement. There are many yellows so this isn't a major problem BUT this was the pigment used in the very popular Winsor & Newton New Gamboge.  Daniel Smith also call it the same name but others usually list it as `Indian Yellow' including Rowney one of my staples. Well okay I have too many staples but this is an excellent paint praised by Bruce McEvoy, even if  less than enthusiastic about Rowney generally. Winsor & Newton have been quick to replace it with a two pigment mix of PY150 and PR209, another yellow and a red. When asked why they seem to do this quicker than everyone else - Daniel Smith still list the genuine Quinacridone Gold PO49 - the reply was their usage is so large that stocks are exhausted very soon! I may return to this pigment in a separate piece including suggested replacements.

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Finally yet another Craig Young `lookalike' has emerged in a new website calling itself  `The Watercolor Paintbox Prototipes Company'. I assume they mean `prototypes' . Is this Chinese (?) as no indication is given and the English used contains several basic mistakes. They also have some Holbein palettes, the Spanish Pierra  as well as the Craig Young `lookalikes', claiming to having been making them for some years. Hmmmm! If you are interested the website is www.watercolorpaintbox.wordpress.com/ but I suggest proceed with caution before ordering anything. 

Mineral Violet - Pigment Violet 16 (PV16)

This wasn't a planned post but has arisen as a result of my experiences with two tubes of Graham Mineral Violet purchased from T.N.Lawrence  & Son of Hove.

I actually bought these paints in the first half of last year and somewhat later  decided to make a swatch of the Mineral Violet, only to find initially only liquid emerged and that the tube was less than half full. When contacted Lawrence were most apologetic and replaced the tube very promptly.

As I am a paint junkie I have far too many paints and the Graham paints, apart from two colours, were not brought into immediate use. Very recently I decided I must do something with them and prepared an alternative palette which included paints from Daniel Smith. The paints were sqeezed out into the wells with no problems until I came to the Mineral Violet. I noticed immediately that it seemed somewhat congealed and what emerged from the tube was a thick mud-like brown substance. Not a trace of violet anywhere!

I decided to contact Lawrence once more as these paints are not cheap. The response was immediate. I received an e-mail from Martin Lawrence which said  "...it does appear to be a problem with this particular colour that we have experienced with a number of other paint manufacturers" He also said this had been communicated to Graham and a reply was awaited. Once again the response was immediate. Graham replied:

  "Yes, a couple of years ago we (and other manufacturers) bought a pigment that reacted to the medium.It only happened with the Mineral Violet. We apologize and will replace any tubes that you or your customers have with this problem".

Martin Lawrence replied as follows "I have asked for clarification as to whether this batch is identifiable. As we haven't had any other problems reported for some time, I hope that our current stock is ok. It looks as if we must have replaced the first tube with another tube of the same batch. We will send out a replacement tube tomorrow".

Assuming the tube arrives and is ok then the response from Lawrence (and Graham) could hardly be bettered. I find Jacksons equally good in handling any rare problems and Lawrence are in the same league.

As for Mineral Violet PV16 it isn't a particularly popular pigment, correctly called Manganese Violet. Handprint rate it a `top forty' pigment and make no comment about possible problems so it appears this is an isolated instance.

Lawrence www.lawrence.co.uk sell a wide range of art supplies and have a very good selection of watercolour paints. They are the sole UK source of both the highly regarded American makes of Graham and DaVinci. The German Lukas brand is also stocked as is Old Holland. Art Spectrum and others.

Graham and DaVinci, both ranges containing some excellent and unique colours, are rather expensive but Lawrence do offer an additional 20% off  when six tubes are purchased. This makes them more competitive. Both companies have excellent websites with very good colour charts and information on pigments etc. Graham are www.mgraham.com/  and DaVinci www.davincipaints.com/ . Graham paints are easily rewetted, a major plus unless you paint every day. My only experience with Da Vinci is through the Michael Wilcox paints, which they make, but they have since reformulated the paints introducing many new colours made with top pigments. Both are worth serious consideration. I shall almost certainly buy more Graham in the future.

