As an artist that has been working with oil paint for over 40 years, I am still trying to understand as much as I can about this wonderful medium. It seems like every year, new improved and safer products are being developed by paint companies to make artists lives easier. With these new technologies, a greater variety of colors are also available. It is important to keep up with the current solvents and mediums as well so we can attain the highest quality of work. It is critical that artists be confident that these new products are stable and archival. That is why I was so glad that Scott Gellatly from Gamblin Artists Colors agreed to speak to the participants at this year’s OPA convention in May.
Scott is very passionate about passing on the heritage of oil painting to “millennials.” Oil paintings, he says are “authentic, natural, relevant and enduring.” Gellatly believes that it is vital to convey the message that “slowing down and taking the time to make art” will give balance to the fast-paced lifestyle of the “Internet generation.”
Note: Below are just a few of the topics that Scott shared with us. For more information, Scott is happy to answer any questions that you may have about Oil Painting materials and the process of making them. You can contact Scott Gellatly, Product Manager at www.gamblincolors.com or 503-235-1945
Oil paint is basically made with pigments, linseed oil and, when necessary, a minute amount of driers. These ingredients are mixed and then run through a series of passes in a milling machine until the desired consistency is achieved. The oil is derived from the flax seed. Flax is the same plant that fine linen canvas is made from.
Some of the benefits of oil colors are: Luscious working properties, Unique wetting properties, Depth of Luminosity of transparent oil glazes Ability to be cleaned and restored over centuries.
Studio Safety and personal precautions for the artist was another topic that Scott felt was crucial to talk about. It is important to read the labels on the tubes to be aware of the ingredients. Some popular colors, which are very toxic, such as Lead White, Vermillion, Emerald Green, Cobalt Violet etc. are made using harmful ingredients like Lead, Arsenic and Mercury.
They are good colors but can be dangerous to use (or misuse) for any length of time. Suitable replacements now exist for traditional lead-based colors, for those painters who no longer wish to work with lead. Vermilion (mercury) and Emerald Green (arsenic) are largely obsolete. Some painters choose to wear gloves while painting, as it makes clean-up easier. However, it is not necessary to wear gloves while oil painting. Skin contact is not a route of entry into the human system for oil colors. Oil colors can be easily removed from hands with soap and water.
Health of the Environment Proper disposal of paints, solvents and mediums.
“The days of turpentine are over!” Gamblin has developed safer solvents and mediums like Gamsol and Galkyd among many others. Now they even make a Solvent-Free Gel. He even advocated using the sludge from the bottom of your thinner to make an all-purpose grey to use when you block in your start….hmm interesting idea! Gamblin uses the remnants of all the colors in the manufacturing process to make and tube-up something they call Torrit Grey.
Health of the Products ensure longevity. Building a painting and varnishing it properly avoids cracking or blooming issues down the road.
I am not a chemist! I love to paint! Therefore, I am very happy there are folks like Scott Gellatly (also a fine painter in his own right) who have the expertise and willingness to share his vast knowledge with us so we can make the wise decisions about which materials will give us the best results and which ones we might avoid.
Thank you Scott for an enlightening and entertaining talk.
I am writing this from an express train traveling from London to Edinburgh. It is the third week of January and the snow is unusually deep here in Britain. I am on an adventure from my home base at Jack Richeson and Co., Inc.in Kimberly Wisconsin to visit retailers and suppliers in Britain and then on to the famous Paperworld Exhibition in Frankfurt Germany where I will visit with more suppliers and potential suppliers as well as have never ending cups of Coffee and Tea with Retailer Friends and Competitor Friends I happen across at the Exhibition.
When I first considered making a contribution to the blog, it was with the thought of talking about the amazing and exceptional way Richeson manufactures our Oil Paint. I say that a bit tongue in cheek, because as a salesperson I know virtually every manufacturer will say the same. From my comfortable perch on this train I feel far more inclined to delay what I truly believe is a justifiable “sell job” for a future blog. Instead I would prefer to share with you a secret about the many many manufacturers and retailers that make or sell the many ranges of Mediums you use in the pursuit of your passion.
The secret – we love making and or selling paint! Most of us are passionate about what we do. In my work I have the pleasure of talking to Retailers and Manufacturer Competitors from all over this globe. I am struck by a common thread ……the vast majority (there will always be exceptions) are not in the business of manufacturing or selling artist materials to become wealthy. Make no mistake….yes …..we all want to make a living….put a roof over our heads and feed our families…..but get wealthy…….not in Artist Materials. Rather for the majority I believe it is for the passion of serving the artist. For the passion of the art.
