Monday, 16 June 2014

Squidges and Plugs

So, after recovering from all that research into cadmium reds and yellows, I got a chance to have a go at a couple of the recommendations that I had discovered and read about. My good friend Sarah from The Natural Year has been on one of her visits. These are always raucous affairs with lots of laughter, tea, and of course, cake. This time Sarah came bearing, not only the most delicious chocolate eclairs, but also some of her favourite Daniel Smith watercolours for me to have a practise squidge. The colour chart alone was enough to get me excited, and that Pyrrol Red was an absolute must.

I love a squidge, and it's a great way to share colours, but not go to all the expense of buying a product that might not work for you. So, just getting a little squidge in your palette, is more than enough to have a bit of a play with. Trying out mixes, washes and glazes is a great way to get a feel for a new product, and I know I am going to have loads of fun with these.

Nine beautiful new colour squidges.
Thank you Sarah

Before I got stuck in with using the new colours on a sketch, I decided to compare the colours to my recent red and yellow colour chart. This may seem like a tedious and time consuming exercise, but I find colour charts extremely useful and are a really good way to compare colours.

Adding the new colours to the red and yellow chart I completed for
Complicated Cadmium

Looking more closely at how the colours compare

Looking at the reds, I can see that the previous suggestion that Pyrrol Red would be a superb alternative to Cadmium Red, was a good one. The Pyrrol Red compares favourably with the cadmium, although it's a little less orangey, and has a wonderfully luminous quality on the page. The yellow that Sarah gave me to try had similar qualities to Cadmium Yellow, but was actually the Sennelier Yellow Light rather than a Hansa or Azo yellow. On  the paper, this looked really good and felt nice on the brush too. In fact, all of the Daniel Smith colours had a lovely texture too, that I found very pleasing. The paint lifted very easily off the palette and flowed beautifully from the brush, creating lovely puddles of intense colour. I will enjoy using these, a lot.

And finally. It's always nice to give a friend a plug, especially when they are usually the one giving everyone else extra column inches, and when they have work on show in a great exhibition. Well, many of you will know Katherine Tyrrell over on Making a Mark and will recognise that she also produces the most gorgeous botanical work. This year, Katherine has been invited to take part in the Florum exhibition. An invitation only exhibition, this year's Florum will have work by over 60 artists, including Katherine's colour pencil studies of cacti. Congratulations Katherine.


Susan Sawyer said...

Jarnie, what is the pigment number of the Sennelier yellow you like? Is it the same as the Hansa -- PY97--or Azo -- PY150?

Sketchbook Squirrel said...

Hi Susan, the Sennelier Yellow Light is PY154, the same as Winsor and Newton's Winsor Yellow, and the Rembrandt Azo yellow range. Hansa Yellow Medium by Daniel Smith and M. Graham Hansa Yellow Deep are both PY97, but I haven't tried those one yet. Hope this helps