We receive questions from our Members on a wide range of topics to do with colour and technique. A selection, together with my answers, will be reproduced in each newsletter. Michael Wilcox
Q. ....I have been trying to replicate Monet’s colours and there is one that I need help with. What colour or colours make Madder? Do you have any suggestions?

A.Genuine Rose Madder (or simply Madder) was, at one time produced from the root of the
Madder plant on a vast scale. One of the colorants under the outer layer of skin is known as Alizarin and gives much of the actual colour. Alizarin was synthesized and also produced in bulk, causing the collapse of the Madder industry. Alizarin is still with us in the form of Crimson Alizarin; it is a poor material, fading when mixed with white or when applied at all thinly. Likewise Genuine Rose Madder is also fugitive.

Both being violet-reds I would suggest the ideal replacement would be Quinacridone Violet. It is also a violet-red, also very transparent but it is lightfast. Easily modified in mixing and darkened with ease with either Phthalo Green or Viridian. If you cannot obtain a bright, clear version of this colour we can always supply you.
 

Q. ....I add water to each of the colours I intend to use for a given painting and then let them dry out after I am done - so the paints stay in the palette for future use. Is this correct or should I add fresh paint to the given wells when I start to work and then remove it when I am finished?
A. Your present use of watercolour paints is perfectly sound, with one proviso: Although
watercolour paints can be re-wetted for use without a problem (as long as they are kept clean), constant re-wetting can, if a lot of water is used, wash away much of the binder (gum). This can lead to rather powdery paint, closer to a pastel painting that a watercolour. This will only be a problem after constant rewetting.
Q. ....I have read that acrylic paints are sometimes used underneath oil paints, is this good practice?
A. Acrylics can be used to produce the underpainting, the advantage being that they dry quickly. However, care must be taken not to apply them too heavily. If they are used in a dilute form and applied very thinly the oil paint will adhere without a problem.
If they are applied heavily (if the paint surface looks at all shiney), problems can occur later with the oil paint film; it will adhere poorly and can‘move around on the smooth surface; leading to cracking and flaking.
Q. ....Some years ago you removed Burnt Umber from your paint range, why was this ?
A. I removed Burnt Umber because it is so easily matched. A touch of Ultramarine Blue into Burnt Sienna and you have it. I did not feel that Burnt Umber was versatile enough as its use in mixing is limited.
Its removal does not cause any lack of coloured grays, as a little experimenting with Burnt Sienna and Ultramarine will soon demonstrate.