You see……many are artists in their own right who have ventured into the strange land of making or selling art materials out of a desire to stay close to the artist community as they earn a living and yet while under cover of darkness they pursue their art after working hours. I also know many folks involved in manufacturing who got their start as frustrated artists desperate to improve the quality of a medium but were frustrated with the materials available to them.
Others are “technicians” such as myself who admire artists, love spending time with those with artistic talent….feeling that somehow if we spend time with these amazing people that just by being in their presence and basking in the glow of their talent, we could have a bit of it rub off on us. Speaking for myself, I love seeing the world through the eyes of my artist friends. They have taught me to see colors and shapes in a mystical magical way I had not been able to see them previously.
There is however a dark side to the secret I share with you. An ugliness has been creeping into the passionate Retailer and Manufacturer’s pursuit to serve the Artist Community. The never ending push to drive down the cost of artist materials over the recent years is at risk of seriously impacting quality. You may well ask……Is competitive price reduction such a bad thing? After all…..I confess…..I too must shop for the best value I can afford.
The answer I believe is “it can be a bad thing”….. competitive price reduction crosses the line of being beneficial when quality is sacrificed. As the market pushes price lower and lower quality eventually diminishes. I recall a phone call I received on day from a very frustrated University Instructor. She had just purchased one of our 12 inch manikins from a local retailer. It seems she paid somewhere around $8.95. She felt the need to express her disappointment in the quality change over the last twenty years. It just wasn’t what it used to be….and she was understandably irritated. I agreed with her. The quality of manikins is NOT what it was twenty years ago. Twenty years ago the same manikins cost $24.95. As price was forced down, quality went out the window in order to produce a manikin that could sell to artists at $8.95. The market would no longer accept a manikin even at a high quality that was significantly more expensive than $8.95.
Personally I despise where the market is driving the quality of materials with lower and lower prices. I know many others in the Retail and Manufacturing end of the business who feel exactly the same way. Our company as well as many others fight to maintain the quality of our color, brush, and easel line. Purist Retail friends ache to offer quality materials, however the word on the streets is the consumer wants price at any cost. By that I refer to the cost to quality. In addition retailer after retailer are disappearing from our Main Streets as the drive to the bottom forces them to close their doors.
So where is all this rambling on a long train ride from London to Edinburgh heading? It leads me first to reflect on my own guilt at too often purchasing solely on price and neglecting quality, only to later grumble and moan because the silly thing has not functioned or lasted as I expected. I chide myself and renew a commitment to purchase the finest quality widget or thing I can possibly afford for the money available to me.
Secondly it leads me to urge you to demand the highest quality artist materials available for the pursuit of your art. Your reputation as a painter hinges on more than your talent. The person buying your work expects it to survive on the wall for years and years to come. Learn all you can about the materials you desire to use. Imagine – you, a spouse, or a friend are a passionate golfer. High quality gear is widely accepted as desirable to accomplish a good game. Why would you settle for anything less to accomplish a well done painting?
Enough rambling from my seat on a train in the British Countryside. Next time I will expound on our passion at Richeson for producing only the finest Oils available at a price that is affordable without the need to take out a second mortgage!!!!
“Painting from life, plein air if outside, is critical and necessary to me for what I want out of myself and out of my Art”.
This Marc Hanson guy is a pretty interesting fellow. Not only is he a really good artist but he expresses his creativity in other areas as well. He’s an instrument rated pilot, so what’s he doing? Well, he’s building an airplane. It’s a two-seat, all aluminum, tricycle landing gear baby, capable of 200 knots (roughly 230mph). The plane’s not totally built yet, but the tail section and wing spars are. During the process he has learned to rivet and to be very meticulous with measurements and finish.
Besides the airplane, he’s also building a boat…a 12′ flat bottom rowing skiff…and it’s all done except for sanding and painting. Add to that his landscape painting and I think he’s pretty much got it all covered…land, sea, and air.
When you talk about Marc Hanson though, you’re really talking about a man who is absolutely dedicated to the craft of painting. He is most at home outdoors in the open air, brush in hand, capturing on canvas his excitement about the natural world. He feels most confident expressing himself in this way, visually, through painting and drawing as opposed to writing and speaking. That’s probably not uncommon for us visual artists, but believe me, Hanson is no slouch when it comes to writing. As you will see in this interview, his answers are seriously considered and clearly stated.