I have only one issue with Lawrence and that is they don't have a similar free postage offer, providing the order exceeds a certain amount, to Bromley, Jacksons and Great Art. Some other suppliers are starting to introduce something similar. The minimum postage charge is £4.99 which adds 83p per tube when six are purchased.  Obviously the more you purchase the lower this figure becomes. Thus the final price can be more expensive compared with Winsor & Newton (and other makes) from the three aforementioned suppliers. In these straightened times, with art materials increasingly expensive, price is becoming a major factor.

Watercolour Painting on a Budget

Generally speaking  the advice given by nearly all professional artists is to use the best materials. By this they mean Artist Quality paints, 100% cotton papers and Sable or possibly Squirrel brushes. There are exceptions, Ron Ranson being someone who questioned the need to spend the large sums of money necessary to fulfill these recommendations. I suppose they are aiming their advice at either other professionals or serious amateurs but don't - largely - seem to recognize that there is a large - very large - number of hobby painters for whom such materials are either unaffordable or bluntly a waste of money.

As a start what did Ron Ranson paint with before he moved to the USA? With paints he used a limited palette of Winsor & Newton Cotman student quality, Paper was Bockingford, which is made from high quality wood pulp, and brushes comprised a hake and two or three synthetic rounds.

My reading of Ron's approach was to demystify some of the  things surrounding watercolour painting,  one being that you had to spend a fortune on materials. The very finest materials may be beneficial to the talented and experienced artist, who knows how to use them to the best advantage, but is this the case with many amateurs? It is also a fact that quite a few  professional artists paint with either Cotman or a mix of student and artists quality, Bockingford paper and synthetic brushes. The famous British landscape artist Edward Wesson used 140lb Bockingford paper exclusively, then switched to 200lb, which was initially produced specifically for him. He also used, and popularized, such was his influence, what were originally called `French polisher  mops', which I take to be the Isabey range widely used today. Isabey however are not cheap. Various  manufacturers have produced Isabey `equivalents' but in general the original is still thought the best.

Bockingford Tinted 11" x 15" sheet pack

There are some who will tell you not to use Bockingford because it isn't 100% cotton. I also notice on the Ken Bromley website that the artist Trevor Lingard is complaining about recent variable quality, but such complaints are made from time to time about other well-known makes, with claims that quality has deteriorated. Bockingford is available in a wide range of weights and also tinted sheets.

When I first started painting I mostly used the  16" x 12" Bockingford spiral pads. There are several other budget makes, one of the best being Brittania from Hahnemuhle, made from cellulose. I have tried it and thought it fine, especially the rough surface although I wasn't so impressed with the cold pressed. It is very hard sized and so the paint doesn't sink into the paper, remaining bright. I think a lot depends on how you paint. There are others so try them and see how you get on.

I have tried a wide range of papers and have reached a provisional consensus that Saunders Waterford and Fabriano Artistico are my favourites, taking into account cost and quality. I do like Fontenay but the price has suddenly rocketed well out of reach and the Great Art website now talks about it being `handmade'. In any event this is about budget materials so I'll leave it there. According to Ian Sidaway the Daler Rowney Langton is also Bockingford. For the best buy some of the mail order specialists, specifically Jacksons and Ken Bromley, sell special offer packs of Bockingford cut into either half or quarter sheets, 50 or 100, at very keen prices equating to around 30p per sheet for the 11" x 15". Any 100% cotton paper will be more than double that and if you buy blocks even more expensive. Try Bockingford and if you are happy with it why buy anything else? Many professional artists do. I have no knowledge of other budget papers available outside Europe either in Asia or the North American Continent but I'm sure they exist.

Comparison of Cotman Tubed paints (Top three rows) and W & N Artists quality pans (bottom three).

