JACKSON'S Eco Handmade

Last year Jacksons launched a new handmade paper from India. 100% recycled cotton and produced in a factory where the water used in the process is then run off to irrigate the field surrounding the factory. The price is good, lower than those of the mould made papers  like Waterford and Fabriano, and half the price of Arches. As well as asking for and receiving the free paper samples PJESAM, I purchased two full sheets of the 140lb  smooth/medium. It comes in three weights including 560lb(!) and three surfaces. The samples were given to three other artists at my Avon Valley Group for them to try. They all gave the paper a big thumbs down.  Yesterday I decided to try painting on it. This is the result.

Jackson's Eco Handmade 22" x 14" 140lb smooth/medium 'The Marina Grande at Sorrento'

The paper is roughly made and tends to be on the bumpy side. Although supposedly 140lb it seems thicker and possibly heavier than the mould-made products. The surface is similarly `rough' in consistency. I first made the drawing and the pencil seemed to drag on the paper somewhat. When I began painting the surface  scuffed in places very easily and wasn't consistent. It took the colour moderately well but I almost gave up on it at times. Unfortunately I can't give it much of a recommendation which is a pity. My fellow artists likened it to blotting paper and were even more critical, although they only had small samples. I can't think what sort of watercolour painting it would suit. Maybe collage but what else?

Note added 1 June: I forgot to mention that I taped the paper to my board and when I came to remove it, literally only two hours or so later, it ripped the paper very badly.     

More Recent Paintings

Sitting Bull and Captain Jack.

SB was the famous Sioux medicine man involved with the destruction of the 7th Cavalry under Custer, while Captain Jack was the leader of the small band of Modocs who gave the US army the runaround in the late 1870's. In  the film Jack was portrayed by Charles Bronson!

Judi painting at the Gannel Estuary, Newquay October 2009.

15" x 11" Not

I was on a painting course with Judi Whitton late last year and took a photograph from which I later did this painting. This was my second attempt.

`Crow Eagle' 15" x 11" Fabriano Artistico 90lb Not

Another effort at Crow Eagle, one of several less than 100% satisfactory efforts. I have done worse than this one.

"Messing about on the River" 19" x 14" 152lb Veneto Not

This painting was for the `end of term' competition at my Bathampton Art Group. We have a competition and vote for the painting we consider the best. I think mine only got one vote and that was the lady who sits alongside me when we paint! I basically opted for a simple composition which went down like a lead balloon.

View down to terrace from 4th floor room balcony Hotel Royal Sorrento

12" x 16" Waterford Not

This one is the last painting I did at Sorrento with the addition of the three half pans I was able to buy in Amalfi. I was not very struck by it but at least I made the effort.

Michael Caine 15" x 11" Fabriano Artistico Not

One I did a while ago for a competition at Bathampton `Celebrity Portrait'. In the event the one I put in was of Clint Eastwood. I thought it was quite good but it came nowhere in the voting.

Sitting Bull, Huncpapa Sioux 15" x 11" Not

 Painted earlier this year or late last year, can't remember which. A reasonable likeness.

Latest Painting

This was painted at my last thursday Avon Valley Artists session. The subject was `a rainy day' and I obtained the photo from Google images. There did not appear to be any copyright restrictions but in any event it is just an exercise in painting from a photograph.

`Geisha in the Rain' 12" x 16" Saunders Waterford Not 

 When choosing the  photograph I wanted something different and worked on Charles Reid's dictum of picking offbeat subjects. Overall I think it works quite well. It was mostly painted using my new Da Vinci Artissimo 44 No 2 Kolinsky Mop purchased from Jacksons. The brush head is roughly equivalent to a good number 12 standard Kolinsky although the handle is shorter. I used a number 4 for the detail in the features. I actually did the drawing the previous day so when I was at the Hall could concentrate solely on the painting. I find this is beneficial.

The Blues in Sorrento!

View from balcony of room, 4th floor Hotel Royal Sorrento, Vesuvius in background.

Actually I need to explain myself. After taking considerable trouble to decide what painting kit to take with me to Sorrento I committed an unpardonable sin. When waiting for our baggage at Naples airport I was suddenly struck by a horrible realization. I had forgotten to bring my main painting box and had only a mishmash of supplementary paints! What a disaster! My wife says it shows I am losing it so it's double doses of Ginkgo Biloba from now on.

