One Round - (I use Escoda Perla 10, Van Gogh “191” 8).There are certainly less expensive options. I’ve included my personal choices for each item in parenthesis, but I don’t want you to feel obligated to rush out and buy high-end materials. If you don’t have, or can’t find, anything on this list, don’t worry, we can do a lot with a minimum amount of materials. He believes that in our too-crowded lives, sketching and plein air painting invite us to move at a more deliberate pace… a true sense of place, and sometimes unexpected stories are revealed. He uses the language of cinema to inform his images, moving beyond what one sees, and depicting what he wants others to see. Alex currently lives in Paris with his film editor wife, Tiffany, and enjoys discovering the hidden corners of the city that sketching and plein air painting allow. His film credits include “Argo”, “Almost Famous”, “It’s Complicated”, and many others. You may have to try several brands before you find one (or two!) that you love.Alex Hillkurtz was born in England and grew up in California where he is a renowned storyboard artist for feature films, television, and commercials. *It's also important to note that these similarities and differences vary widely between tubes and brands. And also between the various pigments like Cobalt and Cobalt Blue Hue, etc. Because of this, Ultramarine may hold its body better in mixes while Cobalt may wash out. Ultramarine tends to be more intense than Cobalt, while Cobalt is known for being delicate. But again, Cobalt can appear highly granulating when mixed with a transparent pigment. This makes Cobalt the winner in glazing where Ultramarine may streak or settle unevenly. Both are granulating pigments, but Cobalt tends to be less so and appears clearer. If Cobalt is mixed with a highly transparent color, it may separate (see photo.) Some really like this effect some do not. Ultramarine is transparent Cobalt is semi-transparent. Cool colors like to recede in a painting, so Cobalt may work better for shadows and background blues, while Ultramarine prefers attention. Ultramarine is typically warmer Cobalt tends to be cooler. Graham Cobalt it is more vibrant than W&N, especially in earth tone mixes, but Cobalt still can't compare to the excellent mixes that I get with Ultramarine. You can see in the Cobalt swatches above that the Daniel Smith sample dot was barely enough to paint a swatch. I'm interested in experimenting more with DS cobalt, though it will have to be at a later date another tube of Cobalt just isn't in my budget this month. It's also more affordable than W&N (plus plus). It looks a lot stronger on paper than W&N (con: not as easy to do smooth glazes and washes) but holds up pretty well in a mix (plus). So far, my favorite Cobalt in mixes has been M. I rarely use any pigment straight out of the tube but prefer to adjust it or "dirty it up" a bit. Because of this, I was hesitant about giving W&N Cobalt a permanent place in my palette, so I experimented with a few more brands. It's so delicate that it quickly went washy, even with very little water. PB28 is a more expensive pigment, so PB29 or other blue pigments are substituted to lower cost. This can be confusing for a beginning watercolor artist and is a perfect example of why it's important to ignore manufacturer names and learn to be a label reader.Īs much as I enjoyed playing around with Winsor & Newton cobalt, I noticed that it didn't perform well in mixes. Many cobalt hues and student-grade "cobalts" use PB29 which is the typical pigment in Ultramarine. All of the Cobalts below are PB28 except for Grumbacher Academy's student-grade C obalt Hue, which really looks more like an ultramarine because it is. (I know, tricky. Since then, I've played a bit with various cobalts. W&N Cobalt turned out to be a lovely, clear, soft shade of blue and has worked much better than Ultramarine for capturing these misty mountaintops and snow-dusted hills. Quite pricey, but the best I could do in a pinch. This pigment code stands for Pigment Blue #28, which is the standard blue pigment used in cobalt watercolor. I trekked down to the art store and grabbed the smallest tube of artist-grade Cobalt I could find (oh when will you paint manufacturers sell over-the-counter testers?!?!), Winsor & Newton Professional (PB28). (And I'll get to those below in Cobalt vs Ultramarine: What's the Difference?) Being familiar with some of these characteristics, I thought that cool Cobalt might work better as a go-to mountain blue. I wanted to try Cobalt because so many artists compare it to Ultramarine. When I recognized that Ultramarine wasn't working for me here, I immediately sought out Cobalt.
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