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Tag Archives: painting

In: News

Rosa Gallery Oil Paints: Unique Paints from Ukraine

You can find Rosa Gallery oil paints in Canada at our RUSART shop only. Let’s see what’s interesting bout these paints and why you should take a look at them.

How Rosa paints were formulated

Rosa Gallery oil paints are quite a new product. When ROSA formulators were working on selection of colours and their performance, they decided to collaborate with professional artists. They were preparing samples of different colours with different pigment load and combination of pigments and gave them to artists for “blind testing”. Artist were choosing colours based on a better performance and other characteristics. And these choices formed ROSA Gallery palette.

Special Binder: Linseed Stand Oil

ROSA Gallery oils paints have linseed polymerized stand oil as a binder. Stand oil here is close to liquid honey by texture and colour. Benefits of stand oil is shorter drying time, thicker texture and higher viscosity. Once dry paints have moderate glossy finish. We see ROSA Gallery oil colours perfect for all prima techniques, when you paint and finish your painting within one round.

Read more about oil use in our other articles: How to choose linseed oil for painting?

Pigments Used

ROSA Gallery Paints contain both orga­nic and inorganic finely ground pigments. Combi­ning carefully selected pigments with polymerized linseed oil they obtain pure bright colour with natural look. Cobalts and Cadmiums here are hue. Rosa oil paints are manufactured in Ukraine. So, pigments there are different from what artists use in North America. That’s why ROSA Gallery oil paints can become a good complement to any modern artist’s palette.

Signature Colours

There are few special colours in ROSA Gallery palette that were formulated by artists from scratch. One of them is Flame Orange by Petro Bevza. This orange is so pure and so intense that makes it work perfectly for glazing and final touches.

Serhiy Savchenko is creator of another very beautiful colour – Azure Black. It makes very unique hues and shades. Definitely worth to try.

Based on different tests that RUSART team and supporters performed, we categorizes ROSA Gallery oil paints as artist grade. Just reminding that we have 4 categories:

  • Children (high-quality paints for young artists with no harsh chemicals)
  • Casual or Studio (budget student grade paints that a less expensive, but have lower performance or light fastness. These products can be interesting even for professional artists for underpainting, rough sketching etc.)
  • Fine or Artist (high-quality artists’ paints and other supplies for every-day painting)
  • Professional (top quality supplies that any professional artist can rely on)

Check Rosa Gallery Oil Paints >>

Buy watercolour pencils online in Canada
In: News

White Nights watercolour pencils

Artists White Nights watercolour pencils is a quite new product for Nevskaya Palitra. RUSART received this product in summer 2021 and we see them as a great additions to famous White Nights watercolours. Although a colour range here is quite limited, it covers most popular colours and tints.

Colours available for White Nights watercolour pencils:

  • №32 Purple Violet
  • №37 Hydrangea Blue
  • №02 Desert Yellow
  • №04 Lemon Yellow
  • №06 Chrome Yellow
  • №10 Tangerine
  • №40 Ultramarine
  • №42 Light Blue
  • №43 Ceruleam Blue
  • №46 Light Turquoise
  • №48 Blue Green
  • №50 Turquoise Blue
  • №52 Green Blue
  • №56 Light Green
  • №60 Moss Green
  • №64 Light flesh
  • №65 Burnt Ochre
  • №68 Burnt Sienna
  • №72 Brown Ochre
  • №80 Ash-Grey
  • №91 Light cold grey
  • №33 Violet
  • №01 White
  • №14 Vermilion
  • №16 Flesh-colour
  • №19 Red
  • №20 Rose
  • №23 Carmine
  • №29 Lilac
  • №98 Black

These artist grade watercolour pencils have vibrant colours, spread and blend easily.

Combine them with White Nights watercolours in pans or tubes for a better performance.

Choose your colours>>

PS. White Nights is sometimes misspelled as White Knights due to close pronunciation. White Nights stand for a summer time in St.Petersburg, when the sun never sets and all citizens there call this time “white nights”. Summer night life in St.Petersburg is as intense as during the day.

Metallic acrylic paints by RUSART Deco and Tempera PVAc paints
In: Paints

PVAc Tempera Paints for Artists: Use, Comparison to Acrylic and Benefits

Generally speaking, tempera is not just one kind of paints. “Tempera” is a term that describes many paints with pigments dispersed in an emulsion miscible with water. So, technically, acrylic, watercolours, gouache, PVAc paints are kinds of temperas. However, for some reason we use word “tempera” only for a certain kinds of paints.

