Art Questions, Art Tutorials, News 2019, Painting, Uncategorized

Try cruelty-free synthetic brushes with a 25% off discount @Jackson’s Art Supplies

When I started painting, there was no comparison between sable and synthetic brushes. The sables were much higher quality. There was also this idea going around that you were not a proper artist if you didn’t have the most expensive sables in your toolkit. This view is now obsolete, but myths are hard to kill…

Synthetic, cruelty-free brushes are now just as good as their sable rivals. Added to the advantage that they don’t come from Siberian or Chinese fur farms, synthetic brushes can be soft, springy, absorbent, balanced and durable. Whatever your style of painting or what you like in a brush, there is a synthetic to suit.

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I am working on a tutorial leaflet and a series of videos for my YouTube channel in which I have tested synthetic brushes in detail. Manufacturers sent me some for an article in Artists & Illustrators I wrote last year called The Ethical Artist and I have more coming from Jackson’s. In the meanwhile, here are a few criteria to select what will become your favourite brush, depending on what you are looking for and what will suit your technique and style of work:

  • Softness: some artists like a soft bristle while others prefer a stiffer brush. The softest brushes I tried are daVinci casaneo Series 5598, Jackson’s Studio Synthetic series 505 and Escoda Versatil. If you prefer a stiffer, scratchier brush, try the daVinci Nova series.
  • Spring: some brushes are rather floppy while others spring back as soon as you relieve the pressure. For a great spring, I like ProArte Prolene + series 007.
  • Holding capacity: until recently, sable brushes were known to hold more water/paint, but synthetics fibres can now hold just as much. For endless wet-in-wet washes, try Escoda Versatil or Jackson’s Studio Synthetic series 505.
  • Control: if you like having more control over your washes even when working wet-in-wet, you need a slightly stiffer brush that doesn’t carry too much paint. ProArte Prolene + series 007 and daVinci Cosmotop Spin are good choices.

I started an exciting partnership with Jackson’s Art Supplies: they created a special vegan brushes section in their online shop and they are giving my readers 25% off in that section until 8th of February. The discount code is VEGAN25 and here is a link to the page: https://www.jacksonsart.com/vegan/vegan-brushes/

Happy shopping!

Have fun and Happy, creative 2019!

Art Questions, News, News 2016, Painting

What DID happen to the Fabriano Artistico paper?

On the 12th of July there was an intriguing meeting at the top of a spiral staircase, at the R.K. Burt (paper suppliers) warehouse in London: a handful of botanical artists, the boss Mr Burt himself, as well as Giuseppe and Chiara, marketing directors from the Fabriano mill.

The aim of the meeting was for the artists to voice their concerns about the latest batches of Fabriano Artistico: it seemed that our beloved paper had changed, getting more unpredictable, rendering duller colours and generally messing up our washes. Botanical artists are a notoriously picky bunch, but when so many agreed that something was wrong with the paper, the Fabriano managers decided to act, with the help of Mr Burt and art blogger Katherine Tyrrell. I must say that I hadn’t been affected by this plight as much as some others, because Fabriano is not the only paper I use, so I am still working on old, trouble-free stocks.

The meeting

The morning was dedicated to an exposé on paper making by Clifford Burt. It was fascinating – that is a Mr Spock level of fascinating. My inner geek was in seventh heaven as we were shown slides of 19th century machines Brunel would have been proud of and the whole process was explained to us in detail. Extremely large cylinders, cast iron wheels, massive levers and gears, steam and dials, it was all there.

fabrianopapermaking

The 1850’s machines that are used to make the mould-made paper are also used to make bank note paper. As this is done on tender and renewed on a regular basis, the process has to be extremely efficient in order to stay competitive. Giuseppe finished the morning meeting by explaining the changes that were made to the machines recently: in order to facilitate the insertion of plastic strips in the security papers, a device was added to the machines at the beginning of the paper making process. It seems that this has upset the fragile balance of the robust yet delicate machine’s internal workings and they are now regurgitating an altered paper, deemed inferior by the old Fabriano Artistico fans.

Blind test

After a light lunch, we proceeded to a blind test of anonymous papers, coded for identification by the organisers. When Mr Flora’s Patch saw the photos, he laughed at me, saying I looked “dangerously excited”. This is pretty much exactly what I was. The blind test was tremendous fun and as it turns out was also worthwhile and productive. Chiara and Giuseppe were worried that we would all find different results, especially as we were working in different media. Going around the table, Ann Swan, Morryce Maddams and Katherine Tyrrell were working in coloured pencil; Polly O’Leary, Elaine Searle, Dianne Sutherland, Gael Sellwood, Sandra Armitage and Billy Showell and I were painting in watercolour.

We tested the papers from different brands and different batches for resilience, ease of lifting, colour saturation, behaviour of washes and glazes as well as reaction to different techniques.

fabrianomeetingtest

The results

I was actually surprised at how consistent the results were: we all identified our favourite as the old Fabriano Artistico Hot Pressed. We also all had problems with the more recent batches. This was exactly what Chiara and Giuseppe wanted: a clear description, illustrated with our painted swatches and notes – which they took away back to the factory- giving them a much better idea of what has changed and what they are aiming for with their modifications. As they described it, their job is now to reverse engineer a paper that will be back to the pre-2014 standards. They gave me the impression that they truly cared about this and that they would work on it until they can give us our old favourite paper back, which I trust they will. A quick tip on the 2016 batch: I tried painting on the back and it gave me much better results than painting on the top. So while we wait for the 2017 batch, this might be a way to alleviate our predicament.

My thanks again to the organisers of this enlightening day, to Clifford for hosting the event, to Chiara and Giuseppe for listening to us and to the other guests for the good company.

Happy painting!

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