Marc’s primarily a plein air painter and he’s out there rain or shine every season of the year. He works mostly in oil, but also in pastel…and sometimes even in qouache. Because of the hundreds of paintings he’s done on-site, there is an absolute authentic reality associated with his work whether the paintings were conceived in the studio or outside.
I had the pleasure of meeting him at a plein air event we both participated in last year in Kansas. Organized by Kim Casebeer, a group of us spent several days painting in the Flint Hills and Steve Doherty, editor of Plein Air magazine, reported on the event in the Feb/Mar 2012 issue.
It was a challenge selecting images for this blog. It’s like being forced to choose just one M&M candy from a large bag of many colorful, delectable possibilities. They all taste the same, but oh, so many choices…which one to choose? I wanted to take them all, but…
What would be your definition of art?
That’s a big question, one that much deeper thinkers than me have pondered and explored. But…my take is that Art is the expression humans use that incorporates a skill other than communicative speech, to show others what they feel about the world around them. Music, Dance, Visual Art, Poetry, Prose…these are all ways that we humans use to talk about the world around us, in an intelligent way, based on our emotional reaction to our world, that is unique to our species. Other creatures build amazing structures, have incredibly beautiful song and sound, and they communicate with their own kind. But we are the only species that can ‘create’ beauty, ART, as an expression of our emotional existence.
How do you define your role as an artist?
My role as an artist is to be honest with myself, so that I make Art that is solely mine. I have no illusions that what I do does or will matter to anyone other than me in the end. Not to slight those who collect it, and compliment me on it, that’s an honor that I never discount. When Art is your life, however, you live it, breath it, are up and down with it. If I stay true to myself and honestly evaluate what and how I’m creating it, then all of the other factors will fall into the place that they belong, whatever that may be.
How does one find their individuality as an artist?
Paint, paint, paint! That sounds simple, but it’s the key. Once one has the skills in hand to be able to self evaluate, with occasional help from your peers, diving deep into your own creative space and working hard is the best way to see who you are as an Artist. Style, or individuality, will come out of you, it can’t be held back, if you’re really working hard at your art.
Your paintings are uniquely yours because of the many paintings you have done. I suppose your personality is reflected in your work?
I’m all over my work. My background as having always been interested in bugs, birds, things that bite and slither, large furry things, and where they live, has made me pretty sensitive to Nature and her color and mood. I’m fine being with myself, with being in a quiet place and state, and my work reflects that I think. I’m pretty happy about life. I don’t paint dark and tragic, unless I’m painting a severe thunder cloud…and that’s fun to me.
Plein air painting is pretty important to you, just how important is it?
Painting from life, plein air if outside, is critical and necessary to me for what I want out of myself and out of my Art. Life is where the truth lies, the truth in color, in spacial relationships, in texture, in shape and all other visual aspects of the subject. Photographs are a hollow substitute, one that I am always hesitant to use, but do. Painting from life is a joy, painting from photographs is pure drudgery in my opinion.
What is the major thing you look for when selecting a subject?
I look for something that makes my ‘painting eye’ light up and begin seeing the possibility for a painting in it. I’m not looking for a thing, I’m looking for a combination of the elements that make a painting, first the light followed by how that is affecting the color, edges and design. What is the impact on me and what is it that caused me to be interested in painting the subject in the first place.
Do you consider the process of painting more important than the result?
No…Every part of painting, starting with what I feel is most critical…the Concept…is important to the Art. The Result is the product of all parts of the process, the Concept, and the implementation of ones techniques and skills. The quality of the Result is tied to the level of skill and maturity of the artist, meaning that they are both as important in the end.
You speak of the importance of having a concept in mind before painting. Do you let the subject determine that concept or do you create the concept and use the subject only as the starting point?
The subject is raw material for a concept. Concept is #1numero uno to me. A concept has to at least be thought of before any other element or design principle can have a purpose in a painting. If you don’t know what you are going to do, what your concept for the painting is, how do you use those elements? I’ve painted paintings to music, emptied my head, had no concept whatsoever other than to listen to the music and apply paint according to how I felt about it…almost concept free painting. I see many students, who until I harp on it, have no concept when they begin…and they usually flounder until they decide ‘why’ they’re painting the painting. That does not mean that a concept locks you into anything, it only means that you have a reason to proceed.
