DANIEL SMITH’s Seven Sienna Watercolours!
The Seven Siennas Why do we have seven Sienna Watercolours? Because as an artist, it is important that you have the colours to give you the best expression, and to have the best colours for painting, you need choices! A sienna that works beautifully for one artist may not meet the needs of another artist. Earlier this year, we added two new Sienna’s, Raw Sienna Light and Burnt Sienna Light bringing our total to seven Sienna Watercolours. Adding these two new watercolours, which many artists have been requesting, to our five other Sienna Watercolours that we have offered for years, allows us to offer you more choices. PBr 7 Sienna Watercolours, Raw Sienna, Monte Amiata Natural Sienna, Italian Burnt Sienna, and Burnt Sienna Four of our Sienna Watercolours are made with the traditional brown pigment PBr 7, and they look different from one another even though they are all made with PBr 7. Natural pigments such as Sienna will have different colours depending on their composition. Various locations will have different colours because the percentages of the metals and compounds are slightly different. When you burn Raw Sienna to get Burnt Sienna, you can vary shades with how long the material is burned. Modern Sienna Watercolours; Raw Sienna Light, Quinacridone Sienna and Burnt Sienna Light Quinacridone Sienna and both of our two newest Sienna Watercolours are manufactured with different pigments than PBr 7, which makes them more modern, and slightly brighter versions of the ancient sienna clays that Paleolithic man used. While they are different pigments, they are part of our collection of Sienna watercolours. Paleolithic cave inspired horse, painted with DANIEL SMITH Sienna Watercolours Paleolithic artists, using natural sienna’s and the other earth pigments like ochres and umbers, painted their expressive animals directly onto cave walls for thousands of years. The 17,000-year-old cave paintings at Lascaux in France feature several types of animals in hundreds of stunning paintings which animate the cave walls. One of those primitive cave horses inspired our horse which was painted with several of our Sienna Watercolours, both traditional and modern, and DANIEL SMITH Walnut Ink was used to outline the horse. Today, we are very lucky to have access to such a wide range of watercolour choices, ancient colours as well as traditional and modern like our Sienna Watercolours. Not only that, we don’t have to barter for coloured earth carried over hundreds of miles, we can just pop over to our Studio Six or order them online for home delivery! DANIEL SMITH’s Seven Sienna Watercolours: Raw Sienna Light – New! DANIEL SMITH Raw Sienna Light has more golden yellow tones than our Raw Sienna. This Sienna is a non-granulating colour, so it is smoother in washes and is non-staining rather than low staining like our Raw Sienna. Washes suggest sunny wheat fields, dried savannah grasses and other sunbaked landscapes. Excellent lightfastness Transparent Granulating Non-staining Series 1 Pigment PY 42 SKU 284600233 Raw Sienna – Used since prehistoric times, an extremely permanent inorganic earth pigment of low intensity but medium-high tinting strength. Balance the transparent intensity of Quinacridone Gold, Burnt Orange and Burnt Scarlet with the earthiness of semi-transparent Raw Sienna. Also, a moist Raw Sienna wash touched or spattered with Lunar Earth or Lunar Black creates unique texture effects. Excellent lightfastness Semi-transparent Granulating Low staining Series 1 Pigment PBr 7 SKU 284600096 Monte Amiata Natural Sienna – Bring a natural glow to your palette with this stunning sienna earth tone. Subtle granulation and a delicate transparency make this watercolour especially useful for portraits and landscapes. This low staining pigment is very workable and has excellent lightfastness. Excellent lightfastness Transparent Granulating Low staining Series 1 Pigment PBr 7 SKU 284600056 Italian Burnt Sienna – This sienna is a natural orange-brown earth pigment imported from Italy. Use this with the same method and purpose as plain Burnt Sienna. Many artists prefer Italian Burnt Sienna over others. Perhaps the subtle semi-transparent quality of Italian Burnt Sienna more closely matches the brown and earth tones of our Pacific Northwest. Balance a super-opaque such as Indian Red or Cadmium against super transparent Quinacridone Gold or Burnt Orange, then incorporate Italian Burnt Sienna to unify fall landscapes or close-up leaf studies, as well as to render weathered slate and old brick. Excellent lightfastness Semi-transparent Granulating Non-staining Series 2 Pigment PBr 7 SKU 284600047 Quinacridone Sienna – The ultimate low-staining glazing pigment, certainly finer than any Burnt Sienna. For the traditional and purist watercolour painter, Quinacridone Sienna divides yellows from reds, falling on the orange line. Its place on the colour chart makes Quinacridone Sienna a complement-free pigment, easy to modify without revealing a hidden gray. Quinacridone Sienna works especially well in damp underpaintings overpainted with full-bodied pigments such as Indigo or Payne’s Gray. The fine clear Quinacridone particles collect and retreat, giving way to compressed pools surrounded by the premixed grays. Highly durable and extremely transparent, all the Quinacridone colours excel in vivid clarity and intensity. Excellent lightfastness Transparent Granulating Low staining Series 2 Pigments PO 48, PR 209, PY 150 SKU 284600093 Burnt Sienna Light – New! DANIEL SMITH Burnt Sienna Light is a beautiful earthy colour and is redder than our Burnt Sienna, more transparent and slightly less granulating. In very light washes, it makes a good, light flesh tone for portraits, and in darker washes, it is a rich red-brown. Excellent lightfastness Transparent Granulating Non-staining Series 1 Pigments PR 101, PO 48 SKU 284600230 Burnt Sienna – This transparent to semi-transparent earth pigment, a grayed orange, combines with other hues without a loss of intensity or transparency. Subsequent layers (or glazes) do not sully or stain the other pigments these glazes contact. Excellent Semi-Transparent Granulating Non-staining Series 1 Pigment PBr 7 SKU 284600230
Introducing 8 New DANIEL SMITH Watercolours!