Polyvinyl Acetate, or PVAc paints, actually, are ancestors of well-known and widely used in North America acrylic paints. “Ancestors” doesn’t mean that acrylic paints are better than PVAc tempera. But due to many factors tempera was replaced with acrylics.

PVAc paints vs. acrylic paints

  1. As any other kind of paints, PVAc tempera contains pigment powder and binder. Paints may and do contain other ingredients, such as fillers, additives, preservatives, colour enhancers etc., but let’s omit these components as they do not ermine the key characteristics of paints. As you can guess, tempera has polyvinyl acetate as a binder, while acrylic paints have acrylic dispersion, emulsion or resins inside.
  2. PVAc tempera usually much lower in VOC than acrylic.
  3. Normally, PVAc tempera has no ammonia vs. acrylic, where ammonia is used to increase adhesion and performance.
  4. Acrylic can be either opaque or transparent, while tempera is normally all opaque.
  5. They both can use water as a thinner
  6. Tempera works best of all on wood. Historically, egg-tempera was used in Olden Russia in painting icons. Of course, pigment blended with egg-yolk has a very short shelf life that makes it impossible in mass-production. PVAc tempera has the closest properties to original egg tempera. Check legendary Russian iconographer Andrey Rublev.
  7. Drying time for both acrylic and PVAc tempera is similar.
  8. They both change colour after drying, when water evaporates.
  9. Acrylic can dry matte, or gloss, or something in between. PVAc tempera is always matte.
  10. Although both acrylic and PVAc tempera form permanent film, acrylic has better permanence compared to tempera.
  11. Tempera’s binder goes inside the support leaving pigment “glued” to a surface. Acrylic paints form a film. That’s why sometimes acrylic is peeling off.
  12. Acrylic paints have much broader use: from canvas and paper to fabric and glass.  Tempera’s use is quite limited (see below).
  13. Both PVAc and acrylic paints form stable and water-resistant film after drying. However tempera is more vulnerable to moist and freezing temperatures, hence, do not use tempera for exterior art projects and finishing.

How to use PVAc tempera paints?

Use it as any other opaque water-based paint. Tempera works very well on any fibre or porous support, such as:

  • paper
  • cardboard
  • wood
  • canvas
  • drywall
  • plaster
  • plywood etc.

To thin just add some water. You can also use white glue as a medium. However, as white glue is actually white when wet and transparent once dry, it may be challenging to mix colours at first.

Once dries, tempera paints form permanent and water-resistant film. When watered-down, tempera gives beautiful washes just with water with endless possibilities for glazing techniques.

Full drying time depends on amount of water used, but is very similar to acrylic paints. While you paint, your work may look glossy because of the water used. But as soon as tempera dries the surface is absolutely matte.

For your creative projects feel free to add some acrylic or oil layers on top of tempera. After full drying, of course.

Cover your finished works with acrylic or oil-based varnish, but give them at least 48 hours before applying any finishing.

Check our selection of Professional PVAc Tempera Paints >>

 

Choose your perfect oil for painting
In: Paints

How to choose linseed oil for painting?

How to choose oil for painting is the most common question for artists, both beginners and professionals. Trying and choosing right materials determine how long your painting is going to “live” and your painting experience.

What artists are looking for in oil?

When I start talking about oil as a binder for arts, I’m getting many questions from why not to use cooking oil for painting to why oil costs so different in stores. That’s a very broad questions and I’ll give all the answers in this and other articles. But let’s begin with the beginning – what are we looking for in “ideal oil”. This concept will help us choose the best oil for painting.

What would be an “ideal” best oil for painting?

  1. Ideal oil should dry fast – you want to continue layering as soon as possible while your inspiration is still with you. You don’t want to wait for a week or longer
  2. Ideal oil should be thin – you’re using oil as a thinner for your paints. If you need to change oil texture in any other ways, there are other mediums for that.
  3. Perfect oil doesn’t yellow with time – you want to make sure that your work will remain as you painted as long as possible.
  4. The best oil for painting is not reversible – that means that after drying it’s stable and permanent and will not melt and turn back to a semi-liquid form under different temperature or humidity conditions.
  5. Ideal oil provides good adhesion – layers of paint should stick to canvas or other support and to previous layers without a risk of peeling off.
  6. Perfect oil for painting doesn’t form cracking – of course, you don’t want your painting to get cracklings. If you want this “antiqued look”, there are some special mediums for that.
  7. Ideal oil has matte finish – that’s not about tastes, that’s about practical aspect. Glossy finish is fine when you work in “alla prima” techniques, i.e. paint wet-on-wet with 1 single layer. In this case selection of mediums may be broader. However, if you work in multi-layering technique, only final layer should have gloss as glossy layers do not “glue” to each other. In other words, whatever we paint on top of glossy layer sooner or later will peel off. And “later” here is less than 5 years.
  8. Ideal oil doesn’t contain toxic chemicals – if you’re sensitive to solvents and other chemicals or work in a small space with poor ventilation, you may prefer a safer options.

