| Author | Message | ||
  Robert |
Update re. Maimeri--They use a whole lot of ox gall. This means that if you touch your paint-laden brush into a wet area the new color spreads out and seamlesssly blends in. Great for smooth washes. Terrible is you want individual brushstrokes to show. For that effect use either Rembrandt or Holbein (though 1/3 of the paints have questionable lightfastness in Holbein) both of which escew oxgall. | ||
Gail Raynolds |
I am adding in a little late here but I use Maimeri Blu paints off and on. I read a book by Zolta Szabo quite a few years ago and he was preaching these colors. He had a separate palette for WN and MB. He painted with MB when he wanted excitement he said! I did take a class from him in the late '90's and bought these colors and it took me a while to get use to the difference and boldness. ZS told his reasoning for using the paints and it was the purity of the color was very important and lightfastness. I think that is what everyone is saying. | ||
Kukana |
Victoria, Handprint.com is the virtual bible on paints for artists. Bookmark it and reference it often. The guy that runs it is a storehouse of knowledge and posts here once in a while. | ||
Robert |
For more on lightfastness: Read this: http://www.handprint.com/HP/WCL/pigmt6.html | ||
Robert |
" How long a time and wouldn't most of them be affected by direct exposure to sunlight? Victoria" The answer is reposted from my post from an earlier lightfastness thread: Lightfastness seems to not actually have been defined in any of these discussions. I just came across this interesting standard for lightfastness that is very specific (good for 150 years under museum lighting)on the Rembrandt watercolor webpage chart. Almost all of their colors are rated maximum lightfastness: "Lightfastness +++ = highest degree of lightfastness (78 colours, lightfast for a minimum of 150 years under museum lighting, ASTM class I). ++ = good lightfastness (2 colours, lightfast for a minimum of 75 years under museum lighting, ASTM class II). The lightfastness of all colours has been tested in accordance with ASTM standard D4303 and D5067." | ||
Robert |
Lightfast colors are rated as to not fade in normal light. Fugitive colors fade slowly in normal light, quickly in direct sunlight. Of course people don't hang paintings in sunlight intentionally, but many paintings are exposed to direct window light. Fugitive colors fade, light fast colors do not. Go to handprint.com and read up on lightfastness tests. That is why alm0ost all colors now tend to be lightfast becasue it has been such an issue in the past. One caution--Holbein seems not to have gotten the message since quite a few of their colors are fugitive, even newly introduced ones. | ||
victoria |
Another stupid beginner question: I have millions of them it would seem. You say that if a color is fugitive that it fades over time and when exposed to sunlight. How long a time and wouldn't most of them be affected by direct exposure to sunlight? Victoria | ||
VJo |
Hi Robert, Thanks so much for your quick response and your explanation of "fugitive" colour. It makes perfect sense to me now. | ||
Robert |
A fugitive color is one that will fade over time, especially if exposed to direct sunlight. Most colors are not now fugitive, fugitive pigments having been replaced with contemporary lightfast pigments. Alizarin Crimson, though, is fugitive and is still popular. Violet- Red paints containing quinacridone rose or quinacridone violet (PV-19) are the best replacements for Aliz.. With Maimeri Blu that would be Primary Red magenta or Crimson Lake. | ||
VJo T |
A little off topic but I'm hoping for a response. On reading previous question and answers, I noticed the term "fugitive" color. I am a beginner in watercolour painting and would appreciate if someone would define that term for me. Thanks | ||
Dale Z |
Robert- You hav convinced me that I should try Maimeri colors, especially the yellows. Have seen them offered but have never tried them. Thanks for your information. | ||
Robert |
Anon-- If you plan on using Indian Yellow as a key yellow in your palette (it is great , fully transparent and permanent) I suggest pairing it with maimeriblu Perm. Lemon Yellow. Thus you can mix the two toether to vary your yellows between orange biased and green biased and have completely transparent yellows though that entire gamut of yellows. | ||
Anonymous |
I took a workshop with Joe Fettingis last year (great, by the way, many practical details, and he doesn't allow talking)and he, too, was promoting Maimeri Blu. Although I was a confirmed Daniel Smith user, I bought three or four tubes and was very pleased, and the price was right. And you are right, Robert, the web site is great - you are actually told what you are getting. I will definitely try more Maimeri Blu, starting with Indian yellow. | ||
Robert |
Maimeri earths-are totally transparent and mix beautifully. In fact they seem made to be mixers and not just brown colors. Wonderful. Indian Yellow is my main yellow--a totally unique pigment with maimerblu--Isoindoline plus a touch of Q. gold. They have a full range of quinacridones too--just not named that way--for instance verizono violet, tiazano red, avignon orange, rose lake, primary magenta, gold lale --all pure quinacridones. I ordered Daniel Smith quin. burnt orant and q. sienna recently and used them and ended upo flushing them (not environmentally sound but what I often do when disgusted with a color). The maimeri quins to me are beautiful. And i can;t believe Maimeri sells for almost 1/2 of what w/n does--except cobalt and cerulean which are more (and 3 times as concentrated!). They are trying to gain market share and must be succesding. Stephen Quiller, the late Zolta Szabo, and Catherine Anderson among many endorse them. But the color swatch chart is great becasue you can click on the color and really see it in detail (a tint, not masstone). | ||
Kukana |
You know, I think I really like these paints the more I use them. I love their consistancy and color. I have noticed that their colors are quite diffrent from WN though. Especially their blues..generally seem to be a bit more biased towards green. and their greens m0re biased towards blue. Interesting! My three favorites are called green blue, golden lake and indian yellow. All different from their WN counterparts and I love them. Especially the Indian Yellow.. a color I use a lot. It the most transparent inidan Yellow I've used. The Green Blue is a gorgeous carribean transparent rich aqua color and the Golden Lake, ...a wonderful quin. gold. I actually think I like it better than DS Q. gold which is saying a lot as I think I may have bought more of that than any one who has ever walked the face of the earth!!!!! | ||
Robert |
This is how all paint companies should do their website color swatches. Click on each color to get a very accurate representation closeup of the color on paper with the actual pigment components listed. Hats of to Maimeri. http://www.maimeri.it/FineArts/colorprod.asp?mnu=0301# |