DANIEL SMITH is introducing 8 New Watercolours! The addition of these new, 15ml watercolours brings the collection to 252 colours, the most of any manufacturer! Why so many colours? Every artist is unique and needs to be able to choose colours that are perfect for their work and expression. Giving artists a wide range of colours to select from allows artists to choose the best colours for them, and with the working properties they need. Introducing 8 New DANIEL SMITH Watercolours! Rose Madder Permanent – sku 284 600 237, series 2 PR 209, PV 19, PR 202 Excellent lightfastness Transparent Non-granulating Non-staining DANIEL SMITH Rose Madder Permanent is a modern, lightfast formulation of the traditional colour giving artists a rose watercolour with similar properties. This warm, rose pink has an ever-so-slight hint of brown making it slightly less vivid than the pink Quinacridones, and a more natural blush, perfect for portraits. Quinacridone Lilac – sku 284 600 236, series 2 PR 122 Very Good lightfastness Transparent Non-granulating Medium Staining DANIEL SMITH Quinacridone Lilac lies between Quinacridone Rose and Quinacridone Magenta within the DANIEL SMITH Quinacridone colour family. This new, vivid pink with the slightest blue tone, is a must have for florals, and like all our Quinacridone colours, Quin Lilac excels in vivid clarity and intensity. Wisteria – sku 284 600 231, series 2 PW 6, PR 122 Very Good lightfastness Semi-transparent Non-granulating Non-staining DANIEL SMITH Wisteria, like the blooms of its namesake flowering vine, is a delicate lavender with a pink bias. Similar in colour to Ultramarine Red but with different properties, this non-granulating and non-staining colour paints smoothly and lifts easily. Wonderful for painting orchids and other florals. Lavender – sku 284 600 232, series 2 PW 6, PV 15, PB 29 Excellent lightfastness Semi-transparent Granulating Low staining DANIEL SMITH Lavender is a beautiful periwinkle blue, and quite different from our other blues. This semi-transparent lavender blue has beautiful granulation, and lifts easily. In addition to being an excellent floral colour, our Lavender suggests certain shades of faded denim. Aussie Red Gold – sku 284 600 234, series 2 PY 83, PR 101, PV 19 Excellent lightfastness Transparent Non-granulating Low staining DANIEL SMITH Aussie Red Gold is the rich, golden colour of ochre cliffs set aflame at sunset. This brilliant, reddish gold will add glowing light to Autumn leaves, late summer flowers and landscapes. Aussie Red Gold is transparent, non-granulating, low staining and performs wonderfully, you will love it on your palette! Raw Sienna Light – sku 284 600 233, series 1 PY 42 Excellent lightfastness Transparent Granulating Non-staining DANIEL SMITH Raw Sienna Light has more golden yellow tones than our Raw Sienna. This Sienna is a non-granulating colour, so it is smoother in washes and is non-staining rather than low staining like our Raw Sienna. Washes suggest sunny wheat fields, dried savannah grasses and other sunbaked landscapes. Burnt Sienna Light – sku 284 600 230, series 1 PR 101, PO 48 Excellent lightfastness Transparent Granulating Non-staining DANIEL SMITH Burnt Sienna Light is a beautiful earthy colour and is redder than our Burnt Sienna, more transparent and slightly less granulating. In very light washes, it makes a good, light flesh tone for portraits, and in darker washes, it is a rich red-brown. Payne’s Blue Gray – sku 284 600 235, series 1 PB 60, PBk 6 Excellent lightfastness Semi-transparent Non-granulating Low staining DANIEL SMITH Payne’s Blue Gray is similar to our bluer Indigo, but like our original Payne’s Gray, it is semi-transparent rather than transparent. Inky blue and non-granulating Payne’s Blue Gray is perfect for painting dark, stormy skies, nightscapes, and for quickly darkening most other colours. We know you will love these new colours and that some will become your newest favourites! BUY NOW! Daniel Smith Extra Fine Watercolour
The Porcelain Palette