We hope all these help you choose the best oil for painting. Of course, “ideal oil” doesn’t exist, but we can try to get closer to this ambitious goal.

Why refined, bleached and thickened linseed oil?

Why I chose linseed oil for painting you can read in our other articles. They explain benefits of each kinds of oil. Let’s assume that we’ve chosen linseed oil and let’s find out the processing methods that make the goals of “ideal oil” real.

  1. Drying time

    Initially, extracted oil has many components inside, from different acids and vitamins to proteins. All they are good for our health when consumed, but do not work well for painting. Some raw oil components make oil sticky, increase drying time and show low transparency. That’s why cooking oil doesn’t work for painting. It simply has a goal to provide our body with nutritions, which should be removed in painting purposes. So, the first thing to choose in oil for painting is the indication “refined”.

  2. Consistence

    Most oils that just extracted have thicker texture than desired for painting. That’s why oil needs to be refined.

  3. Yellowing / non-yellowing

    Most oils for painting have yellow colour and due to some acids that linseed oil contains this kind of oil yellows with time on your painting. That’s why bleaching is a necessary process, which can be done naturally or chemically.

  4.  Adhesion

    For a better adhesion linseed oil should be thickened. In can be done in different ways or their combinations. Normally, this includes temperature and air or vacuum conditions.

  5. Ideal oil is not reversible

    The best oil for painting should stay stable and permanent after drying, meaning the oil will not melt and turn back to a semi-liquid form under different temperature or humidity conditions.

  6. Matt finish and permanency

    Due to linseed oil key characteristics, if it’s not stand oil or if there are no resins added, linseed oil provides matte finish and non-reversible.

  7. Toxicity

    Refining, thickening and bleaching takes long time. And, of course, manufacturers want to speed up to gain greater profits. And there are many technical and chemical methods to do so. Some producers are “cheating” adding solvents or turpentine in oil to make it look more transparent and reduce drying time. However, some chemicals may cause headaches and other health issues for sensitive people. Also, turpentine and white spirits, for example, require a good ventilation to use.

How Elena’s Signature oil made?

Elena Nahum Leroy (Perelman), the only owner of RUSART, recreated naturally treated linseed oil recipes that artists were using in Russia throughout generations, until the new mass-production era began. Read what she’s saying about oils.

Elena used traditional recipes that artists were using for most precious works in Russia. Yes, it took almost a year to produce a batch, but it definitely worth it.

  1. Raw cold-pressed linseed oil was naturally refined 3-5 times with water to remove protein and slime. We have to say, it took 2-3 weeks depending on quality of initial oil. And we drained about 20% of oil by volume. It’s not because the oil was “bad”, it’s because the oil has tons of stuff good as food or for wood-working purposes, but not for painting.
  2. Then we slowly heated the oil for 15-20 hours to remove water residue, polymerize and thicken. It’s a very delicate process as if a temperature is too low nothing is going to happen, and if it’s too high, oil will boil and obtain amber colour.
  3. Then we filtered the oil  2-3 times to finish refining and remove residue of sediments.
  4. And the last step – we exposed the oil to the sun for 9-12 months for bleaching.

So, we used no harsh chemicals, just power or water and the sun. That is a traditional Russian recipe of oil preparation for painting used for hundreds years.

Buy Elena’s Signature Linseed Oil >>

watercolour sticks by Daniel Smith buy online in Canada
In: Practice

How To Use Watercolours in Sticks

Watercolours as any other medium have pigment and binder inside. Pigment is what brings colours, normally, in a powder from. And binder is kind of “glue” that holds pigment particles together. Of course, there many other additives that paints may contain, but we’ll talk about the key ingredients.

When it’s about professional watercolors, we have gum arabic as a binder. Generally speaking, there are several forms for the watercolour paints.

Forms of watercolours:

  • Tubes. Most popular form for North America due to convenience of use and storage. Have more water and plasticizers than any other form of watercolours. Tubes are perfect for wet techniques and washes.
  • Pans. More traditional semi-dry form, but requires more complicated manufacturing procedures  and takes longer loner time to make than tubes. Have higher pigment load and work better for dry techniques.
  • Gouache. It’s opaque watercolour that have a sour cream texture. Very appreciated by designers.
  • Pencils. They look like any other pencil but different in use. A lead may contain some waxes and a lot of fillers, such as clays and others. Perfect for details, for combining graphic and painting techniques as well as for outdoor use. Less messy than any other form of watercolours.
  • Sticks. Have the highest pigment load among all the forms. Let’s take a look what we can do with them.