 Can anyone looking at the above say the Cotman results appear seriously inferior? I might add since I did this, several years ago, Cotman has been upgraded and are using better quality pigments, many being exactly the same as the artists range. Another thing we are often told is that it is a false economy to use student quality as the pigment concentration is so much higher in the artist paints. The pigment concentration may well be higher but  this statement is very debatable. A comparison of costs per ml ( Jacksons prices) taking the Series 1 Artists quality price 14ml tube and the 21 ml Cotman gives figures of 48p and 15p respectively. This means that Cotman is less than a third of the cost. Has the artists range three times as much pigment? I think not. Bruce McEvoy of Handprint says actual pigment content in paints varies between 20% to 50%. The differences are variable between different pigments and are not dictated purely by cost. The balance is made up with additives and fillers. A brilliant Chinese artist who uses Cotman paints is Guan Weixing www.guanweixing.com/  Have a look at his wonderful paintings. Michael Wilcox says, in one of his books on colours and pigments, if you wish to economize on paints start with the earth colours.

Where you do tend to lose out is in expensive pigments like the Cadmiums,  Cobalts, Cerulean and Viridian. They are replaced by `Hue' equivalents. In the Cadmiums many manufacturers offer additional  `hue' versions as the toxic and opaque qualities of the true Cadmiums are anaethema to many artists. With blue one of the Phalo Blues or Ultramarine is used with added white to make `hue' equivalents of Cobalt and Cerulean Blue.  Viridian is replaced by a  `hue' version based on Phalo Green. Nothing to stop you buying a few Artist Quality as several good professionals use a mixture of the two. See my post on Paul Weaver, a very fine up and coming Bristol artist www.paulweaverart.co.uk/

I also think two other student quality paints are worth consideration. Van Gogh from Talens (Rembrandt) and Venezia from Maimeri. Maimeri is not easy to get in the UK but Van Gogh can be found with a little searching. Both are available in the USA. In each case, as with Cotman, the range is 40 paints and the same remarks apply regarding the Cadmiums and expensive blues. There may be others but these are the only ones I have experience with. St Petersburg and Shin Han paints come (in my opinion) into a different category - perhaps a halfway house, although both lines have question marks against them, particularly in the use of fugitive pigments, especially St Petersburg, while Shin Han have many multiple pigment paints, with white in quite a number. 

Keynsham Park 16" x 12" Bockingford 140lb Not

This painting was done using Van Gogh paints several years ago. My style was different then or probably more correctly still in a state of flux. Still is to some extent. I think Van Gogh paints are excellent, highly pigmented and a very good budget alternative to the eye wateringly expensive top ranges. Bockingford paper also. I don't present it as a good painting but not a great deal wrong with it. The same comments apply to Van Gogh as Cotman in that you might want to supplement them with a few tubes (or pans) of the expensive blues and/or Cadmiums only sold  in Artists Quality, although in the USA and Canada they are available in Cotman - 10 additional colours in all, slightly more expensive than the normal 40 colours but still very well-priced. Memo to Winsor & Newton. Why not in the UK? No more spurious excuses please.

We now come to brushes and the choice is plain, either animal hair or synthetic. With sable there is a choice of either Kolinsky or Red Sable, the latter generally cheaper. This is simplified because there are several different grades of sable and they vary in quality, depending on gender of the animal, time of year when harvested and also what species the hair comes from. Buy from a well-known source and beware cheap offers of `Kolinsky Sable' brushes. See my post on Rosemary and explore her catalogue online. Red Sable is the budget sable choice and then we move to synthetic/sable mixes. All the leading brushmakers offer a range and they are only slightly more expensive than pure synthetic. Rosemary, Stratford and York and  Pro Arte all make them. The SAA (Society of All Artists) now have a full range of own label brushes and have recently introduced a sable/synthetic. You need to be a member or know someone who is to buy at members prices. Jacksons are gradually increasing their own label brushes and there are some good buys amongst them. I think the Da Vinci Cosmotop Mix B is well worth a look being a mixed hair brush. Rosemary says that both Mongoose and Shiraz are suitable for watercolour. I have a Mongoose fan and it works well for tree  foliage although I don't use it much - perhaps I should. New synthetic brushes are coming onto the market all the time and are getting closer, so we are told, to emulating sable. Certainly some artists prefer the firmer feel of synthetic compared to the softness of sable. Yvonne Harry is one. The Internationally acclaimed Australian artist Robert Wade uses synthetic brushes exclusively, although they are his own signature brand made by Neef.