How do you decide on a dominating color key for a painting, and how do you maintain it?
I let the color harmony of the scene determine that for me. I will squint, turn my head nearly upside down or sideways to try to get a sense of what the color of the light is in the scene. Then I am very careful to pay close attention to my color mixtures so that they are in that harmony as I put them up. I test each color on the painting each time, several times, before I commit to it. Another reason for painting from life, the color harmony or ‘key’ is already there. The problem is how not to destroy that if it’s what you want in the painting.
What is your major consideration when composing a painting?
I look for a way to set the stage so that I can talk about what it is I have to say. It’s about that simple to say, though complicated to implement.
How thorough is your initial drawing?
That depends on the complexity of the situation. But I’m more of a ‘large shape’ kind of painter now. I get the big proportions going, simple shapes as possible, and then refine down to the details from there. So, a complex drawing would be counterproductive. That’s the way I paint today. I came out of the ‘tracing paper overlay’ world as a younger artist/illustrator…and am happy to let that go.
What colors are most often found on your palette?
Titanium white, Naples yellow (light version), Cadmium lemon yellow, Cadmium yellow deep, Yellow ochre (lighter version), Cadmium red light, an Earth red (Venetian, Terra Rosa, English red light, etc), Alizarin crimson, Transparent oxide red, Viridian, Cobalt blue, Ultramarine blue deep, and often now a blue like Manganese blue…and sometimes Chromatic black.
Describe your typical block-in technique.
One way is that I get a cheap 1-1/2″ or 2″ bristle varnishing brush (hardware store variety $1.79) and start knocking in big blocks of color pretty fast. Usually using a colored block-in that gives me an idea of what the large masses of color will look like in the composition. Then I lightly wipe out most of that and begin to restate the drawing or just begin applying areas of color.
Do you paint in layers?
In the studio, yes I do. And on multi-session plein air landscapes I also do.
What are the key points one needs to know when creating a true sense of atmosphere?
I might just answer that by saying that if you just pay attention to the relative color and value relationships, you’ll be fine. However, having just taught a class, I know that’s my experience talking. Studying recessive situations from life, understanding recessive color theory, then going out and trying to make your color recede and reflect the atmosphere that you’re painting is a way to improve that in your work. Every situation is different outside. Unless an artist wants to paint a generic reflection of the landscape, studying and painting from life is the only good way to create the atmosphere that you’re seeing.
How much of your work is intellectual vs. emotional…and how would you define the difference?
I would say that it takes the intellectual to produce the emotional. The process is intellectual, although as time goes on, some of painting is almost intuitive…things like mixing and applying paint (that comes up as I’ve just come off of teaching a workshop. It’s not automatic to students, still in the low end of the learning curve, how to physically make a painting…things like how to mix and apply paint is a big deal to them). The quality of the end result has to be full of the emotional or it will be but a rendering of a ‘thing’. When the masters reach that place where the two mesh…the intellectual and emotional are working in harmony…they produce poetry…Art.
What part does photography play in your work?
It plays a big part when I’m in the studio, along with field studies. Especially if I’m needing to paint Cape Cod when I’m in my Minnesota studio. One reason I just relocated to Colorado is to be able to be outside painting more often and not stuck in the studio so much. I always try to only paint an area that I have first painted from life, or at least where I’ve done some work from life to be able to know how the light in that area looks. If I need to pull out the photos on the computer, I use the photo as a starting point and let the painting emerge and grow into it’s own thing, away from the photo usually. At that point, I barely look at the computer.
What are the major problems encountered when translating a field study to a large studio painting?
I would say that if you expect to recreate the field study, you’re bucking up against a big wave. I realized that the field study is there as a starting point into a different voyage, to give you some notes that you can use to create a brand new image with it’s own inherent qualities that were not in the field study. Trying to replicate the 4″ swish of an emotional brushstroke at a scale that is 3 or 4 times larger in all dimensions…is nearly impossible. The field study is a ‘note’, maybe a pretty finished one able to stand on it’s own, but as far as a larger studio painting goes, it’s just a reminder for me.
I notice you work in both oil and pastel, why do you do that, and what are the significant differences?
