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Originally Posted by Scott Bartner
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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Oh, Scott,
You are most welcome. I have learned much. Perhaps this will lead in this forum, to more critical comparisons and discussions about the merits of various pigments and brands, and how they may be best employed. I have inherited about three hundred antique tubes, and only four of them were burnt sienna! Several forty-five year old W+N tubes are on my palette now, but I am assuming these colors are still the same today.
I am glad the Gamblin product matches your needs. I will put my old siennas to use.
Thanks!