Paints, paper and brushes are the most expensive materials in painting although you can spend considerable amounts on other items like easels but again the range is vast, both in choice and price. I have previously posted on plein air equipment and admit that I have wasted a lot of money overall  on stuff I use only sparingly, or not at all, so be warned! Unfortunately I'm something of an impulse buyer although I have bought a lot of good stuff  at bargain prices. Art shops and mail order catalogues are full of interesting items but buy only what you really need and don't be seduced by siren voices saying you need this or that, all of which will make you a wonderful painter in a week or two. One tip is to get on the e-mail list of the mail order suppliers who regularly have special offers. When items you use appear buy! If you belong, and it is a good idea, to a local art group buy together to avoid paying carriage charges. I buy for my AVA group and  monitor  special offers.

The same general comments apply to books and dvd's which appear in ever increasing numbers. You can spend a fortune on them if not careful. From the many to choose be selective and buy only those that will be of use, although this is easier said than done. You really have to sort the wheat from the chaff.

Having said all this I will now don sackcloth and ashes and admit I buy (mostly) Kolinsky sables, 100% cotton paper and artists quality paints. I do shop around and buy at the best prices, also special offers which are frequent. For example prior to the January price increase Great Art www.greatart.co.uk/ were offering Fabriano Artistico paper at half price. I bought a shipload. Amongst artists quality paints Daler Rowney are often the best priced. Lukas via Great Art are well priced and so is Maimeri from either Jacksons (only on the website) or Turnham www.artistmaterial.co.uk who are cheaper. With Turnham you have a fixed carriage charge regardless which has to be added. In the UK Winsor & Newton are very well priced and cheaper than the American imports Graham, Daniel Smith and Da Vinci. These latter are all very good but expensive in the UK. Jacksons www.jacksonsart.co.uk offer well-priced own brand paints, made I'm told by Sennelier. And so on. Watercolour painting is an expensive hobby but you can cut corners and work within a limited budget so don't despair. Unfortunately local art shops tend to sell at full price. Some will give a 10% discount to students and members of local art groups. It is a fact that you can save considerable sums of money, at least 20-30% and sometimes up to 50%, buying from the mail order specialists, of which there are an increasing number. Jacksons, Ken Bromley www.artsupplies.co.uk/  and Great Art, all waive carriage charges over a certain amount. Some of the others now seem to be catching on to this. In the USA there are many excellent internet suppliers like Dick Blick, Cheap Joes, ASW, and Jerrys Artarama to name just four. On the continent you obviously have Great Art, who are German, but I don't as yet know of any others. The language barrier is a problem as are carriage charges. I also point out once more that countries outside the EU can order from UK suppliers and the 20% VAT is deductable. Carriage charges will be higher but they will give you a quote and you might be surprised how competitive some of the prices are.

The question of what to buy, especially that between  `best' materials and budget ones never stops. The consensus leans towards the best but as I've said this depends on circumstances. Brilliant paintings have been and are being produced by some very fine artists using cheaper materials.. I think the key thing here is the `very fine'. Their skill enables them to overcome any deficiencies which might be insurmountable to the lesser talented. 

I shall be taking a weeks holiday at Lake Garda in Italy starting tomorrow so no more posts for probably ten days. Comments (and corrections!) welcome. 

Palettes Part One

I joined the wetcanvas forum a few weeks ago www.wetcanvas.co./forums/  and an interesting discussion has taken place about palettes, driven by some of the posters discovering the Craig Young hand-made versions. Several appear to have ordered them and according to one poster the waiting time is now a year and the prices he quoted (in dollars) indicated they had risen steeply compared to when I purchased mine.  Some of the contributors appeared a little confused with what to buy when balancing cost against functionality. As a result, and due partly to new information about what is available and where I decided to do this piece.

