| Author | Message | ||
  Lex |
A week or so ago I finally bought a tube of genuine cadmium paint (not a "hue") - Sennelier cad medium red. I wanted this in the Schmincke brand simply because I've become accustomed to the consistency of workability in that brand. But I like the two tubes of Sennelier I've tried so far - the cad med red and burnt umber. Fact is, both are indistinguishable from the Schmincke out of the tube and in workability. No separation of gum arabic or other additives, superb rewettability (izzat a word???) from a dried palette, and both brands slosh around nicely wet-into-very-wet, which is how I usually work. As someone else has already mentioned, cad red seems to be fairly transparent when diluted with a pinkish color somewhere between watermelon and orangey. In mass tone it's definitely orangey red to my eyes, which tend to regard reds leaning toward blue as more "true" red, tho' I know that's nonsense. It's just how I view color. Based on my limited experience cad red seems to be somewhat less useful for blending. All the yellows and blues I tried produced brownish oranges and purples, not the brilliant versions I'm accustomed to. OTOH, it takes only a couple of glazes to produce a deep, rich, even color, which none of my other reds can accomplish so easily. A fair tradeoff in characteristics. As a former OSHA safety and health inspector I've tended to remain a bit paranoid about hazardous materials, but finally was convinced that cadmium in other-than-dry form is pretty much okey-dokey. It's primarily an inhalation hazard, not so much an ingestion hazard like lead. (Trust me on this, I've done the fatality investigations to back up my observations.) Keep your hands out of your mouth while painting (including cigarettes and cigars) and you'll be okay. Drinking coffee, etc., is fine, but if you're anything like me you'll need to keep your drink on the other side of the table from your brush water. Oh, yeh, and don't weld or use a cutting torch on metal bolts, nuts, rivets, etc., on bridges and similar structures, especially those found in coastal areas. Many of 'em were coated with materials containing cadmium for corrosion resistance. If you or anyone you know must engage in such work, be sure there's plenty of ventilation and/or use respiratory protection - preferably both. One fatality I investigated involved a fellow assisting in the demolition of a bridge. He was cutting the bolts securing the bridgehouse (where the bridge tender stands). He was on his knees with his hind end outdoors but the exposure was enough to put him in the hospital within a day. Unfortunately by the time the doctors learned what was wrong it was too late to cure him. The contractor hadn't done a thing to protect its employees from hazardous materials, despite the notice on the blueprints that cadmium coatings were used. The same precaution applies to zinc tho' the consequences are less severe. "Zinc fever" - the symptoms are similar to pneumonia or flu - is common among folks who work with the stuff, such as those in galvanizing operations (zinc is used as a corrosion inhibitor on things like steel trash cans) or who weld, cut or sand on zinc or zinc coatings. Inhalation, not ingestion, is the problem, and is seldom, if ever, a problem for us regular folks. But if you work with dry pigments, be cautious. Not to scare anyone, just trying to keep folks informed. Frankly, despite being satisfied with the performance of my tube of Sennelier cadmium red, I may wind up using one of the substitutes that is said to be lightfast and similar enough to the genuine article for most folks. Even tho' both my grandsons are beyond the stage of eating everything they pick up, neither is very religious about handwashing and for all I know they could dip a grubby paw into my palette when I'm not looking, then eat something contaminated with the paint before I catch it. Or take a swig from my brush water. Not worth the risk since I don't have a studio with a door that can be locked. | ||
feather |
I wonder how many artists ARN'T obsessive compulsive about something. I bet not many!!!!! Having OCD can be a positive thing as long as it's focued productively on a passion, and it doesn't progress to the point that it interfers with daily acitivites or the quality of life of others around us. | ||
Kukana |
I think Im obsessive /compulsive! I used to be a fabricaholi..fabrics really used to turn me on! Now its paint. At least paint take less space to store! I think we shold make Carrie tell us how many she has!!! | ||
patinsc |
Kukana, I think I have about as many tubes of paint as you have. And I agree with you aabout trying and using what suits you.And keeping Cheap Joe in business. After all without him we would not have this great site for our exchanges. HEY JOE! THANKS A BUNCH! | ||
Kukana |
How many tubes of paint do I own...hmmmm....less than Hilary Page???? Ok, you got me to counting. Now usually I fill the space in my pallette with the whole tube when it arrives.I like painting with my paints dry and hardened a bit. I have 4 "Frank Webb" Style pallettes. Each one has a different color "character". In addition to that, I have 54 tubes of other colors I use occasionally to never! (Before you gasp you need to know that my numbers pale in comparison to Carrie! If she with the most toys wins,she has us all beat!!!) Actaully a lot of my paint tubes are American Journeys that I buy to use in the workshops that I teach. They are my more trademark colors that I know that once I start to demo, everyone in class will want a squirt of that color. I sell them a squirt for $2.00. It gives them a chance to try out a color before buying a whole tube and ending up with 54 tubes of paint. That is a trick I learned from Carrie. Im sure you puriest are rolling over in your graves but hey,I don't smoke, drink, gamble or mess around. I have to do something to spend my money on. Beside somebody has to keep CJAS in business!!!! | ||