I had everything else but what could I do with the paints I had ? My supplementary paintbox, occasionally brought into play, contains Greengold (PY129), Indian Yellow (PY153), Permanent Magenta (PV23), Opera Rose (PR122 plus a dye), Permanent Rose (PV19), Avignon Orange (PR206), Indanthrene Blue (PB60), Hookers Green (PG7/PO49) and Ivory Black (PBk9). The odd tubes I put in the bag were two or three versions of Naples Yellow (Reddish etc), Ultramarine Pink (PR259) and Quinacridone Rust (PO48). The latter were intended for the colours of buildings in Italy. I only brought the supplementary box as an afterthought.

I first tried an experimental painting on the terrace of the hotel, which is on the cliff top facing the sea. The main problem as I saw it was the lack of a decent set of primary colours - no blue apart from Indanthrene blue, no primary yellow either. When It came to the sky I was scuppered so the hunt began for an art shop to supplement what I had. The holiday representative tried to be helpful but the end result was NOTHING! The only paints available in Sorrento were  two solitary boxes of Cotmans priced at 34 and 74 euros.  No sale.
We arrived late on Friday and had opted for a trip to Amalfi on Monday. The thought occured might there be something available in Amalfi, although as a smaller town than Sorrento I didn't hold out much hope. However on arrival I explained my predicament to the young lady who was the guide for the day, and although she wasn't optimistic directed me to a shop specializing in various stationery and paper products. After  a good look around I discovered a small area where there were some brushes, and on further inspection found a small tray underneath holding some Maimeri half pans. That was the good news. The bad news was the selection of colours was minimal but I managed to find Cyan Blue (PB15:3) Permanent Green (PGY/PY175) and  Permanent Yellow Lemon (PY175). Thinking I might find something else further up the main street which winds upwards off we went. To cut a long story short no luck! But I did discover a small shop, the shops are all small, selling paper of various sorts which seemed to include watercolour paper. This was confirmed and some small and medium sized sheets were produced. by the lady serving. I chose the 16" x 12" largest size and on enquiring whether it was hand-made, a stupid question really, the lady immediately said "Yes, by me at my factory over there" waving her hand in an easterly direction. I asked for 5 sheets (ten euros) but got six for the same price. The paper has a beautiful soft feel although quite light, possibly 90lbs. That doesn't bother me because I do some paintings on 90lb Fabriano and my style of trying for a finish first time, with no big washes, means I can use lighter paper, although 140lb is the staple. The paper is expensive compared to the usual mould-made but I was on holiday so.... I discovered, should have known, that Amalfi is famous for paper of different sorts and the  address and name  for this supplier is: Arte e Carta, di Rita di Cavaliere, via P.Capuano, 30 84011 Amalfi (Sa). She even has an e-mail address: arteccarta@hotmail.it

If you visit Amalfi, and almost everybody who goes to the Sorrento area does, then call in the shop. What first attracted me were the lovely small drawings and paintings in the window, obviously done on the paper she produces.

How did I get on with the painting using this unfamiliar hotchpotch of paints? Not terribly well although I did some painting from the balcony shown above and a couple more from the terrace down below. I was tempted to post one of them but decided against. It was a useful exercise trying to paint with an unfamiliar set but not one I wish to repeat so I definately won't make the same mistake again. I did take many photos at the old fishing port called the Marina Grande. Lots of boats and things. Hope to do something with them in due course.

One final glitch (almost). When I packed my art materials the tripod and mdf board (with attached Ken Bromley bracket) plus paper went into  one of our cases. My backpack held everything else including my Walkstool. On going through the checking area at Naples airport the bag was x-rayed then pulled out and inspected. A young lady said the Walkstool couldn't go on the plane and would have to go back via luggage  at the entrance of the airport, some distance away. This was a potential nightmare but fortunately another young lady appeared and waved us through. It was nearly inspected again when a holdup occured at the boarding gate and two officials started pulling people out of the queue, pulling their hand luggage apart. Luckily not mine, especially after the incident over the Walkstool. I'm all for airport security but the Walkstool in its bag is only about 12" long and weighs eighteen ounces. In future in the case it goes.

