Ultramarine Blue PB29 (Pigment Blue 29)

As we have already discovered there are several variations of Ultramarine Blue, each pigment batch defined by a five figure number. I think this applies to many other colours,  PV19 Quinacridone Rose /Red/Violet being examples.

Ultramarine Blue is the modern synthetic replacement for the original natural Lapis Lazuli.  The pigment database www.artiscreation.com. describes it thus `...either the pigment extracted from Lapis Lazuli or the synthetic form Poly sulfide of sodium potassium, lithium or silver alumino-silicate' I hope I've got that all right! We then go to colour shade which is described as: `Deep blue, violet to bright bluish green shades, usually slightly duller in natural forms...' Lapis Lazuli can still be obtained from a very small number of sources and there are purists who will hunt such out but it is exceedingly expensive, while the synthetic Ultramarine is usually in the lowest price range..

Ultramarine has to be amongst the most popular and widely used paints. In general it doesn't suffer from the surfeit of  fanciful names applied to many other paints (pigments). In the majority of cases it is called Ultramarine Blue but also sometimes French Ultramarine, Ultramarine Light or Deep, with a green shade sometimes offered ( W & N).  Schmincke rather bizarrely  have an Ultramarine Blue made with PB29/ PB15 but also offer `Ultramarine Finest' which is PB29! Daler Rowney do something similar with an Ultramarine Blue but also Permanent Blue which is also PB29..Not having tried these paints I don't know what difference there is in shade between them but looking at the swatches on my col.our chart the Ultramarine Blue looks a deeper more reddish purple with the Permanent Blue `bluer'. The Sennelier  French Ultramarine Blue has PV15 as well as PB29 plus both Ultramarine Light and Deep, both PB29. Several makers, Holbein, Maimeri, offer both an Ultramarine Deep and Light. One of the more recent ranges, the reworked DaVinci call their one (PB29) Lapis Lazuli Genuine while also offering both an Ultramarine Blue and the same again `green shade'. The latest `sensation', the ultra expensive QoR are similar to Sennelier in that PV15 is added to the PB29 and called French Ultramarine Blue. I could go on but is there any point in doing so? I have no real preferences in this colour and will almost certainly give Lukas a try, with both a light and a deep as they are such great value. Currently I have a little Graham Ultramarine and a new tube of Holbein.I've used several makes in the past and have a slight feeling that the ones called French Ultramarine are brighter but I haven't done a proper comparison so may be wrong. 

It has been suggested that a possible alternative to Ultramarine Blue is Indanthrene or Indanthrone Blue which is PB60. This is one of the darkest value paints but on the dull side. I mainly use Ultramarine Blue to produce darks (or even greys) coupled with Burnt Sienna, Burnt Umber or Translucent Brown (Schmincke Pbr41)) , this latter colour resembling a brighter Burnt Sienna. There are other alternatives like some of the reds which will make very strong darks. Plenty to choose from!

Not much more to say really with personal preference playing it's usual part in determining what you buy.

Left Hand

This is my latest Indian portrait, a Comanche Indian with the name of Left Hand. I haven't been able to find anything else about him. The guide photo is from the Edward Curtis collection, freely accessible on the web. The First People site is a good place to start.

Left Hand 16" x 12 " Waterford High White 140lb (300gsm) not

I feel I've been slipping away recently so went back to basics, studying Charles Reid but also one or two other portrait artists like Aime Devine. This is the result. The original photo is black and white or more correctly more sepia-like. Colours therefore are guesswork even the facial ones. 

Colours featured included Transparent Brown (Schminke PBr41), Cerulean, Ultramarine Blue, Burnt Umber Raw Sienna and Cadmium Red Light. I think that's it. Usual brushes, Isabey 6228 and 6201 sizes 4 to 8.

Product Review - Cornwall Watercolour Paper

I recently tried out Cornwall watercolour paper from the well-known German manufacturer Hahnehmuhle. They have quite a range and Gerard Hendriks uses their Andalucia 500gsm paper - so does Viktoria Prischedko.. The interesting thing about Cornwall is that is  a slightly heavier paper at 210lb rather than the more common 140lb.Yvonne Harry the leader of my AVA group and a very fine artist, quite the equal of many professionals, had purchased some and used it at our AVA sessions. I was quite impressed with the results so decided I would give it a try. It isn't a cotton-based paper, presumably cellulose or similar and being slightly heavier than the norm doesn't buckle quite so easily. Because the weight is heavier the cost is roughly equivalent to a 140lb cotton paper so you don't save in that respect. 