How to use watercolour sticks

As watercolours in pans

You can simply use the sticks as watercolours in pans with higher pigment load. That means take some paint with a wet brush, and mix colours on your palette. When happy with the result, paint in dry or wet techniques.

As watercolour pencils

Draw on dry paper as if it’s a regular pencil. Add lines of different quality and manipulate the intensity of colour by pressure. Use a sharp edge for finer lines. Blend colours together right on the paper and soften with water. If needed, you can “sharpen” the sticks, collect the shavings and use them as watercolour in pans.

As crayons

Use the wide side of a stick and apply on rough paper. Then add water with a brush or splatter water drops for more creative look.

Dry on wet

Generously water your paper and add some touch with the sticks. With different amount of water used you can achieve incredible and unique look

And the last thing – based on price and signet load ratio, watercolour sticks are champions. In other words, for the same about of money paid you’re getting more valuable pigment per application than any other form of watercolours.

Buy watercolor sticks by Daniel Smith>>

gamblin oil paints buy online in QC
In: News

Artist oil paints by Gamblin at RUSART

Gamblin is a dedicated manufacturer of oil paints based in Portland, Oregon (USA). Their conservation colors have been used to restore some of the most revered oil paintings in the world – including a Van Eyck at the National Gallery in London – one of the earliest oil paintings ever made – as well as notable works by da Vinci, Van Gogh, and Monet.

In Gamblin paints the manufacturer uses different binders depending on colour and pigment used. What about pigment, the other crucial component of paints, they are always in search of better and innovative options available. Let’s look at pigments they use.

Yellow colours in Gamblin artist oil paints

Although, cadmium yellow is the most beneficial yellow due to its brilliancy and opacity, you can also consider the modern and more transparent yellows – hansa yellows. They are organic pigments that are semi-transparent and lightfast. Hansa yellows retain their intensity in tints and make beautiful glazes. Also, hansa  can boost cadmiums in mixes. Also, hansa yellows make more intense and cleaner secondaries, when mixed with other organic (modern) colors like Phthalo Blue or Green.

For glazing techniques Gamblin offers Indian yellow (hue). Its transparency and a glowing warm yellow bring some amber shine to your painting.

Orange colours in Gamblin artist oil paints

Even though all we know that yellow and red make orange, mono pigmented paint are always preferable over mixed colours, because one pigment means cleaner mixing and more predictable results. Here, you can find transparent orange colours, such as Mars Orange, for glazing techniques, as well as opaque strong orange, such as Cadmium Orange.

Red colours in Gamblin artist oil paints

When we talk about red colours, we usually mean cadmiums (opaque), napthol and perinone (semi-transparent), or quinacridones (transparent). Gamblin has them all.

One of the beautiful reds is also vermillion, which is mixture of sulfur and mercury. The resulting bright, opaque red was a marvel short of philosophy but a delight to painters for a thousand years. The earth red and vermillion colors were prepared by Robert Gamblin for a Smithsonian Institute research project and are NOT available from Gamblin Artists Colors, as well as Alizarine colours.

Violet colours in Gamblin artist oil paints

Violet pigment is very rare and expensive to find, thats why painters used to mix violet colours and as a result violet and purple shades faded with time. If you still prefer mixing over single-pigment colour, try Gamblin’s alizarin permanent for mixing with ultramarine blue. Or consider making violets with quinacridone or magenta, which will make a permanent purple.

Blues colours in Gamblin artist oil paints

Gamblin blue colours include the full range of blue shades and temperature: from indanthrone, cobalt, and phthalo blue  to ultramarine Blue and turquoise blue.

Greens colours in Gamblin artist oil paints

Green is a secondary colour and as well as for purple and orange. So, green can be made by mixing colours or by using mono-pigment colours. In Gamblin you can find both options and you can choose anything from transparent phthalo green and opaque cobalts.

Earthy colours in Gamblin artist oil paints

Earthy, or brown, colours are the oldest pigments that painters all over the world used for centuries. And there is a strong reason for that. Earth colours are quite easy to extract and they have the highest lightfastness.

The late 20th century has produced the first significant change in iron oxides with the invention of transparent Mars. These colors are made by hydrating earth colors, a process by which opaque colors are made transparent.