The advantages to using a porcelain palette can outweigh the ones found in the more popular plastic watercolour palette.Porcelain palettes clearly weigh more than its competitor, but let’s not hold that against it just yet. With weight, comes durability. The porcelain watercolour palette won’t slip or slide on your table the way a plastic palette can. When you dip your brush into your porcelain palette you need much more force to physically move the palette from its place. Shifting on the table becomes a thing of the past when using the porcelain palette in your studio. The porcelain palette allows the paint to sing in a different tune. When using a plastic palette, you may notice some beading when mixing pools of paint. The strokes of colour “shrink” and what is left is tiny beads of colour all over your palette. When using a porcelain palette, the colours that you lay down while mixing, stay the same. There is no beading of colour and you can “paint” on the palette to see how colours will bleed into one another before applying them down to your surface. This is a great advantage for artists because it allows them to get an idea of how the colours will look when they naturally bleed into one another. Clean up is a breeze with a porcelain palette. The surface does not scratch the way a plastic palette can. There is no discoloration or yellowing with the porcelain palette. Staining pigments wash away and the palette stays nice and white! The porcelain palette can be used with other media. They are excellent for mixing dyes and inks and even acrylics! With all the advantages mentioned above, the porcelain palette is an excellent choice for any artist’s studio. Buy Now! Get your porcelain palette today
Holbein DUO Aqua Oils
Creamy, rich and vibrant colour with exceptional quality. The Holbein DUO Aqua Oil is a versatile line of paint and is compatible with all media including traditional oil paints, watercolour, acrylic, gouache and acryla gouache. The range of colours is vast with 100 different colours to select from, you’ll want to buy them all! They are highly pigmented and of the highest quality and considered an artists’ grade. DUO Aqua Oil from Holbein offers excellent lightfast ratings which is comparable to those of traditional oil colour. Artists’ are able to mix their traditional oil paints with the DUO watermixable oils, however if it exceeds 30% of the mixture, you will lose its water solubility and will have to use traditional oil painting mediums. The range also includes 17 “Elite” colours. These colours signify the use of the heavy metal pigments which include the cadmiums and cobalts and tend to have a higher series price point. The Holbein DUO Aqua Oil line also has a range of compatible mediums. They include the DUO Linseed Oil, DUO Stand Linseed Oil, DUO Painting Medium, DUO Quick Drying Medium and DUO Quick Drying Paste which is available in both Gloss and Mat finish. If you have ever wanted to dabble in oil painting before, try the Holbein DUO Aqua Oils today. BUY NOW! Holbein DUO Aqua Oils
Snazaroo Face Paints
Whether you are getting ready for Halloween, a birthday party or you just want to have fun with face painting, the Snazaroo line of face paints are just for you! Snazaroo face paints are specially formulated to be friendly to the most delicate skin and are fragrance-free. They are manufactured using only ingredients fully compliant with EU & FDA toy and cosmetic regulations, and are non-toxic. Last but not least, Snazaroo face paints are all water-based, so they’re as easy to get off as they are to put on. Studio Six carries the Snazaroo palette kits, as well as the face painting sticks which are ready to use and are perfect for on the go face painting. Shop now for Snazaroo Paints in Canada and get creative!
Winsor & Newton Limited Edition Twilight Watercolour Contest
Inspired by the romance and mystery accompanying the transition from day to night, these Limited Edition “Twilight” watercolours by Winsor & Newton are surefire way to add drama to your paintings. From a rich deep Chromium Black, to a classical colour like Smalt blue, the “Twilight” collection of colours will flourish your art work. They are sumptuous, vibrant and rich in colours and are the perfect addition to any existing paint palette. We are giving away three Winsor & Newton Professional Limited Edition Twilight Watercolour bundles in a painting contest. If you or your artist friends have any paintings that were inspired by the evening twilight you may enter the contest at the following link by clicking on the following link: TWILIGHT PAINTING CONTEST
Holbein Artists’ Heavy Body Acrylics
We are so thrilled with the response from customers to the newest addition of acrylics at our store. The Holbein Artists’ Heavy Body Acrylics are a professional grade paint and have a range of 113 colours to select from. Whether it is traditional pigments, metallic or fluorescent, Holbein has created a range that gives the user seamless and effortless mixing and thinning. These paints are vivid and smooth in every way. They will certainly meet and surpass the demands of the modern artists, whether painting small or large, opaque or transparent. Shop now and experience professional quality at an affordable price!