Latest Indian Portrait

I photographed three today starting with my Nikon Digital SLR but unfortunately the battery ran out and I reverted to my old Canon A95. The following portrait photographed the best of the three so I'll have to try again with the Nikon. I'm very much an ad hoc photographer so my results are often variable - much like my painting!

Curley-Bear Blackfoot Chief 1903, Schut Vivace 115lb Not 15" x 11"

He doesn't appear too happy in the original photograph which I think comes through in the painting. Overall I'm quite pleased with this one. The usual mix for the features of Cadmium Red Light, Cad Yellow Light, also Raw Sienna, with Cerulean, Cobalt and Ultramarine Blue in various amounts added to create the darker complexion. 

I'll discuss my palette choices, not that they are anything out of the ordinary, at a future date. I do like to have plenty of options so have a main palette of sixteen colours with a smaller supplementary palette with a further nine. Usually I major on probably no more than six with smaller amounts of several others. I seem to use the earth colours quite extensively. The very limited palette is not for me because I follow the Charles Reid/Judi Whitton approach of trying for a finish first time- which isn't always possible. I also try not to overmix,  mixing where possible on the paper. The American artist Al Stine says, somewhere in one of his books, that he doesn't know any good artist who paints with a first time finish. Obviously he doesn't like such an approach! Is he getting at Charles Reid?

My wife and I are off to Sorrento for a week this Friday, volcano ash permitting, so there will be no more posts for at least ten days. The painting gear is being sorted for packing although the weather forecast is a bit miffy. Still one lives in hope.  

Plein Air

For the first time this year I was able to paint outside this last weekend. The location is about 100 yards from my home, which although in a modern estate is on the edge of farmland. I have painted this scene many times with varying results.

The first attempt was last Saturday and after unloading all my kit I realised I had forgotten the walkstool! This obliged me to paint standing up which I'm not comfortable with. I know many top artists like Trevor Chamberlain say you should stand up to paint but each to his own. I don't have the steadiest of hands and sitting down enables me to overcome this handicap by resting my little finger on the paper a la Charles Reid. The first painting was unsatisfactory once I had a good look at it and it was soon discarded. This prompted me to try again, and with excellent weather conditions I returned  on Sunday to the same spot. The resulting painting, which I was more careful with follows.

Fabriano Artistico Not 19" x 15" Keynsham Manor

Keynsham Manor has a long history going back some hundreds of years. There are a pair of really enormous beech trees at the entrance, which I relegated to a minor role and simplified. They tower way above. Owls usually nest in one of them. Overall it is a very complicated subject with masses of `stuff'  and in the past I've often tried to put too much in. The Manor is now split into three separate residences and I know the couple who own it and live in one section. John has told me something of the history.

More Indian Paintings

Crow Eagle. Schut Vivace 115lb. 15" x 11" Not

Two Hatchets.115lb Schut Vivace 15" x 11" Not.

I much prefer the `Two Hatchets' painting to that of `Crow Eagle'. They were painted because I wasn't happy with the originals and several others have finished up in the recycle bin in the interim. Paradoxically the resemblance to the original photograph is less but I prefer the result above to my original effort.

With both I studied the two paintings of Joseph Wolfskill in Charles Reid's `Watercolor Solutions' book and tried to emulate the combination of   hard and soft edges while putting in `small areas of detail'. Charles's approach is quite abstract, apart from those small areas of detail, so I'm not trying to do a `chinese' copy. From what I've seen on the three painting courses I've attended other more accomplished painters than me find this difficult.

The other major hurdle is that the photographs are in black and white, taken in the 1800's, and tend to be just that black or white. There is not much variation between the extremes and this, together with  not knowing what colour the clothing was, means a fair bit of guesswork is involved. I've also tried to alternate warm and cool.

Colours, various mixes of Cadmium Red Light, Cadmium Yellow Light, Raw Sienna, Cerulean and Cobalt Blue for the skin tones. I tried Permanent Alazarin Crimson in an earlier painting instead of Cadmium Red but didn't like the result. The reason I did that was because generally speaking, although not universally so, Indian complexions were and are swarthy.Colours in the clothing, and some in the hair,  included Viridian, Golden Lake (supposedly Quinacridone Gold PO49?), Ultramarine Violet and Raw Umber. Ultramarine Blue mixed with Burnt Umber or Burnt Sienna was also used for the hair and darks generally. My paints are mainly a mix of Maimeri, Windsor and Newton and Daler Rowney. I do have a few colours from other makes. Why the mix? I'm an impulse buyer and buy when paints are on offer but the high cost of Artist's paints is also a factor so any cost savings are welcome. 

