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Digital Subscriptions > The Artist > Nov-17 > Perfectly consistent colour

Perfectly consistent colour

Michele Del Campo loves Winsor & Newton Artists’ Oil Colours because they have a creamy consistency, the colours are bright and powerful and the mixes are clean
Winsor & Newton Artists’ Oil Colours and my palette

TEST REPORT

Working with Winsor & Newton Artists’ Oil Colours is, first of all, a pleasurable experience that guarantees the highest quality outcome. Their perfect creamy consistency, beautiful, clean mixes, and their power and brightness are ideal for paintings that not only have to impress but also resist the test of the time and stay the same.

When, as a teenager, I first started painting I used several brands, and mixed them with each other. When I started to add Winsor & Newton Artists’ Oils to the palette, I noticed that each of the colours was clearly superior in its behaviour and aesthetical results when compared with the competition. Today the experience and the reliability of a brand that was created in 1832 are invaluable. It is not just a matter of charging a tube with as much pigment as possible with the traditional linseed oil; the real secret of the beauty of these colours is the accurate way in which the abundant pigment is evenly dispersed and distributed in the binder, and which oil or combination of oils is used for each pigment in order for the colour to remain unchanged. It is about covering power and brightness and, ultimately, reliability:

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About The Artist

Welcome to our November issue in which our highly talented, experienced artist-tutors challenge you to re-think your approach to complementary colours in watercolour, draw a sight-size self-portrait, capture an autumnal scene in watercolour, dramatise your skies, try graphite techniques, use negative spaces to your advantage, paint a light-filled interior in impressionistic style and master perspective for successful coastal scenes. And that's just for starters! Artist-judge in BBC1's The Big Painting Challenge, Lachlan Goudie, shares his experiences of painting Scotland's shipyards ahead of his forthcoming exhibition, Nick Poullis offers tips on setting up your own gallery, Julie Collins advises on colour choices for yellow, Michele Del Campo test reports Winsor & Newton's Artists' Oil Colours, including his top tips for oils painters, and Peter Burgess takes a practical look at materials for painting and how best to store them. Enjoy another inspirational issue packed with ideas and advice for all artists!
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