Try Wet Glazing!
Painting with watercolor – it’s actually a great medium that you can use for your work. You can choose the way you want to use it, depending on the final product you want to achieve or on your intentions or needs. One method you can use is applying wet glazing on a vertical surface. What do you need? Easel Non-absorbent board that is slightly larger than your paper 4 clips Arches 140-lb paper Transparent warm and cool (red, yellow and blue paint) Flat brushes Paper towel Jar of water There are 3 things you need to do. Wet both sides of the paper and by its corners, clip it to the board. Place the board on your easel. Start painting! You should do this kind of painting on an upright plane, because it will help give you better control over things like color, temperature, and manipulation of the paint. With time and effort, you will become a pro at layering, lifting paint, varying edges, using a dry brush to create a soft edge, etc. After a bit of practice, you will layer quickly, lift up paint easily and vary edges. Learning to make a dry brush mark or create a soft edge on damp or wet paper will become second nature with wet glazing. Although I can paint using other techniques, wet glazing suits my process, and I enjoy the results. Try it out and see if you achieve that end-product you desire, or learn about and practice other techniques that you think will work better for you. Whatever technique you choose, remember that we can supply all your needs. We’re right here in Canada and we’re the number one supplier in the area. You can even get DVD training videos, like the famous Bob Ross DVDs from us too. Check us out – we’ve got what you need!
A perfect art project is to create a portfolio of drawings. Yes, maybe painting is your thing, but drawing is a unique artistic skill that can help you improve the quality of your hand/eye coordination for your paintings. You should try it. Try drawing every day – time yourself to keep things fresh. Do as many as you can and switch it up now and then (you can draw the same subject in different ways and in different settings). Keep reading to see the different things you can try to draw to heighten your skills. Find shapes with common values. Find an apple and set it up so that there is a strong light directed on one side. As you run your eyes along the apple’s curves, you will see the gradual values shift in lighting from the darker side of the apple, to the spot where the light shines on it. Try to divide the value shifts into 3, 5 or 7 shapes. The more shapes you add, the more illusion of volume you give the apple. Quality of line. Be careful how you apply lines onto your drawing. Remember, the different ways of holding your pencil or the amount of pressure you put on it, can alter the types of lines you draw. Convey attitudes with lines. Think about when you’re feeling angry, happy, sad, peaceful or lazy and try to draw a line that conveys that feeling. Your viewer will probably interpret the attitude and feeling that you have tried to convey in your lines. Speak volumes through simple contour drawings. Without the use of very much details, contour drawings help communicate symbols to the viewer. Try using lines to do this. Draw with different tools. Different drawing tools can give your end-product a different look every time. They may alter the texture, the attitude you convey and more. Try this little drawing challenge and see how it can improve different aspects of your art skills. If you need pencils, papers, sharpeners or any other art tools, you can check us out. We’re right here in Canada and we’re the number one supplier in the area. You can even get DVD training videos, like the famous Bob Ross DVDs from us too. Check us out – we’ve got what you need!
The Right Way To Paint Water Reflections.
If you’re an avid painter, you might know that the skill of painting water is one of the most sought after in the art kingdom. In order to do that, you must consider and understand the different conditions of water that nature provides. Here they are: Still water, which is water that is undisturbed by the wind and often found in small lakes and ponds. Water moving lazily, the best to use when you want to paint water reflections. Water ripples with more motions, which are mostly found in rivers and streams. Water so disturbed that you can’t see reflections, like the sea and large lakes, which is usually caused by the wind. Many times, artists make the choice of using water that moves lazily in their paintings, so they can avoid having to mirror the images of the surroundings onto the water (as in paintings of still water). Mirrored images seem to compete or clash with the rest of the painting. In other paintings, in which the water is so disturbed that you are unable to see reflections, it may be quite boring. It is advised that you use special effects (like sunlight hitting the water or bloats and other objects on the water) to add a little interest to the image. You should use these basic guiding principles to help you paint the best water reflections you can. The lighter the object is on land, the darker its reflection will be in the water. The darker the object is on land, the lighter its reflection will be in the water. Don’t add details to reflections, just use basic smudge of colors to depict them. Avoid hard edges on water reflections. Saturated colors are dulled down in water reflections, (e.g. a white object’s water reflection will look gray instead). Water is denser than air so it will absorb light. In painting, you need to remember that the sky should most definitely be depicted darker on the water’s surface in your work. Keep these tips in mind and see how your artwork’s end product improves. Get started on those water paintings today! You can get all you art supplies and products from us. We are Canada’s preferred supplier. We’re able to supply you with art and painting supplies, Bob Ross DVDs and more! Check us out and then go get started on that art project!