I’m a stickler for clean colors and tools — I really don’t double dip much.
No offense to those that muddy their paints, but how can you use a
brilliant yellow when it is covered in green or red or general muddiness?
I also like my pans and brushes to be clean, and mine was not.
I’ve learned a lot about what makes a color a color this year, mostly by reading handprint.
I’ve bought many colors that have the same pigment chemistry. This is not like having three Quin Golds — I knew that I was duplicating Quin Gold, and love the different Quins for their different properties. But lots of companies call their color something different when they are the same formula.
I want to stop buying multiples. I can’t afford it!
A while back I organized them by their formulas on a huge sheet, above.
SO many duplicates. Daniel Smith names three colors that are the exact
same in both painted swab and formula. Boo.
I decided to pull them out and get to know which I really like and then get rid of those
I do not like so much. One thing that spurred all this on is I found out my acupuncturist wanted to learn to paint. I let go of all my small tubes of QoR and set him up a travel kit.
I have a few colors of QoR I love (Bohemian, Green Gold, Terre), but over all I find it is not a great product for the cost — and I’ve been a Golden fan for 20 years.
I would not use another acrylic, but their watercolors don’t move me.
Expensive by almost 1/3 of Daniel Smith, say, and they don’t re-wet as well, but tend to get granular during re-wetting — and not because they are granular intentionally.
So, I pulled out duplicate colors in companies whose product I DO like and
laid them into my normal paint tin, which made way too many paints for one tin.
That leads us to the second thing I did.
Painted Ladies mixes, Opaques, Iridescents (4), and beloved Primateks, from left to right.
I’ve thought for awhile that I can’t find my Primateks easily when I want them.
I love the granular, sandy, textural qualities of Primateks, Mayan colors, and Greenleaf & Blueberry‘s paints. I decided to separate them, along with the few iridescent colors, and a stream of odd colors I mixed for the Painted Ladies (Victorians) around town. That wasn’t good enough, so I also pulled the opaque paints. (I am not a fan of opaque paint.)
This means I can’t hit an opaque by accident and regret it. These went into the QoR tin.
NOTE: Danger danger on the QoR tin. It is poorly designed. They made these great mixing holes but designed the tin so that if you lay your brush into them it flies up. Lovely to be covered with a wash you mixed or worse, your painting is covered. ARGH.
Anyhow, that is how I ended up with these two clean tins of organized paints.
This one holds all my transparent paints and a couple of Primateks and others I “borrowed” from the second tin as I use them all the time. They “float” in the center: Shungite, Caput Mortem or Cote d’ Azur, Burt Tiger’s Eye, Yavapei, Diopside, Lapis.
I can move the center extra’s around, and begin to choose which of the
crayola greens, phthalo blues, and quin reddish-pinks I actually want.
Why the blanks? I am about to buy a couple of new colors.
Yum. I am incorrigible!
Greenleaf & Blueberry, Holbein, QoR, Sennelier,
M. Graham, and Daniel Smith watercolors.
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