First of all watercolour palettes come in various shapes and sizes from small to (very) large. If you are painting on say half sheets or larger and use big brushes size 16 and above and large flats, 1" or more, then it is obvious you need a big palette. Not everyone uses conventional palettes and various sorts of flat trays are used by artists, including some top professionals. Butcher's metal trays of different sizes and/or the flat plastic ones sold in some kitchen shops can be perfectly adequate. With such trays you squeeze out paint from tubes. This method is normally associated with limited palettes of 6 to 9 colours.  You can mix large quantities of paint but it can be wasteful with what remains and is then washed off.

The above selection of palettes includes two of the largest, the John Pike (A) which is on the left hand side complete with lid, which can also be used as another mixing area. The Robert Wade Palette (B) is at middle bottom with the lid, also used for mixing, touching to the left. Top centre is a muffin tray (E) (as used by the artist Trevor Waugh) and to the left (D) is a plastic palette of a type commonly available. Centre is the Zoltan Szabo palette (C). The three remaining palettes in the top left hand position are top a cheap aluminium version (F) commonly available and underneath the smallest palette, a Windsor and Newton plastic one (G) with an empty metal palette (H) of the sort commonly available but in this instance filled with empty full pans. I have labelled each palette with a letter A to H, but you may need to click on the photo and enlarge it to see the letters clearly.

What you need and what you should obtain depends on how you paint and whether you use tubes or half/full pans. The other criteria is how large you paint because in my experience most amateurs paint fairly small. These are only a selection of palettes that come in four basic materials, plastic, metal, ceramic and porcelain. There are other sorts but not usually used for watercolours. The John Pike palette is American  and all the information you need is here http://www.johnpikeartproducts.com/. The Robert Wade palette is obtainable in the UK from www.apvfilms.com/ . The JP palette is very popular with professionals like Mel Stabin www.melstabin.com/ and in his book `Watercolor, Simple, Fast and Focussed'  is illustrated more than once as he uses it for everything including his plein air painting! I'm not sure about the Zoltan Szabo palette as he is deceased (as is John Pike) but it is probably still available if you Google it. Added Note: Yes it is. Try www.ZoltanSzabo.com/ Wade and Szabo palettes are vacuum formed whereas the Pike palette, those from Herrings and several others are made from much stronger materials.

What is readily available? In the UK we have Ken Bromley, Jacksons, Lawrence, Herrings and several others possible suppliers. Great Art are German but have a UK telephone ordering number. Great Art have palettes from 85p up to a `professional' box with 48 large wells (!) costing £133.40p. Try Great Art http://www.greatart.co.uk/ . The enormous catalogue stretches to nearly 400 pages. Jacksons, who tend to be the most popular supplier amongst my artists group http://www.jacksonsart.co.uk/  list a large number and have recently added the superior and more expensive Holbein metal palettes. They are not yet in the catalogue but are on the website. Bromley http://www.artsupplies.co.uk/ also list a good number including the plastic Maxwell palette `designed by artists'. Herrings are interesting because the Herring brothers (and family) are enthusiastic artists and have introduced a range of artists products `designed by artists for artists'. These include several palettes plus other items like easels. Herrings also sell two `professional' metal empty boxes. Herrings have a website http://www.frankherringandsons.com/ but it is still under construction and art materials are not yet on it. Most of the above also sell various empty, lightweight, metal boxes, cheaper and not to be compared with the more expensive heavy duty `professional' sorts.   

Here are three typical metal boxes, purchased empty and filled with a mixture of half and full pans. I suggest half pans for the least popular colours and full pans for the colours you use most often. You can purchase empty full and half pans at both Jacksons and Bromley and some of the others and fill them from tubes or  half and full pans from manufacturers like Windsor and Newton. Not every paint manufacturer offers both half and full pans.  One of my local art shops in Bath (Minerva) also sells them in packets of ten. You may note two of the boxes above have the Scminke Logo. Some of these boxes, very similar whatever the source, have logos like Scminke, Rembrandt and Lukas. others nothing. They are basically cheap enamelled metal so don't compare them with the more expensive heavy duty palettes I shall cover in Part Two. They do the job if price is an issue but won't last more than two or three years with heavy usage.