Summing up I think it is worthwhile as an exercise, especially as I'm interested in American Indian history, and starting from my original efforts improvement is taking place although I realise I still have a way to go. Any comments? 

Quinacridone Gold - Pigment PO49

This colour, described by the Australian watercolour artist Robert Wade, in his 2002 book `Robert Wade's Watercolor Workshop Handbook', as the `best thing for years',  has had a rapid rise and - apparently - fall. Described by Handprint as a`mixed crystal form of PV19 Alpha and Beta' - I've no idea what that means - pigment production ceased in 2001 due to lack of demand from the automotive industry. This is again from Handprint who also say most paints with this pigment were discontinued in 2005. Initially there appeared to be four, two from Daniel Smith, the others from Winsor & Newton and Maimeri.

Winsor & Newton Quinacridone Gold became very popular in the UK. I can't speak for Daniel Smith which is still, as a brand,  only available in the USA ( recently extended to Canada).Note:20/10/12 Now available in the UK. It is possible (a little bird tells me) that  Daniel Smith, the largest range of watercolours in the World with over 200 paints, and highly acclaimed by American artists, may be available in the UK in the not too distant future.

Winsor and Newton reformulated `Quinacridone Gold' as a mixture now containing PR206, PV19 and PY150. All excellent pigments but don't expect the same results when mixing with others.

Maimeri continue to offer their version, called `Golden Lake', although the tube states it contains `quinacridone PV49.' I can find no trace of a `PV49' so assume it is a misprint that Maimeri have failed to correct - it has been like this since introduction. I contacted Bruce McEvoy about his comment that the paint was discontinued in 2005, which is what  Maimeri told him he says, and his reply was `the tube  may say that but....' .
An initial enquiry to Maimeri was promptly answered saying `Golden Lake' was still available and indeed they had supplied some to Jacksons, one of the largest UK art suppliers, in January. Following Bruce's comments I contacted Maimeri again and asked what was in the paint and why PV49? My e-mail was acknowledged but nothing further has been heard since. Hmmmmm!

Is that the end of it? On checking through lists of paints from several leading makers I came across this from Sennelier, the French manufacturer. According to their current pigment information PO49 is listed in five paints, all mixtures. Quinacridone Gold (with PG7), Mars Yellow (with PBr7), French Ochre (with PG23,PY3), Yellow Lake (with PY153), and Chinese Orange (with PR209)! No shortage of PO49 there it seems but no pure pigment paint either. I believe, until recently at least, Daniel Smith was still offering Quinacridone Gold in it's huge range. However since writing this I note that the new Great Art catalogue http://www.greatart.co.uk/ has a watercolour chart for Sennelier with one difference. Quinacridone Gold, as a name, has vanished and under the same number 445 is something called `Brown Pink'.Note: 20/10/12. Sennelier reformulated their range in 2012.

I only have experience with the W & N and Maimeri versions. Winsor & Newton Quinacridone Gold  was lighter and handled better than `Golden Lake', which I have not been impressed with. I like Maimeri paints, which are excellent value, but this colour is darker and grittier than the original Winsor & Newton paint. What actually is in the tube? The silence from Maimeri makes me wonder.Note:20/10/12. Information from Maimeri to Handprint said they had replaced PO49 with PY43 `a similar pigment'.

As a footnote the closely allied Quinacridone Orange PO48 is also heading for the exit due to `lack of demand from the automotive industry'. This is another lovely pigment and the Graham version, Quinacridone Rust, is a gorgeous colour.  The new Da Vinci (USA) range also includes paints listing this pigment. Both Graham and Da Vinci are only available from T.E Lawrence of Hove in the UK http://www.lawrence.co.uk/, while Maimeri from Jacksons  http://www.jacksonsart.co.uk/ and Turnham http://www.artistmaterial.co.uk/ , possibly a few others. Jacksons also sell Sennelier.

