I haven't really painted since taking up needle felting over two years ago. I was very, very tired of it; one of my earliest memories is of my dad going into a shop, leaving me on the pavement and emerging with a long, thin blue tin box, which he handed to me with a gruff ''there you are girl'. Or words to that effect. It was a box of Reeves artist's watercolours. I was about four years old.
(This is not the first one - I used that one up and he bought me this replacement on a later birthday)
So I was more than happy to give painting a break - I was bored and even resentful of it, and the only painting I've done since then has been for the odd commercial job. (Drawing however, I do love and never stop). But I was so pleased and surprised to have an enquiry from a needle felt customer as to whether I had any original artwork for sale. Yes, but only the two - 'Luna' and 'Little Clown'. And they bought them at once. Which was lovely, especially for my overdraft. This, combined with the enormous amount of painting I have to do for my two jobs, has brought me back round to the idea of painting again. But - my paints have been dying over the years. Look! The 'condemned' ones with red crosses on are the totally dried up tubes; I've had many of these since the early 1990's.
I went through them and realised I hadn't bought more than one or two tubes of new paint in a decade - the last time was back in 2005, just at the time I started this blog and tried out the (then)new 'Potter's Pink'. Not all of the dried up tubes needed replacing - colours like these pinks are so vibrant I only use them in tiny amounts, not for washes, so I can happily use the dry lumps they have become.
I took the plunge and spent some money. Not only paints, but all the paper I'll need for the final artworks (about 20 A2 sheets), and yet another ceramic palette (I can never have enough). 
And another big roll of gummed strip; the sad little remnant there is all that is left of the previous large one, which was used up over five years. That is, I can tell you, a lot of work. I also had to replace my pencils which get used up within weeks at the moment. 
This is my other box of paints; my gouaches and some of my new tubes. I bought everything from Jackson's Art online, who are my main suppliers; apart from their prices, I've never had anything but prompt and courteous service from them, and that's all you really want from a company. I indulged myself and bought several new colours from two brands I'd not heard of before.
Shin Han and Maimeri Blu both make affordable water colours, and Shin Han especially had some gorgeous sounding hues, some of which are opaque, a quality I like. There are all kinds of *rules* about water colour painting and I ignore them all. I mix gouache with watercolour, even though it splits. You just keep briskly mixing it together as you work and this often gives me lovely, strange colours. (One of the other *rules* is that you don't mix watercolours - you layer them. However my entire painting style rests on mixing and re-mixing - it works for me). I made a little colour sample to try out the colours I'd not used before. The Shin Han ones came out on top. I've kept this image large, so that if you're interested you can click on it and see what I mean. The 'Shell Pink' and 'Horizon Blue' are two shades that I'm always mixing up, so it's nice to have it ready to hand. I've always thought of the pink as sticking plaster colour. The Shin Han samples are on the left, the Maimeri Blue on the top left, three of them.
I don't think I'll be using the 'Lilac' much, (too purpley) but 'Davy's Grey and 'Horizon Blue' are keepers. The one error was stupidly buying 'Green Earth' from the Maimeri Blu range. Of course, it's what I know as 'Terre Verte'. This brand of paint is also quite gummy, which is typical of a cheaper tange. Not something I mind, but I know some people do. The 'Sandal Red' is basically a geranium shade, but a nice one. Here it is with Sennelier's Rose Dore (very red) and Winsor & Newton's Geranium Lake (pale) gouache. But still very tasty. 
An opaque colour I used to use a lot for mixing is Daler Rowney's 'Nickel Titanate Yellow' . When I ran out I replaced it with a Winsor & Newton version, which really was not the same. It didn't have the chalky, lemony bite of the DR, so I'm glad to have it back. 
Another colour I am very fussy over is sepia. It's something I don't use in my commercial work, as it dulls the vibrancy. My publisher once had a prospective book of mine rejected by clients because it was 'too brown'. However I always put a sepia wash in my personal work and it seems to be a selling point, giving it a nostalgic feel. Go figure, as my American friends say. I only have one sepia in my box that I like, and that is an ancient tube of Reeves in lead casing. It has the blackness which marks proper sepia... 
...here is is on the right, compared to two others I have (Winsor & Newton Gouache and Old Holland) which are really just brown. Actually my favourite sepia is in the Cotman student range, but naturally I forgot to order that one. 
I find it invaluable to keep a record of how I mix colours. This is a big sheet I made about 13 years ago, and I still use it today. Again, I've left it at big size., so you can click on it for more detail There are plenty of examples on it of how I've jumbled Nickel Titanate Yellow with other colours, to produce something I find interesting. 
So when I hit my final deadline (please God) at the beginning of June, I might just start painting for pleasure again, now that I've had my little strop and a two year break. Sorry Dad and thanks again for the paint box.
