Differences in series of paint brands

[Julie Deane]

Amanda, about Michael Harding's paints: I have been using them a fair bit, as my budget allows - I love the "long" quality - that is, they are not as stiff as other brands mentioned, plenty of pigment, they flow well.

His paints were a splurge last year, and I do enjoy them. To be fair, I also use and enjoy other brands, but his are excellent.

[Allan Rahbek]

I am so fortunate to have a Danish manufacturer of artist grade oil paint, Artifex, close to where I live.
I have bought the paints many times before in art supply shops, but I never could get any specific information about the quality, other than "it is good". I thought so too.

Right before Christmas I heard that the factury has a shop and that it was a little cheeper to buy directly from the manufacturer, so I went to pay them a visit.

I talked to the owners, two elderly and very enthusiastic gentlemen who gladly told about the paints.

They told me that they exclusivly use the best linseed oil for grounding and only pure pigments, no additives of any kind.

No additives, wax and such, coarses that the paint feels slightly different depending upon the nature of the diffent pigments.

They also said that all pigments are bought from the same few manufacteres around the world, so if it is pure pigments that are used, then it is basically the same paint, no matter what name is on the tube.

Some of their paints also have excessive oil coming out of the tube. I have noticed that Ultramarine and Titanium often does.

I asked about light fastness and they showed me a huge catalog where all known pigments were graded so they could pick only the best.

This was an assuring experience and I have no doubt that I get value for my money over there, and do you know why? I don't pay much for the marketing !!!!

They didn't even have a sign outside the building, I had to ask if this was the right place!!!

[Richard Bingham]

Allan, that sounds like fun! I'd say those gents are the Danish equivalent of Doak, Vasari and some others. I've found these craftsmen who are dedicated to their craft always seem to enjoy visiting with the people who use their paint, and like the opportunity to explain the extra pains they take in making it.

To my mind, this is the current state of materials supply for painters who are interested in quality, and knowing their materials. It's true that well-made paints can vary quite a bit in consistency, texture, and handling as is the nature of the pigments involved. It's also true that these essentially "hand made" paints of superlative quality are generally very reasonably priced, simply because their buyers aren't paying for massive advertising campaigns.

[Garth Herrick]

Amanda,

I just want to chime in that I'm a huge fan of Vasari paints; arguably the best I've ever used! David Kassan who was active here on this Forum several years ago, personally introduced me to them by dragging me into their Manhattan showroom and retail shop. There one can test and play with every color, with sample tubes and palette knives provided on a huge table-top to squeeze out and intermix. I am primarily using their product range on my palette. The quality upgrade is dramatic, and I may even paint better as a result. You won't be disappointed with the finer paints available. They may cost more, but they are a great value with double the covering power and better handling characteristics! I'm not kidding (and Vasari is not paying me either).

Garth

[Amanda Grosjean]

This is going to be a painful couple of days waiting for my new paints. Perhaps as I run out I will replace with Vasari to give them a try and compare now that you have made them sound so dreamy, Garth.


Thanks to all who have chimed in!

[Mary Reilly]

I am a little late with this reply, but I just read the posts and can't resist chiming in. I was introduced to Vasari a few years ago and they are absolutely wonderful. I especially like the genuine naples yellow light. It is so much better then the pale washed out naples that so many brands have.
There is also a high oil content in most of their tubes, and Vasari suggests that you tap the tube, cap side down, on a hard surface a few times. This causes the heavier pigment to drop down toward the opening end of the tube and the oil to go to the other end, which helps the sustain the pigment.
Varsari mixes so well, and the colors are vibrant. It has become my favorite brand to use and is definitely worth trying if you haven't already.

Mary

[Richard Bingham]

Originally Posted by Mary Reilly

. . . Vasari . . . [has] a high oil content . . .

Actually not. The oil content is adequate and not underbound for highest pigment content. Paints made without inordinate amounts of fillers, waxes and stearates will release some free oil when laid by in tubes.

The same is true of paints from other high-end "boutique" makers, including Robert Doak & Associates, Williamsburg, Cennini (Studio Products), Old Holland, Michael Harding, and M.Graham to name a few.

Genuine Naples Yellow pigment is a lead/antimony compound, heavy, opaque, and unique. It's certainly far,far different from the approximations often labelled "hue", "lake"or "extra" marketed by the majority of paint makers.

Learning about the nature and qualities of painting materials separates knowledgeable painters the way gourmets are distinguished from hungry teens at a Burger King.