Cornwall comes in both rough and matt surfaces, the rough being quite pronounced with a distinct pattern. Both come in blocks of ten in various sizes and you can also buy sheets. I bought blocks of both surfaces in the 30 x 40cm size, my favoured size. Current Jacksons price for the 10 sheet 30 x 40cm block is £12.20p.

I recently tried the rough surface at an AVA session. The subject was landscapes, which I don't do very often these days so I was very rusty. getting my excuses in first. The surface of the paper is quite rough with  pronounced vertical lines. Brushing across them produces a broken effect. I initially tried a portrait subject and it was a disaster. It just didn't suit the subject at all. Whether the matt surface would be okay I've yet to find out.

Winter Scene - Cornwall 30 x 40cm rough 210lb/450gsm

A few years back I tried another Hahnemuhle paper Britannnia available in rough and matt surfaces. For a while I quite liked it. It has a hard surface so the paint doesn't sink into the paper and remains bright. Being 140lb it is cheaper than Cornwall and the 12 sheet 30 x 40cm is only £9.40p. A good budget option. My favourite papers these days are Fabriano Artistico Extra White and Waterford High White. I'm inclining more to the Waterford and  prefer the 16" x 12" size rather than the 18" x 12" of Fabriano. The Waterford High White took a little time to get used to as it is different from the normal off white,but is a lovely paper used by many top artists. Unfortunately being cotton it is more expensive but there are occasional special offers. I should mention I also use the Great Art Centenaire paper, another of 100% cotton and it is good but not quite as good as the Waterford (my feeling), although a little cheaper. 

Watercolour Paintings 17

Here are the latest watercolour paintings I've downloaded. A varied selection with many different styles and approaches. Hope you like them at least some of them!

Ali Sajid

Genevieve Buchanan

Another from N B Gurung

Charles Reid

Sergei Kurbatov

Rose Ann Hayes

Gerard Hendriks

Trevor Lingard

Another from Charles Reid

Robert Wade

Yuko Nagayama

Jem Bowden

Nirupam Kanwar

N B Gurung

Another from Yuko Nagayama

Catjherine Rey

ishfarque Ali

Another very varied selection from well-known and lesser known artists. I include some of my favourite artists as well.  Some wonderful paintings amongst this batch with hopefully something for everybody. 

Latest Paintings

This first one was the result of the subject `Sunshine and Shadows' at my last AVA session. I know I stretch the subject but this is allowed and I like painting offbeat subjects. I've no idea what to caption this painting!.

16" x 12" Waterford 140lb Not 

The idea is that sunlight is being caught in strips across the cats face. The lines should really be straighter from the actual reference.

WOLF - Apsaroke 1908 

16" x 12" Centenaire 140lb Not

Actually not a great resemblance. I'm getting some of these subjects from a book on Edward Curtis and many photos are quite small.I did this quite quickly in the time I had left at my AVA session. Probably foolishly I posted it on my `Portraits' group on Facebook to get the comment `this is a waste of paper'! probably right. I'm now working on another which (I hope) will be much better.

Water

This was the latest subject at my AVA group `Water'. As I've explained before we are allowed considerable licence in our interpretation of the subject.

16" x 12" Centenaire 140lb not

I don't find `water' an inspiring subject but combined with waterfowl or ducks! I made the drawing the day prior to the meeting as this gives me more time to contemplate my approach on the day. I can concentrate just on the application of paint.

The duck colours are Raw Umber and Burnt Umber in various dilutions. A little black and some Quinacridone Gold (DS PO49). The blues are Cerulean, Turquoise (Lukas PB16) and Ultramarine Blue. At the end when dry I also added some acrylic white (Vallejo). If any masking fluid is called for I use the Pebeo Drawing gum. I once criticized this product because it is lethal if you get it on your clothes. However all masking fluid is similar and Jacksons now sell a product for cleaning it off clothes and such like.

Brushes used were the Isabey retractables and sizes 4 and 6 Kolinsky, together with the Da Vinci Mop Size 2.

