This paper was the first domestic 100% cotton paper specifically designed for fine art applications back in the early seventies, created by Legion co-founder Len Levine. This machine made grade was created to have its own unique characteristics which made it so suitable for a variety of media. It is not deckled edge nor watermarked, but it’s offwhite shade, medium textured surface and supple feel make it an excellent substitute for pricier European papers. Zaria Forman, Errara Channel, Antarctica no. 1, Soft Pastel on Lenox, 2016 Lenox 100 is only 250gsm but very dimensionally stable making it an excellent paper for silkscreen. It’s medium textured surface make it ideal for all drawing techniques: graphite, pastel and charcoal. Forty plus years in the market and still one of the most popular papers for multiple applications and has set the benchmark for all of Legion’s quality domestic cotton grades to follow. BUY NOW! Lenox 100 Paper SPECIFICATIONS: Made in USA 100% Cotton Neutral pH Acid Free Subtle texture Specialty Paper APPLICATIONS: Hand Lithography Intaglio Letterpress Offset Pastel & Charcoal Silkscreen
Varnishing : Do we need to varnish an oil painting?
Most of us have been in this situation before – our painting has finally reached a point of completion, it’s dry and ready to be sent off but you’ve noticed that the surface quality is uneven – there are glossy areas in some parts of the painting and matte areas in others. Also, the darker values of the painting have lost some of their saturation and depth. This is quite common. Oil colours naturally dry to varying surface qualities, as different pigments require different amounts of oil binder. Also, using painting medium is some areas of the painting may exaggerate these variations. Perhaps the painting was done on absorbent, acrylic ground (“gesso”) which pulls oil away from subsequent paint layers. Not to worry…these issues of surface quality and colour saturation can easily be remedied through the application of a final picture varnish. Picture varnishes address two important concerns – one in the short term and the second in the longer term. First, a varnish layer solves those immediate aesthetic concerns outlined above by achieving a uniform surface quality and, in the case of gloss varnishes, increasing the sense of depth in your finished works. Second, the varnish layer protects oil paintings from environmental dirt and dust over the life. The information below discusses both the issue of choosing the appropriate surface quality for your work and the benefits gained by protecting your work for the long-run. Before and after varnishing “Section” by Zoey Zoric 16″X20″ oil on panel zzfineart.com It’s the easiest way to make your painting look better As mentioned, it is common for paint layers to dry to different surface qualities. Some pigments used in oil colours require more oil and dry with more gloss, other pigments require less oil and dry matte. During the painting process, it can be beneficial to even out the surface quality to better evaluate the values of the painting and deepen the colour saturation. We recommend “oiling out” the surface of the painting with a mixture of Galkyd painting medium and Gamsol for this. As the small amount of painting medium will bond permanently to previous and subsequent layers, this procedure is preferable to using retouch varnish. “Oiling out” has its benefits on a recently completed painting as well, since it not only unifies the surface quality but it reduces the absorbency of paint layers – allowing the subsequent varnish layer to remain on the top-most part of the painting structure. Whether you “oil out” the painting or not, varnishing is the best way of unifying the dry paint layers with the desired surface quality for your work. But what type of surface is right for the painting? High gloss? Dead matte? Something in between? Finding the appropriate surface quality is a very personal choice. Gloss surfaces beautifully saturate dry paint layers and increase the sense of depth in paintings. Matte surfaces give paint layers a very direct appearance, but can lighten the darkest values of a painting. Historically, representational painters preferred a gloss surface because of the increased sense of depth. Abstract painters adopted matte surfaces to enhance the physicality of paint layers. This, of course, is an over-generalization. What’s most important is that you find the right surface quality for your work. The other aspect of this is how the environment affects the viewing of the work once the painting is installed. Paintings that have a gloss surface can be difficult to see if they are not lit properly. This can take away from the painted image to the point of being distracting. What makes for a glossy or matte surface on