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Dear Garth:
I'm very grateful you took the time and energy to research the burnt sienna problem for me. For the last several years I had been struggling to refine my technique, trying to determine what mixture of paints, when applied to a monochrome underpainting, produced the most believable flesh tone--using my dwindling supply of W&N burnt sienna 103 as a base.
It never occurred to me that after the W&N was gone, other brands would be so vastly different. The W&N synthetic burnt sienna was a joke; it should be called "Great Pumpkin Orange." I tried versions from Blockx, Old Holland, Rembrandt, Talens, Van Gogh, Zecchi, old Grumbacher PO23 tubes (my father cajoled from his medical illustration students), Williamsburg, Sinopia pigment to name a few. Therefore I was rather skeptical of finding something comparable to the old W&N 103. You see it's not just the color, but the way it behaves when applied thinly. Then I discovered the Gamblin product was identical to the W&N 103 in every respect. I've since purchased a life time supply and had it smuggled here using my usual courier. Thanks though for your help.
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