Black and grey colours in Gamblin artist oil paints

Artists are controversial about making greys. While some artists prefer to use black as is, the others think that greys made from black are lifeless, so they remove black colour their palettes.

While overusing black in a painting will make it look dirty, neutral greys made from black and white are the same as neutral greys made from exact complements. Greys made from complements are more lively because they are incomplete mixtures of one color next to another. So come back to black with Gamblin Chromatic Black, a neutral, tinting black made from complementary colors.

An interesting alternative to mixing with white, the Portland Greys quickly lower the intensity of a color without changing its Munsell value.

Black and grey colours in Gamblin artist oil paints

White colours are core in any artist palette. Between 1/2 and 3/4 of the paint on most oil paintings is white, so the white color holds most paintings together.

Gamblin Radiant White, the most buttery white, and Titanium White have the highest tinting strength. Excellent for direct painting styles, they make the brightest, most opaque tints.

The Flake White Replacement project evolved from a prominent artist’s request for Lead (Flake) White, which had been the only white pigment commonly available until titanium dioxide was produced in 1920. Not surprisingly, the artist wanted Flake White’s working properties without the lead. Challenged, Robert tested all the Flake White oil colors on the market and found tremendous differences among them.

Check our selection of Gamblin oil paints >>

Affordable brushes for artists - buy online in Canada
In: Brushes

KOLOS Art Brushes – Affordable Alternative to Expensive Brands

Affordable KOLOS Art Brushes range from casual studio to artist brushes for all mediums: oil, acrylic, watercolours, gouache etc. Choose your own style and kind: hog bristle, kolinsky sable, synthetic , hog bristle imitation, kolinsky imitation and other. Let’s take a closer look at these brushes.

First of all, KOLOS brand belongs to Ukrainian ROSA manufacturer. Although they offer more than thousand varieties of brushes, RUSART picked just few due to their performance and price.

KOLOS Grace offers high-quality affordable art brushes in their category – studio grade – natural hog bristle brushes. Brushes come in round, flat and filbert shape. Bristle is quite stiff and “springy” that allow smoother application. Hair is quite long so your brush strokes will go softer.

KOLOS Classic is another studio grade paint brushes made with Kolinsky Sable hair. RUSART offers round shape only. Ferrule and glue used here are high-quality. For professional quality Kolinsky sable brushes manufacturer used only male belly hair. Hair from other parts goes to student grade brushes, like KOLOS Classic.

KOLOS Milk is a artist grade hog imitation brushes. They are very popular among artists for their durability and quality. Bristle here is softer than natural hog bristle, but stiffer than Roubloff Hog Bristle imitation brushes.

We also carry KOLOS Wide Flat brushes that are especially useful for applying varnish and glazes.

Check KOLOS products >>

Rosa Gallery Watercolours in Pans buy online in Canada
In: Paints

Rosa Watercolours in Pans and Tubes

ROSA watercolours available at RUSART for artists (Rosa Gallery) and for students (Rosa Studio).

Watercolor paints for artists

Rosa Gallery watercolours are quite famous for their quality and affordability, but they are not easy to find in Canada. RUSART bright this watercolours to Canada and offers full range of colours.

Rosa Gallery watercolours in pans are artist grade paints with high pigment load and lightfastness, nicely filled into full pans (2.5 ml) and thoughtfully packed in environmentally thoughtful tin boxes. All these makes your painting experience convenient, useful, practical and enjoyable. These watercolours are very comparable in quality to White Nights paints.

Cadmiums and cobalts are true and give very rich and vibrant colours. Even though cadmium have a reputation of opaque colours and work better for acrylic or oil paints, here these colours are rather bright than opaque and will become a great addition to your palette.

Pigments in Rosa Gallery paints are mineral (like cobalts or cadmiums) or synthetic (such phthalocyanine or hanza). As a binder ROSA uses natural gum arabic, famous for being the best watercolour binder for centuries. High pigment load creates nice and long spreading gradient when water added.

RUSART offers ROSA Gallery watercolours in pans in sets based on their purpose: Botanical (14 colours), Modern (21 colours) and Classic (28 colours). We also offer individual pans that are very convenient for replacing your some colours in your sets that you use most.

For those who prefers tubes we offer a full range of ROSA Gallery watercolours in individual tubes (no sets).

We have them in 3 kinds of sets: 14, 21 and 28 colours. Individual pans will be available in fall 2021.

Watercolor paints for students

ROSA Studio watercolours is a great choice for beginners. These paints have the same binder and the same pigments, but contain more fillers. You can buy sets of 16 colours from our web-site.

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