(^50) February 2021
PRODUCT REPORT
http://www.painters-online.co.uk
W
hen buying paints, you usually
get what you pay for and, if it
sounds too good to be true, it
probably is. Finding a trustworthy brand
means avoiding bargain basement paints
that are full of filler and contain less, or
inferior pigment. A reputable brand of
paint gives you a degree of confidence
in your materials so Winsor & Newton’s
promise of good quality at a good price
could well mean its Student range of
oils, Winton, might well be worth a try.
A visit to the Winsor & Newton website
will tell you that the Winton range is
perfect for artists – not just the amateur or
first timer getting to grips with the basics,
but for any artist who uses large quantities
of colour. One advantage of the Student
grade paints, besides economy, is that they
encourage creativity in the painter during
the process of experimentation. You’ll be
more inclined to try new ideas if you’re
not worrying about the waste involved.
Retailing at around £4 or under per
tube, Winton offers quality paints at
an affordable price. Although they are
aimed squarely at budding artists, don’t
let that mislead you into thinking they’re
somehow substandard. While you usually
do get what you pay for, you’re getting
a good deal with these paints.
New colours
Winsor & Newton’s Winton range has
a selection of 54 colours, in both 37ml
and 200ml tubes. The recent additions are:
Quinacridone deep pink A bluer version
of magenta that makes a suitable transition
between magenta and cobalt violet hue.
Winsor & Newton’s
Winton oils
Steve Strode tries a range of new colours from a
well-established, value-for-money Student range of oils
The range of new Winton oil colours from Winsor & Newton
New greens in the Winton range. A good
selection of light, medium and dark value
greens, with the addition of azo brown, white
and cadmium yellow would cover most of the
colours you might encounter in a landscape.
Winsor & Newton’s
Winton oils
‘The Winton paints handled very
well. I really liked their thick buttery
consistency straight from the tube,
which made the oils great for thick
applications with the knife or
a well-loaded brush.
‘Whilst experimenting with the new
paints, what struck me most was how
easily they formed the basis of a good
landscape palette. The range of greens
and brown mixed an assortment of
colours and values, whilst the reds
and blue, the ‘power colours’, offered
excellent scope for such subjects
as flowers.’ Steve Strode
Phthalo deep green A deep muted
grey-green that provides a range of
dark subtle tones.
Dark verdigris A deep green with
a very deep mass tone and natural green
undertones that bridges a gap between
sap green and oxide of chromium.
Cadmium scarlet hue A vibrant, semi-
opaque red with rich orange mid-tones
and soft yellow undertones.
Dioxazine blue A rich violet with
a beautiful blue-violet undertone that
bridges a gap between dioxazine purple
and French ultramarine.
Phthalo yellow green A bright yellow-green
with a clean, mid-green mass tone with
a soft pale lime undertone with a rich
yellow bias.
Azo pigments
The Winton range also offers azo
pigments, which have been available
since the 1920s when the first azo dyes
and pigments were notoriously fugitive.
Through innovation, azo pigments have
been improved, so much so that the
two new azo colours are classified as
permanent with excellent lightfastness.
Azo yellow green is a yellow with green
overtones, which offers a softer muted
addition to the palette.
Azo brown, although not an actual earth
colour, sits well within the ochres and
umbers with a warm soft pink tone.
Readymade green
So, how did I find the new colours?
Swayed by my findings with the mark-
making exercise (above right), I decided
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