a painting? Gloss varnishes encourage the reflection of light in a specular, or mirror-like, direction off the surface of the painting. Gloss surfaces deepen values and saturate colours in paintings. Matte varnishes are formulated with matting agents (solids) in the varnish layer, which act to scatter the light at the surface of the painting. Depending on the amount of matting agents in the varnish layer, matte varnishes lighten the darkest values in paintings. Varnish protects paintings It is generally recommend that finished paintings are varnished, unless the artist truly dislikes the look. Unvarnished paintings are vulnerable to aging in ways that varnished paintings are not. Very few, if any, private collectors keep their homes at the uncontaminated levels and controlled climates that museums do. There are two important criteria that a quality picture varnish must have – first, the varnish must be water-clear to not change or alter the colour scheme of the painting below. Second, the varnish must be easily removable in the future. The top-most layer of any painting will ultimately take on a layer of dust and dirt. Varnishes provide a non-porous layer which prevent dust and dirt from being embedded in the more porous paint layers beneath (see diagram below). If and when the painting needs to be cleaned, the varnish layer can be easily removed from the painting, along with the dust and dirt that has accumulated on top. In this way, a varnish should be thought of as a discrete, “sacrificial” layer to the rest of the painting. Contemporary varnishes Traditional dammar varnish and other natural resins make a durable top layer but yellow and darken over time and become increasingly difficult to remove for purposes of cleaning a painting. In the mid-20th century, acrylic resin varnishes were adopted because of their stability of colour. However, these same varnishes changed the look of paintings, leading many conservators back to the use of dammar, despite its tendency to yellow with age. In the early 1990s, Robert Gamblin collaborated with Rene de la Rie at the National Gallery of Art in Washington, DC, to bring a contemporary varnish to the studio painter. The research that came out of the National Gallery identified the most stable resin, Regalrez 1094, to be used as a picture varnish. This resin not only beautifully saturates dry paint layers, but is also formulated into a varnish with a very mild solvent – Gamsol. Equally as important, this varnish can be removed with Gamsol, posing very little risk of damaging paint layers below. Gamvar Picture Varnish has now been available to painters for over two decades. Gamvar surface qualities When to varnish For most paintings, there is no need to wait 6 to 12 months before varnishing with Gamvar. Gamvar can be applied when the thickest areas of your painting are thoroughly dry and firm to the touch. Gently press your fingernail into the thickest area of paint. If it is firm underneath the surface, then it is ready for varnishing. To varnish or not to varnish? Similar to finding the appropriate frame for a painting, applying a varnish is an excellent way of putting a finishing touch on an original work of art. Not only does a final varnish coat unify and saturate colour, but it plays an invaluable role in protecting your deeply-valued painting. In short, we recommend varnishing. BUY NOW! Gamvar Picture Varnish Article provided by: https://www.gamblincolors.com/why-varnish/
The real deal about YUPO® Paper
What is YUPO® Paper? A synthetic (polypropylene) substrate is born with a non-porous surface that repels water. YUPO® gives visual artists an amazingly beautiful surface to work with. Its bright white, smooth finish gives artists the flexibility to work in several different mediums to achieve unique and creative results. Painting or drawing on the ultra-smooth surface of YUPO® is different than regular watercolour or drawing paper, and will require some adjustments by the artist. The surface may be wiped clean to restore the original white of the sheet, making it an excellent surface for beginners. YUPO® is also a very exciting substrate for more advanced and experimental artists. Its creative possibilities and suitable applications are infinite. YUPO® – a slick, smooth, non-absorbent substrate that dramatically changes the way you paint, print or draw. Using this paper, you can capture nuances, patterns, and shapes that were previously impossible to achieve on conventional watercolour and drawing papers. What makes it even more unique is its lifting quality. You may return to a painting when its done and re-do specific areas over and over again. You can build up layers of paint like an oil painter working on a canvas, and then take them off to reveal the white of the sheet. Remember that