Watercolour Paintings (16)

Here are some more watercolours I have selected. Some artists are `regulars'  others are new. I keep finding new artists all the time and, as usual,  have picked a mixture of styles and subjects. There should be something for everyone. There are some quite complicated paintings with breathtaking vistas. I'm often amazed at how the artists paint them, quite beyond me. . I hope you like them.

The fabulous Yuko Nagayama

Gerda Mertens - strong colours

Morten E Solberg Snr 

Genevieve Buchanan - simplicity itself.

Orhan Gurel

Viktor Retuerto

John Salminen

Same Altuncu

Linda Norvelle

Hiew Yv

Ellen Brennerman

 I have to confess I don't know for sure if this is watercolour. Her website doesn't mention what medium she uses, at least I can't find anything. She certainly uses liquid paint and water. It may well be mixed media. Fabulous painting though.I have to confess I'm not sure.

Bev Jozwiak

Gerard Hendriks

Milind Mulick - rather different to his normal works

Jonathan Kwegyir Aggrey

What an impact this young African artist has made over the last few years

Charles Reid

Two Apaches from the last hostile band. This encompasses one of my other interests.

Mystery Animal

This was the latest subject at my art group. We were given the same  photograph on arriving at the hall where we paint. This turned out to be a polar bear with two cubs. 

Photo on the left. I'm afraid the drawing looks faint on here.

I made a pencil drawing, as accurate as I'm capable of with not too much detail, basically just outlines.

Initial colours. Very difficult this as the colours of the animals are various shades of (dirty) white with hints of blue and violet in the background. There are also suggestions of yellow in places on the fur.

 16" x 12" Centenaire 140lb (300gsm) not.

I think I got the basic outlines fairly correct and overpainted with the same colours, when the original washes were dry, a series of blue or yellow greys, mixed from Ultramarine and Transparent Brown (Schminke) heavily diluted then added some yellow to give a yellowish tinge in places. The background was again heavily diluted and comprised Cerulean and Violet/Mauve. I actually used some pan paints for this - Schminke I think.

The above are the work of my fellow artists. I just wonder how Gerard Hendriks or Charles Reid would tackle this in terms of colour? 

Lukas watercolours now stocked by Jacksons

I am pleased to report that Lukas watercolours are now stocked by Jacksons. I like Lukas as an excellent range combining good quality with very keen prices. I'm rapidly coming round to the view that watercolourists are getting a raw deal with the pricing structure of many leading artist quality paints. Lukas have  70 colours which is enough for anyone.. Yes, there may be colours in other lines that you must, must have but you could easily fill 75% of your palette from the Lukas range. The cost per ml is super competitive. See the full review of Lukas JANUARY 2013. If amateurs are concerned about buying such a large tube they shouldn't be. According to Daler Rowney (and others) paints are good for at least ten years. The only reservation I have with that would be with those paints containing white, like many of the Naples Yellows offered. My experience is that they go very hard after a while and are unusable. See also problems I've experienced with Mineral Violet from Graham and  Cobalt Magenta from Rowney.

See the size difference between the 24ml tube and a Winsor & Newton 14ml.

I approached Jacksons several weeks ago and asked if they would consider stocking Lukas and they were very receptive. I'm not claiming it was solely due to me but they now have them so go on the new Jacksons website and put `Lukas Watercolours' in the search box and you'll find them.

Prices are very competitive. They have only two series, as compared from 3 to 6 with most of the other leading makes,  Compare the prices with the others, mostly 15ml or 14ml for Winsor & Newton.

I will be buying more but at present only have experience with four paints, Permanent Orange (PO71), Turquoise (PB16), Cadmium Lemon (PY35) and Cadmium Yellow (PY35) - all excellent..

We now came to the really good bit  - prices! Series 1 are being sold at £7.30p and Series 2, which includes genuine Cadmiums and Cobalts, Cerulean etc are only £8.10p and this for a 24ml tube.. Compare this with other makes! I know personal preference plays a big part in choice, and some may say we prefer this or that make. That's fair enough but at the moment these are  the best prices by far for an artist quality paint, excluding Korean, Russian, own brands and other makes claiming to be artist quality.. I will continue to buy the odd paint I like from some of the others but Lukas will fulfill most of my needs. Try them and see.

Artists outside the EU do not pay VAT, so even with carriage charges - at cost - this is a very good deal.