Some Recent Paintings

Here are two of my most recent efforts. Quite different but I'll explain why.

Lanacquarelle "16 x 12" Not `Flowers and Fruit'

I painted this at my Monday evening session with the Bathampton Art  Group www.bathamptonart.co.uk/ This is a self-help group where you mostly do your own thing, around 20 artists attending on average, with a wide range of  media and tecniques, from highly detailed pencil drawing to large oil and acrylic paintings. Watercolour is the most common media.

I decided to do a flower/still life painting using two photographs as a guide but also giving my imagination moderate rein, once again trying to impart the Charles Reid approach. This is the result which I'm reasonably - not entirely - pleased with.

Lanaquarelle "16 x 12" Not `Doors and Windows'

This was painted at my Avon Valley Artists Thursday morning  session. The subject was `doors and windows'. At this group originally called the Saltford Art Group ( and subsequently Society), where I have been involved for some years,  we all paint the same subject,  often from a setup or setups.

This was painted from a photograph, taken by another member, apparently at Wells in Somerset. We had a choice of photographs, either bring your own or choose from a selection brought by Jan and Yvonne, the leaders of the group. I was struck by the colours in both the windows and walls and approached it with the `pieces of paint' approach from a little gem of a book called  `Hawthorne on Painting', originally by J.C Hawthorne in 1938 but this edition by Dover Publications, New York 1960. It is not an instructional book in the normal sense but a collection of students notes collected by Mrs.C.W Hawthorne. I read about it in one of Charles Reid's books. Try Abebooks. 

Portrait Painting in Watercolor by Charles Reid

This is my most recent acquisition, obtained from the USA via Abebooks http://www.abebooks.co.uk/ . The copy I've received is in mint condition in every way. It even has the original dustcover (see above) encased in clear cellophane! I paid just under £30, of which carriage was slightly more than half! The original carriage cost quoted was increased due to the weight of the book and this may apply to some of the prices listed below.

 I was lucky as a search today brought up prices from £30.14 + £9.31 carriage  to an eye watering £196 + £9.98! There are a few copies around but not that many. Alibris UK http://www.alibris.co.uk/ have one copy  at £34 plus carriage and NEW at £240.54 would you believe. My copy is as new. Amazon UK  list 5 used from £58.90 and the USA site 19 used from $43.99, 2 NEW $207.34. Incredible isn't it.  However read on, I discovered another possible source http://www.ebookee.com/Portrait which lists this title as a download. According to the page there is a link to Usenet where you can download it for free. What snags are there in taking this route?  I'm not aware of any never having downloaded a book but caution is advised.

Before proceeding to the book review be aware that when you search for this book the title that often appears is `Portraits and Figures in Watercolor', a quite different animal. This is an 80 page paperback as opposed to the 156 page  hardback `Portrait Painting in Watercolor. It appears to be a truncated  amalgam of the Portrait book and the slightly earlier `Figure Painting in Watercolor'. The prices quoted for this one are similar to the larger book. The second-hand book trade never ceases to amaze me although it is true that you frequently get a much better deal from the USA than UK booksellers, if they have the book(s) you want.  Availability is much better in the USA of this type of book.

On the ebookee page (Portrait Painting in Watercolor_68843.html) is a review by  someone hiding behind a pseudonym. This is a brief extract of what they say:

`Not Charles best book -but quite good none the less...`The book is brown in colour and concept. Charles's book on Natural painting in much more appealing..........nevertheless a good book'

`The Natural Way to Paint', one of my favourite CR books, was first published in 1994, whereas `Portraits' is a 1973 book.  The difference in approach is immediately obvious. In one word COLOUR! Whereas the earlier `Figures' and `Portrait' books are mainly in a sort of monochrome, brown, sepia tone, colour leaps out of the pages of Charles later books. Another difference is that the portraits have become a lot more abstract, once you get beyond essential detail.

I'm glad I bought it although I wouldn't pay much more that it actually cost.. I'm sure it will be very useful but I do hope Charles is already working on a new version which brings together and summarizes all the information currently spread over several of his later books. I also recommend the Mel Stabin book `The Figure in Watercolor'. It struck me that Stabin's style reflected Charles Reid although the only influence he credits is Edgar Whitney. When I asked CR about this he replied Stabin had been one of his students.