That Old Sinkin' Feeling

[Minh Thong]

Mr. Elliot,

If I remember correctly from last Spring, you were writing a book about painting materials and the latest work done in the field. Is it out yet? I ran a search via Google and nothing came up on it.

I'd love to buy a copy if it is now in publication.

Minh

[Virgil Elliott]

Enzie,

If it were only so simple as just choosing one brand. Here is a list of the brands I use most frequently, with the binding oil of each in parantheses.

Whites:
Michael Harding Flake White (linseed oil)
Winsor & Newton Foundation White (linseed oil+small percentage stand oil)
W&N Flake White #2 (safflower oil)
Sennelier Flake White (safflower oil+small %age stand oil)
Williamsburg Flake White (linseed oil)
Old Holland Flake White (linseed oil, but stiffer. I add linseed or walnut oil to make it more fluid)
Vasari Flake White (linseed oil)
Various Flake Whites from Robert Doak (walnut oil)

Blues:
Sennelier (safflower oil+small %age stand oil)
M. Graham (walnut oil)
Winsor & Newton (?blends of safflower, linseed & poppy oils?)

Earth colors and Mars colors:
Michael Harding (linseed oil)
Blockx Series 1 and 3 (linseed oil)
Old Holland (linseed oil)
Williamsburg (linseed oil)
Winsor & Newton Raw Umber (?blends of safflower, linseed & poppy oils?)

Black:
Michael Harding Ivory Black (linseed oil)
Sennelier Ivory Black (linseed oil)
Old Holland Mars Black (linseed oil. I only use Mars black to make greys in underpainting and to tint my primer)

Greens:
Michael Harding (linseed oil)
Old Holland (linseed Oil)
Vasari (linseed oil)
Sennelier (safflower oil+small %age stand oil)
Winsor & Newton (safflower & linseed oils?)

Cadmium Yellows:
Winsor & Newton (probably a blend of safflower & linseed oils)
Sennelier (safflower+small %age stand oil)
Gamblin (linseed oil)
Rembrandt (the older formulation, ground in linseed oil)

Cadmium Oranges:
Sennelier (safflower+small %age stand oil)
Old Holland (linseed oil)
Gamblin (linseed oil)

Cadmium Reds:
Liquitex Cadmium Vermilion (linseed oil. No longer available. This is the very best cadmium red or vermilion I have ever tested)
Old Holland (linseed oil)
Winsor & Newton (?blend of linseed & safflower oils?)

Alizarin Crimson Substitutes:
Gamblin Alizarin Permanent (linseed oil)
Archival Oils Permanent Alizarine (binding oil unknown)

Lead Yellows:
Robert Doak's Lead-Tin Yellows (walnut oil)
Robert Doak's Naples Yellow (walnut oil)
Sennelier Naples Yellow Genuine (safflower oil+small %age stand oil)
Williamsburg Genuine Naples Yellow (linseed oil, but no longer available)

Cobalt, Ultramarine and Manganese Violets:
Winsor & Newton (?blends of linseed & safflower oils?)
Old Holland (linseed oil)
Sennelier (safflower+small %age stand oil)
Yarka St. Petersburg (linseed oil)
Grumbacher Finest (linseed oil, but no longer available)

No doubt there are some others that have escaped my memory for the moment. This is not to imply that there are no other good oil paints on the market. There certainly are. These are just the ones I am currently using because they suit my particular way of painting and my concern for long-term performance.

Virgil Elliott

[Virgil Elliott]

Minh,

The book is not yet published, as I still have a few illustrations to do before I start shopping for a publisher. The text of the first twelve chapters is now complete, and John Hagan is urging me to let him release a CD version of the first ten, which we will do as soon as I find time to finish some more illustrations. Stay after me about it, as this helps to urge me onward.

Thanks for your interest.

Virgil Elliott

[Michele Rushworth]

Virgil, whenever the book or CD is available, can you let us know here on SOG? I, for one, will certainly buy them!

[Virgil Elliott]

Michele,

Will do. Thanks for the interest.

Virgil