Van Gogh watercolours

During one late evening Internet browsing session during the COVID-19 lockdown, I discovered that Ken Bromley Art Supplies now carry the Royal Talens Van Gogh range of student watercolour paints. Could these be a viable alternative to my favoured Cotman watercolours? Would EU manufacture win out over Far Eastern? Attracted by the reasonable pricing and the availability of some single pigment paints that are normally only available in more expensive artists’ ranges — and swayed by some favourable reviews — I ordered four 10 ml tubes. (Ken Bromley doesn’t stock these paints in pans.)

Despite the effects of the pandemic, my order was delivered to my door within four days, which I thought was good going. I had chosen a tube each of Raw Sienna, Sap Green, Pyrrole Orange and Azomethine Green Yellow. My only previous experience with student watercolours (ignoring the cheap rubbish in tin boxes that I remembered from childhood) has been with the Winsor and Newton Cotman range, so I was curious to try them out right away.

It has become standard procedure for me with any new watercolour paint, to make a small square reference swatch on a 1/16 Imperial sheet of Fabriano 130 lb Watercolour paper. (Making sure I label each one with the brand and colour.) This is a useful way of seeing which paints I own and gives some idea of what the paint will look like on paper — but it is not the best way to compare different paints. (The Internet has a number of excellent suggestions of how to organise ones watercolour paint swatches!)

All the Van Gogh tubes were well-filled with paint, and in the case of the Sap Green and Azomethine Green Yellow, I had to be careful not to make a mess of the cap and threads. I dabbed a little paint into my porcelain mixing dish and gradually added water with a paint brush till I had what I thought was a medium intensity. Each of the paints seemed a little reluctant to dilute with water and achieving an even mix seemed like more effort than I was used to with Cotmans. When painting out the swatches, I was surprised to see some bronzing in the Sap Green — so I must have mixed it stronger than I thought. The Raw Sienna came out a little weak and patchy. Both the Pyrrole Orange and Azomethine Green Yellow worked as expected, however.

It was at this point that I decided to consult the Internet — something I should have done before I placed my order! Granted, there were some favourable reviews, notably by people who had been sent sets by Royal Talens — including one who used rather expensive paper (Hahnemühle Leonardo 300 lb no less!). But I found one or two comparative reviews more helpful and balanced. Comments like saturated, low flow, some bronzing, no chalkiness, easy re-wetting, opaqueness, optical brighteners, and muddled colour seemed to be a common theme. I was a bit concerned that the author of the Scratchmade Journal wrote that I like to build watercolor paintings in gentle layers, but Van Gogh doesn't go for that. This watercolor likes to go down strong and be left alone, but I did enjoy using them similar to gouache.

I read that to mean that Van Gogh watercolours were not suitable for glazing techniques — something I believe is fundamental to watercolour. Elsewhere, I read a grumble that the paints could not be overpainted without lifting, which if true meant that the paints would be in large part useless to me! I had already noticed the reluctance to flow, but I found the reports of ease of rewetting more troubling. I decided to perform a simple test. If I painted out a square of Pyrrole Orange (which I know is staining in other brands) wet on dry, how would it respond to glazing and lifting?

Well, despite using (St Cuthbert’s Mill) Bockingford 300 gsm CP paper which is known for its colour-lifting ability, I was pleased to find that repeated scrubbing with water and a Pro Arte Prolene Plus round brush lifted very little colour after a day. A glazing test using Cotman Ultramarine worked perfectly. And a subsequent glazing test a day later using Van Gogh Azomethine Green Yellow (diluted with homemade distilled water) didn’t cause disappointment either, even on the Cotman Ultramarine which usually lifts fairly easily.

Therefore, I am happy to say that despite some initial misgivings, my testing has shown that at least two of my paint choices work in the way I would expect them to, and they will be a useful addition to my watercolour palette. I will look into improving the paint flow: the distilled water seemed to help a little. (My tap water is fairly hard.)

I think this goes to show that we all have different expectations and ways of working. I have the greatest admiration for someone who can produce a masterpiece in a couple of hours or less; my approach is more measured and deliberate. (It is a hobby for me.) I would certainly consider using Van Gogh paints again in the future. But I don’t think they will replace my Cotmans. Perhaps I was fortunate with my choices? (Except for the Raw Sienna...)