feather |
KUKANA: I'm almost afraid to ask, but how many tubes of paint to you own? If you have too many to even guess the amount, just tell us how many suitcases (with wheels) it takes to carry them to workshops? (Just kidding, I say go for it!) | ||
Kukana |
Oh well, some of us painting bumkins love em all. Each on has its place and use. The trick to them is to learn to enjoy them at the level they were meant to be used and enjoyed! Wouldn't it be a bummer if we lived in a society with out choices!! | ||
patinsc |
drollere: Well now, that's what makes hores racing. | ||
drollere |
the holbein cadmiums are superb. the colors by m. graham, rembrandt, winsor & newton and maimeri are also extremely good. the daniel smith colors are a little dark, and the blockx, grumbacher and old holland paints are worthless. then there's davinci. it's odd to see paints praised even though the artist has apparently never asked herself, "gee, why would a paint behave that way?" in the case of davinci, all the colors have the consistency of toothpaste. even ultramarine and cobalt violet, which are so lovely when they granulate in washes. the colors are lighter valued than most other brands, and they do not color shift (lighten or change hue) nearly so much as they dry. why would paints behave that way? well, one reason may be that the colors are cut with fillers -- which would also explain why they are "semi transparent which is unusual for a cadmium." right -- but only if the cadmium is pure and high quality. another reason may be that the pigment used is not artists' quality, but the cadmium or cobalt violet or ultramarine pigment more commonly used in plastics, cosmetics or other industrial applications. davinci colors handle like poster paints -- purdy tube color, no pigment personality, somewhat dull mixtures. | ||
pepsi freund |
If you haven't tried the Holbein paints. Do so. In many instances they are matte like in color and yet they add a zing to any watercolor painting. Try them. Pepsif | ||
feather |
Patinsc, you know the more I experiment with different brands of paint the more I'm gradually moving away from W&N myself. I find that the W&N paint is difficult to get nice smooth transitions in graduated washes with. It kinda surprised me that Hilary Page gave such high ratings to W&N in her book. Thanks for your input, and for your brush tip that you posted! Hey everyone else out there in computer board land, what are your experiences with different brands of paint... What are your favorites and which one's did you give to the kids to paint with? | ||
patinsc |
feather, I love DiVinci paints. In fact much more that WN. I use them and Daniel Smith paints exclusively and find they are all smooth and flowing. | ||
feather |
I just purchased a tube of Da Vinci brand Cadium Yellow Medium. I can't believe the "feel" of it. I haven't felt such smoothness in application of a Cadmium color before. I exerimented with it using a graduated wash and it had a softness of application & smooth transitional qualities I haven't experienced before. In wet on dry appication it sailed along as if guided by an unseen breeze. (Plus it is semi transparent which is unusual for a cadmium.) This is the first tube of Da Vinci brand paint that I've purchased. Did I just happen to hit the jackpot on this one...and most of Da Vinci's other watercolor tube paints fall into the "typical" for artist quality of paints catagory? Or, do Da Vinci watercolors generally have this "smoooooothness" about them in comparison to other brands? | ||
Kukana |
Go for it Neffi..Its only Paint and Paper!! Its really not about bravery, just fun and exploration. When I try something new I get myself into a mind set that I am not going to create a masterpiece, just play. Funny thing is that nine times out of ten I turn out something fun fresh, free and not overworked! Have fun and paint away! Im off to paint at the Gallery today as a demo/featured artist and Im going to try all new wild stuff there. That way I won't feel so pressured to get perfection out and if it flops, I can say that I was just experimenting! | ||
Neffi |
Chris, Kukana and Piper - thank you very much for your replies! You've been most helpful. Interesting about using opaque colors as an underpainting in wet-in-wet. It makes sense. Now I'll be brave and try out those cadmiums. | ||
piper |
I have found the cads can actually be transparent if adequately diluted. The cad reds can make a luminous transparent pink to reflect a sunset sky onto snow. | ||
Kukana |
Neffi, One thing I learned that was invaluable to me was something I learned from Barbara Nechis. Opaque colors are wonderful to use as underpainting a wet into wet technique as they grab and hold shape in a wet into wet. Pure transparents can almost comletely dispurse in a wet into wet leaving little shape and form | ||
chris |
My experience has taught me to "usually" mix a transparent with an opaque. Mixing two opaques usually produces dull colors, or worst, mud! As to light,med or dark, it is your preference. I love to use oranges in my paintings, with a light touch, because of the glow and warmth they produce. In my teaching experience, I have found that beginners hesitate to use it and they miss the added luminousity it creates. Generally I prefer a transparent orange, but cads can be used to produce nice glazes if used with a light hand. But remember, opaque with opaque can get you in trouble fast, so if you are not too experienced, look for some of the transparent colors. Good luck. | ||
Neffi |
Since I started watercolor painting some months ago I've primarily been using transparent paints, avoiding more opaque ones such as cad yellow/red. But now I'm keen to try out the cadmiums. I'm just wondering whether mixing two cadmiums increases the opacity. Also, how to decide between pale/light, medium and dark of red and yellow? How useful is orange? Would really appreciate some advice. Thanks! |