I started pastels many years ago because I had a show coming up and needed more work, faster. I took to it immediately. They have the sensitivity for me that is attractive for rendering natures’ textures. I like the broken color that is achievable with pastel, and it’s taught me a bunch about color and using color in the oil paintings that I wouldn’t have thought to mix on my own. Otherwise I paint with pastels in the same basic way that I paint with oils…dark to light, thin to thick. I break the pastels into brushstroke sizes and use it as sweeping strokes. I don’t draw linear strokes with it. I think it’s always good to switch mediums from time to time. I also use gouache for field studies pretty often. That’s my third favorite medium.
What advice would you have for a young artist/painter?
I like what Henri said…to the effect…paraphrasing…’Discourage and dissuade any child who wants to become a painter and if they still want to, then they may have the fortitude to withstand it all, and succeed’. Wish I had the quote at hand on that one, but that’s basically the idea. I’d tell them that they need to seek out good advice and training, learn to draw first and foremost. I’d also tell them to try every medium, technique and style that they can. Learn about all of the materials and techniques that they can. Too many painters I run into today start with a workshop, learn about one kind of brush, one palette, one kind of canvas board. Materials are like musical instruments or dance shoes…every artist finds the ones that work best for them. If all they use is the ‘one’ that their first instructor told them to use, they may be missing out on the ones that take them to a higher level of creating art. Young artists are in a great place right now. There are academies, ateliers, workshops and schools all over the country from which to pick either a designed curriculum program, or in an a la carte way.
What advice would you have for a first-time collector?
I would have to say that is really dependent on the level of the spending the collector can do. If it’s a few hundred dollars, local galleries and art shows would be a way to begin to follow the artists and art that appeals to them. Also, educate themselves by looking at magazines like American Art Collector, American Art Review, Southwest Art, etc. I’m sure that gallery owners would be the best ones to answer this question, so I’ll leave it at that.
If you could spend the day with any three artists, past or present, which would they be?
Sorolla, Levitan and Monet.
Who has had the most influence on your career, and why?
My Dad. He was a part-time artist and always my biggest supporter and encourager to become an artist or anything for that matter. He shared all of his knowledge with me about art materials, from crowquill pens and India ink, to woodcuts, oil pastels and oil paints. He even did scrimshaw later on in his life. I would not be doing this today if it were not for the hours of his life he gave me.
How important are art competitions and how do you decide which piece to enter?
I like to enter some, OPA is my main competition. I use it as a yearly barometer for my progress. Nothing like seeing your work amidst the work of your peers, year in and year out, to see how you’re doing. It’s an awakener.
Thanks Marc for a great interview and your willingness to share your thoughts with our readers.
A few years ago, I was fortunate to be involved in an unexpected conversation one day at my studio with an artist friend. I didn’t know when we started talking that the next few minutes would so significantly sharpen my understanding of one aspect of my painting. We casually looked through a group of my paintings while she offered her observations.
After much discussion, we both simultaneously realized we had stumbled upon a truth about much of my work. A common abstract thread that made sense of my varied subjects: it wasn’t so much the crisp white sail boats moving over dark blue water, big puffy clouds in turquoise skies, or white houses surrounded by greenery, but rather it was large white objects in a colorful settingthat I was painting over and over again. What an awakening! I thought I liked painting those different subjects and I do, but now I can see that they are all variations on a theme. It’s almost like looking through a kaleidoscope; different shapes and patterns emerge, but there are always large chunks of white and scattered backgrounds of saturated color.
That may not sound very revolutionary, but in the blink of an eye, I suddenly owned two new possessions:
1.) An answer for countless viewers who have remarked that I certainly painted a lot of different subjects. Now I had a way to tie many of them together.
2.) A better understanding of my artistic hard-wiring, which
a.) I can use on occasion to find what I want to paint faster and more easily
b.) In a purely narcissistic way—a fascinating (to me) fact about myself, of which, after all these decades I had been unaware.
Every piece I do does not feature white on a color field, but now when it happens, I smile to myself and recognize it as another chapter in my love affair with this combination.
Painters speak in the language of paint; it doesn’t seem fair that every artist should also be required to speak eloquently in the English language about painting. But language and thought are so intertwined that verbalizing and analyzing your artistic visions, as difficult as that may be, can actually illuminate them.