On watercolour paper

My friend Mick asked recently how I was getting on with the new Waterford `High White' paper. So far not very well. Ken Bromley http://www.artsupplies.co.uk/  writes, in the most recent catalogue, that St Cuthberts Mill made the new paper after requests from professional artists who were searching for a whiter shade of watercolour paper, but without compromising on quality. It also goes on to say `With the new `High White' shade the paint pigments will appear more vivid, and with more sparkle, giving the whole a fresher look....a whiter shade will make finished paintings more contemporary looking, as artists have commented that they felt the original white colour created a more antique look to their finished compositions'.   Incidentally Bromley are also advertising another new watercolour paper called `Millford' This is a replacement for Whatman, which has been discontinued, and is 100% cotton rag, mould made and trimmed four edges. Discounted price is £17.95p per pack of five 30" x 22" sheets.  Slightly cheaper than Arches.

This is news to me and I wonder who these professional artists are? In any event a very good  `Extra White' shade of Artistico has been available from Fabriano for some time  http://www.jacksonsart.co.uk/  but Bromley don't sell it.

Myself and two other artists from my Avon Valley Art Group tried this new paper, in all three versions, HP, Not and Rough. The others, both very good painters tried, respectively, the HP and Not. neither liked the new paper and Yvonne, who is an excellent flower painter, said she would stick to Artistico `Extra White' which she considered much superior.  I have so far attempted  three paintings with it and none have been satisfactory. Of course I'm only a poor old amateur so take my experience how you will. Possibly it takes some getting used to but I have done many paintings on Fabriano `Extra White' and found the paper generally excellent. I won't give up on it yet and will report further in the near future.

Recently another new paper has been introduced by the German company Great Art http://www.greatart.co.uk/. They are making quite large claims for it `prices never seen before for such a high quality range'. `the very finest watercolour paper' etc etc. It is made from 100% cotton but so are many other good papers including Waterford, Artistico, Lana and others. This paper is called `CENTENAIRE' and you can order  a sample which I did. Unfortunately this is only about six inches square. I ordered the Not version, also available in Rough, which  has quite a smooth surface and duly tried a few swatches of several colours. On this very small sample I can't see what the fuss is about especially as the prices quoted are not particularly keen. It is available in blocks of 20 sheets, six sizes from 18x26cm to 46x5lcm and also sheets 56x76cm. The block prices are reasonably comparable, being dearer than Waterford but cheaper than Fabriano, although Fabriano sizes are slightly larger, 18" x 12" for example as opposed to 16" X 12". In the case of sheets they are not competitive except with the dearest available which is Arches. Five sheets, the only option, are £13.75p. I recently completed a survey for Great Art in which I pointed out their paper prices were not as good as Bromley and Jackson's where they sold the comparable makes. Great Art do have a much larger range of watercolour paper overall. Incidentally if you buy as an art group, Great Art offer 15% off catalogue prices when the annual edition is launched and subsequent orders 10% so this is a factor but not for the individual artist. I paid £3 for the first catalogue to get this deal then another three arrived (separately) unsolicited!

It will be interesting to see what the artist's magazines have to say about these papers if and when they review them. I take such reviews with a big pinch of salt because invariably they are more concerned, so it seems to me, about their advertising revenue and appear to pull their punches and then some. I've never seen a bad review yet. I recently was in communication with The Artists editor about Windsor and Newton's Cotman policy, sending her copies of my e-mail correspondence with the company.  I was fobbed off with `very interesting I'll take it up with W and N when I meet them in March' or something similar. Needless to say nothing has appeared in the magazine so take what magazines recommend, and some professional artists, with a pinch of salt and a healthy dose of scepticism. Incidentally I don't have a grudge against `The Artist', subscribe to it and think it  excellent on most counts.