water activates the paint, even paint put down months ago. Allow YUPO® to dry completely. Spray YUPO® with a matte-clear finishing spray to seal and protect it. Only use a sealant when your work is complete, as rework and touch-ups become difficult to do after sealing. YUPO® is a space age material made in a space age paper mill. The raw materials arrive by rail and are loaded into their respective silos and hoppers for their eventual transformation into pellets. These pellets are then fed into the patented heating and extruding equipment. The base and surface layers are formed during the extruding process, and these three layers are stretched to create a dimensionally stable, biaxial-oriented substrate. The innumerable micro-voids created through this process give YUPO® its superior strength, opacity and ultra-smooth surface finish. Every phase of the manufacturing process is computer controlled and closely monitored to ensure adherence to what many acknowledge to be the most stringent quality standards in the industry. Yupo paper is available in sheets and pad form at Studio Six. Try it today and see the magic behind this unique surface. Buy Now! SPECIFICATIONS: Made in USA 100% Polypropylene Neutral pH Acid Free Smooth surface Incredibly strong Waterproof Recyclable Specialty Paper APPLICATIONS: Acrylic Painting Alcohol Inks Debossing Monotype Offset Oil Pastel Pencil/Graphite Silkscreen Watercolour
Stonehenge Aqua Watercolour Block
Stonehenge Aqua Description Making possibilities a reality is why Stonehenge Aqua came to be. Watercolour is all about possibilities. Because it’s not just about beautiful paint. There’s another factor: a wonderfully, whimsical element – water. Together, they allow for form and flow, chaos and connection, beauty and structure. Aqua Stonehenge is as finely crafted as it is affordable. Performing way beyond its price point, it has been tested to its limits and as it turns out, it has no limits. Wet-on-wet or wet-on-dry, it has a wonderful crispness that anchors beautiful work across every task and technique. With Stonehenge Aqua, blending is effortless, lifting is no longer a chore. It welcomes masking while never relinquishing the control you both demand and desire. Bright colors dry bright. It’s flat paper that dries flat. Stonehenge Aqua is everything an expensive paper is without the expense. Because every artist deserves every possibility. Buy Now! SPECIFICATIONS: 100% Cotton Neutral pH Acid Free Chlorine Free Sized for watercolour Superior quality Contains no animal geletin APPLICATIONS: Calligraphy Intaglio Letterpress Pen & Ink Pastel & Charcoal Silkscreen Watercolour
Winsor & Newton Watercolour Paper
Introducing Winsor & Newton new water colour papers: the finest papers designed to match the high performance standards of their watercolour paints. Exceptionally resilient and durable, the new range of papers have been developed with strength at their heart. Choose greatness by creating your work using one of the two premium-tier paper ranges: Winsor & Newton Professional 100% cotton or Classic archival grade cellulose wood pulp water colour paper. With strength and durability being a mark of quality in water colour paper, both ranges benefit from internal and external sizing which perfectly manages water absorption and ensures a resilient surface that won’t cockle or warp. This makes both ranges ideal for watercolour, gouache, ink and acrylic. Professional Designed with a fine artist in mind, the Professional 100% cotton is an exceptional paper that looks and feels handmade. The length and quality of the cotton fibers we use give the paper its luxury feel and result in superior strength and durability making these the superior choice for the finest of artworks. Traditional cylinder mould made Internally and externally sized Hot press / Cold press / Rough grain 640 gsm or 300 gsm Shop Now Professional Watercolour Blocks Classic The classic range is a more affordable yet still exceptionally high quality alternative to 100% cotton. Made of high quality archival grade cellulose wood pulp and natural spring water, these papers are ideal for professional artists as well as amateurs and students. Traditional cylinder mould made Internally and externally sized Cold press 300gsm Shop Now Classic Watercolour Pad The Art of Water Colour Paper – look book This look book presents the new water colour paper range and explains how these papers are made, why you can be sure you’re selecting the finest papers for your artwork and how your paper can be best used to achieve the results you envisage. Experience and explore the true art of water colour paper by discovering the Art of Making, the Art of Selection and the Art of Creating. Download Get your copy now
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!