Maybe Henry David Thoreau had an experience similar to mine that caused him to say, “So we saunter toward the Holy Land, till one day the sun shall shine more brightly than ever he has done, shall perchance shine into our minds and hearts, and light up our whole lives with a great awakening light, as warm and serene and golden as on a bankside in autumn.” And who can resist the colorful image this conjures up—maybe a white horse in a grove of yellow cottonwoods?
If you feel there may be a hidden theme in your work, or some unrecognized essence, or you wonder how all your painting threads connect, I have a suggestion: block out some time for a lunch with a savvy artist friend and leisurely peruse each other’s portfolios. A fresh eye and a frank discussion may uncover a powerful current flowing just under the surface of your paintings.
Throughout the ages since the very first scrawls were made in caves and tribal hunting events were recorded on walls, people have been using colors made of ochres, umbers, madders, bugs, mummies, minerals, shells, iron oxides, and plants. These pigments decorated sheets of papyrus, vellum, paper, faces, bodies, fabrics, clothing, tools, leather, weapons, walls, ceilings, and stones far and near.
People perhaps just hacked a chunk off the cave wall and started noodling, or charred a bone from last night’s dinner, or took a stick from the fire and began to make marks. The earth itself for thousands of centuries has created a harmonious palette of archival and readily available colors to create some of the most beautiful and enduring art in the world.
Today, artists around the world are still using many of those same pigments as used in the past. Thanks to specialty companies, we know more about the composition, archival quality, rarity, cost, permanence, transparency, opacity, toxicity, saturation, drying times, and source of these pigments — issues which are enormously important to artists.
This topic has become a passion for me over the recent years, and I have experimented with most of the available historical pigments in one way or another, creating several in-depth projects that involve both artistic and cultural research. The most profound characteristics discovered are that these pigments are splendid to work with and endlessly beautiful.
Mother Nature herself has done the palette preparation work for me, as the natural subtle muted quality is all ready to go. Time has aged the ochres into dazzling arrays of warm and cool yellows that, when placed side by side, are instantly pleasing to the senses. The umbers work in the same way and come in stunning varieties of light, medium, and very dark, depending on the source. Lapis Lazuli, azurite, malachite, and ivory black comprise my list of favorites. Technically not an earth color, but manufactured by the ancient Egyptians, Egyptian blue frit is a clear crisp color used to decorate the dizzying riches of the Pharaohs.
Natural cinnabar, my favorite red mineral pigment, formed eons ago by a perfect marriage of mercury and sulfur is mined in Spain, Russia and the west coast of the US, including Oregon where I live. You can see the beauty in the muted hue, which is not garish at all.
To my eye, the modern cadmiums are so highly saturated they overpower my canvas and are difficult to handle on the palette. I find this true also of other modern colors such as phthalo greens and blues. Occasionally, when my mad-scientist self gets restless, I break out of this mold and experiment with some of the modern azo, turquoise, and quinacridones, but I usually will spend time muting or graying them down in some way.
Contrary to common knowledge, making hand-made paints is relatively easy once safety precautions are in place. All you need is a mask, a little oil, pigment, a grinding slab, and a muller. The dry pigment powder is mostly ready to go and just involves mixing in the oil to make sure all of the pigment disperses with the oil.
Another common misconception is the natural pigments are too toxic to handle carefully. Actually, there are only a few that have warnings and with caution, those can be handled too. I always use a respirator and gloves while wearing a smock, and most importantly, I grind the paint in an area with no breeze such as a fan or blowing furnace vent.
Rather than using orpiment, which is problematic and toxic, I use chrome yellow at the suggestion of Eric Hebborn, the infamous art forger. (He implemented this ploy when repainting over old canvases that he intended to sell as fakes). You can see chrome yellow mixed with cinnabar here on the tangerines in The Golden Age. The range of colors is amazing when using just a few earth colors. Rembrandt had about 20 in his repertoire.
It really is a process of elimination. I use just the colors that are safe after they are encased in oil and toss out the fugitive (many of the plant-based colors) or toxic colors. I use caution and strict hygiene habits while painting. Most importantly, the mere fact of having a few select colors on my palette to deal with allows easy and quick decision color mixtures.
More and more interest in hand-ground paints made from natural pigments is surfacing lately. I invite you to choose a few colors, (even if you do not grind the paint yourself, purchase the ready-made), and experiment. Do some studies and see the difference in the surface quality of your canvas. Make that connection between you the painter, the aesthetic of your art, and your materials. The results just might be profoundly gratifying.