(This is not the first one - I used that one up and he bought me this replacement on a later birthday)He also gave me crayons, coloured pencils, let me play with his pastels as a treat and generally encouraged me to paint & draw without saying much, just giving me the tools. It was also a good way to keep the house peaceful, which was something he craved (not that I think I was a noisy child). When he died, I made a vow to become an artist for him, and stuck to that promise, even though I was only twelve and trying to keep that vow made life very difficult for me. It took me until fairly recently to realise I didn't really enjoy painting at all; I was just going through the motions.
So I was more than happy to give painting a break - I was bored and even resentful of it, and the only painting I've done since then has been for the odd commercial job. (Drawing however, I do love and never stop). But I was so pleased and surprised to have an enquiry from a needle felt customer as to whether I had any original artwork for sale. Yes, but only the two - 'Luna' and 'Little Clown'. And they bought them at once. Which was lovely, especially for my overdraft. This, combined with the enormous amount of painting I have to do for my two jobs, has brought me back round to the idea of painting again. But - my paints have been dying over the years. Look! The 'condemned' ones with red crosses on are the totally dried up tubes; I've had many of these since the early 1990's.
I went through them and realised I hadn't bought more than one or two tubes of new paint in a decade - the last time was back in 2005, just at the time I started this blog and tried out the (then)new 'Potter's Pink'. Not all of the dried up tubes needed replacing - colours like these pinks are so vibrant I only use them in tiny amounts, not for washes, so I can happily use the dry lumps they have become.
I took the plunge and spent some money. Not only paints, but all the paper I'll need for the final artworks (about 20 A2 sheets), and yet another ceramic palette (I can never have enough). 
And another big roll of gummed strip; the sad little remnant there is all that is left of the previous large one, which was used up over five years. That is, I can tell you, a lot of work. I also had to replace my pencils which get used up within weeks at the moment. 
This is my other box of paints; my gouaches and some of my new tubes. I bought everything from Jackson's Art online, who are my main suppliers; apart from their prices, I've never had anything but prompt and courteous service from them, and that's all you really want from a company. I indulged myself and bought several new colours from two brands I'd not heard of before.
Shin Han and Maimeri Blu both make affordable water colours, and Shin Han especially had some gorgeous sounding hues, some of which are opaque, a quality I like. There are all kinds of *rules* about water colour painting and I ignore them all. I mix gouache with watercolour, even though it splits. You just keep briskly mixing it together as you work and this often gives me lovely, strange colours. (One of the other *rules* is that you don't mix watercolours - you layer them. However my entire painting style rests on mixing and re-mixing - it works for me). I made a little colour sample to try out the colours I'd not used before. The Shin Han ones came out on top. I've kept this image large, so that if you're interested you can click on it and see what I mean. The 'Shell Pink' and 'Horizon Blue' are two shades that I'm always mixing up, so it's nice to have it ready to hand. I've always thought of the pink as sticking plaster colour. The Shin Han samples are on the left, the Maimeri Blue on the top left, three of them.
I don't think I'll be using the 'Lilac' much, (too purpley) but 'Davy's Grey and 'Horizon Blue' are keepers. The one error was stupidly buying 'Green Earth' from the Maimeri Blu range. Of course, it's what I know as 'Terre Verte'. This brand of paint is also quite gummy, which is typical of a cheaper tange. Not something I mind, but I know some people do. The 'Sandal Red' is basically a geranium shade, but a nice one. Here it is with Sennelier's Rose Dore (very red) and Winsor & Newton's Geranium Lake (pale) gouache. But still very tasty. 
An opaque colour I used to use a lot for mixing is Daler Rowney's 'Nickel Titanate Yellow' . When I ran out I replaced it with a Winsor & Newton version, which really was not the same. It didn't have the chalky, lemony bite of the DR, so I'm glad to have it back. 
Another colour I am very fussy over is sepia. It's something I don't use in my commercial work, as it dulls the vibrancy. My publisher once had a prospective book of mine rejected by clients because it was 'too brown'. However I always put a sepia wash in my personal work and it seems to be a selling point, giving it a nostalgic feel. Go figure, as my American friends say. I only have one sepia in my box that I like, and that is an ancient tube of Reeves in lead casing. It has the blackness which marks proper sepia... 
...here is is on the right, compared to two others I have (Winsor & Newton Gouache and Old Holland) which are really just brown. Actually my favourite sepia is in the Cotman student range, but naturally I forgot to order that one. 
I find it invaluable to keep a record of how I mix colours. This is a big sheet I made about 13 years ago, and I still use it today. Again, I've left it at big size., so you can click on it for more detail There are plenty of examples on it of how I've jumbled Nickel Titanate Yellow with other colours, to produce something I find interesting. 
So when I hit my final deadline (please God) at the beginning of June, I might just start painting for pleasure again, now that I've had my little strop and a two year break. Sorry Dad and thanks again for the paint box.
