Customer Reviews

The Wilcox Guide to the Best Watercolor Paints (Information to the artist)

5 star:		(7)
4 star:		(2)
3 star:		(0)
2 star:		(1)
1 star:		(6)

 

 

I bought this book expecting scientifically verified tests of the various pigments used in all the major (and some minor) brands of watercolor paint. Sadly this is not the case. First of all nowhere in this revised edition is it stated real-world testing of the various paint brands and pigments was re-done. Since the book was first published practically every watercolor manufacturer has revamped their line to offer more lightfast and permanent pigments. Nowhere in this book did I see evidence of new testing and a lot of information is out-dated. Quite a few brands that don't exist anymore are still included. For example, the U.S. corporation Colart Americas, Inc. (owners of Liquitex since year 2000 [and now also the owner corporation of famed Winsor & Newton!], quit making Liquitex watercolors years ago in order to focus that brand more on the acrylic market.

The guide states no evaluation of any companies' brands of student grade watercolors was done - only artist grade paints are covered. But here's an example of why I'm suspicious of the testing claimed by this book - I bought some DaVinci watercolors based on the praise they received in the book and immediately noticed the brand is "student grade" in quality. The filler used is so high that the chalky appearance of the watercolor squeezed out onto my palette is visible to the naked eye once its had a few minutes to begin to dry. It doesn't have any clarity or beauty of my Winsor and Newton, Daniel Smith or Holbein watercolors. If you wish to see it for yourself merely buy a single tube of DaVinci watercolor, squeeze out some onto your palette, mix a small puddle of the paint with water then let the puddle of paint dry a bit. You will see exactly what I'm talking about. If visible-to-the-naked-eye chalky filler doesn't shout "student grade paint" I don't know what does.

Another note about DaVinci watercolors - Mr. Wilcox has contracted the DaVinci company to supply the watercolor paints used in his own paint brand for the School of Color correspondence color mixing course. Nowhere in the guide does he disclose this commercial arrangement with the DaVinci paint company. I think it only fair that artists should be made aware of this fact in a guide that posits itself as an un-biased guide to watercolor brands.

I also found his constant harping on "gummy" paint odd. Since I like to be able to control the runny-ness of my paint I don't see thick-or-thin-ness of paint out of the tube as a problem. How difficult can it be to simply add water or ox gall medium anyway? And what does "gumminess" have to do with the lightfastness of the paint being discussed - which is the main thing this book claims to be handing out grades on?

Given these flaws - inaccurate information, very out-of-date information and less than un-biased reporting I can not recommend this book for watercolorists in good conscience. A better book is Hilary Page's Guide to Watercolor Paints. Furthermore, she explains exactly how she conducted her tests and under what conditions. An added bonus is that she tries to keep the book current by giving regular updates on new pigments, new watercolor brands or reformulations of existing brands on her website. It's really sad that I give such a low mark to Wilcox's Guide to Best Watercolor Paints. If the author took the time and effort to conduct tests similar to what Hilary did it could be a great resource. What a wasted opportunity....

This book was important in its day and has gone a long way to shame much of the industry into cleaning up its act, but it has not been updated or revised since its appearance over ten years ago and a lot has changed since then.

To give one example: the German manufacturer Schminke responded to the book by firing its colormen and hiring a whole new team with scientific, as well as artistic backgrounds. Reading Wilcox's books is now a prerequisite to active employment there. The result is a much more reliable line of paints than what was offered at the time this book was written.

On the other hand, some colors that did well in Wilcox's test have since been degraded by their manufacturers in order to cut costs.

The book does bring home to the reader the importance of independent research but is not a reflection of the current market. Since Wilcox's "School of Color" has come out with its own line of high-quality paints, it is possible there will be no revision of this once vitally useful reference.

Anyone interested in the School of Color paints can find the mailing address at the back of Wilcox's wonderful book "Blue and Yellow Don't Make Green."

M. Wilcox's book is a goldmine of information, especially if you are new to watercolor paints. He discusses several topics that are of interest to the artist: discriptions of color on the tubes of paint; individual pigments and what is known of them; and while this is aside from the main topic - a brief history of the individual neutrals, primary & secondary colors. While he doesn't explain the exact methods of testing for each pigment, he states that he uses the ASTM ratings as far as possible and that his own "controlled" testing is for confirmation purposes and through out the book one can find examples where there were no ratings given with an explanation why. He also states that his own ratings for lightfastness, his ratings in "Box 4" and his written assessments of the paints are "my own assessment and should be treated as such" (pg 14).
I noticed that some color lines were no longer available, he includes details about them because many still have a supply on hand. He also gives descriptions of the various companies and a picture of the tubes of paints and gives some kind of idea the strength of the tubes themselves. While this may not be helpful to some, it was to me. I have neurological problems with my hands and there are certain caps I can open more readily than others. Another part of the book I liked were his "confessions" and admitting that his word was nothing but his own opinions.
The color examples I never paid attention to except generally, because, being an artist (albeit in another area) I realize there is a vast difference in reality and the printed version. On the down side, I found the arrangement of pigments annoying, I think that portion could definately use some rework. Also, annoying - the incorrectly spelled words. Where were the editors? There are some of his deductions that I totally disagreed with, due to the fact that I have used a few watercolors in my monoprints. But I believe that each one of us has his/her own opinion and naturally there will be disagreements about whether this color is good or not. Also, it is possible that a "bad" tube of paint escape the company's quality control people.
Overall, I think this book is a must read, especially if you are new to the world of pigments. Thumbs Up!

This exhaustive (not to be confused with exhausting) research-based volume should be mandatory reading for all those artists interested in giving their customers their utmost quality of paint on works of art sold. So many paints are not light-fast, or are 'fugitive' (absolutely unreliable), or are packaged by the manufacturer as 'new' colors when they are, in fact, only creative blends of basic colors that any artist can create with colors they likely already have. This book, covering many of the watercolor paint producers in the Western world, exposes these flawed paints, but also gives credit where due to the top-notch pigments and their manufacturers. Details of content, health ratings, color-fastness and quality of brush use are easily understood. Fantastic color swatches (before and after exposure to light) are beside each manufacturer's sample. My only complaint is that this is the only edition available (pub. 1991), as the author said it would be updated periodically, which does not yet appear to have happened. There were only a couple of Quinacridone colors 12 years ago at the time of publication, whereas there are many more now.

wilcox did artists a tremendous service when he first published this book: his emphasis on lightfast paints (that don't fade when exposed to light), his strong endorsement of the quinacridone pigments, and his tireless research -- this woke up the art materials industry and is responsible for the high quality of today's watercolor paints. but the book has aged badly: almost all the information is out of date (daniel smith and m. graham paints are not listed, current paint lines are completely changed from what is shown in the book, etc.). and then there are the endless tirades against alizarin crimson and the chartjunky outlines of paint tubes -- this gets tedious very quickly. if you need a paint products guide, get instead the hilary page guide to watercolor paints, which is current, informative, and friendly to use.

available space doesn't permit a detailed dissection of this new (2001-2) edition of the wilcox guide, but the gist is this: wilcox does not in fact test paints for their permanence to exposure to light (lightfastness), he merely recycles the ratings created by a standards testing body, the ASTM. the "testing" that wilcox apparently has done is to brush out color samples to evaluate how "gummy" they are -- gumminess, in the wilcox world, being a bad thing.

wilcox nowhere describes his testing methods, nor the procedures he uses to obtain and prepare paint samples for evaluation, nor his procedures to corroborate information obtained from the manufacturers. discontinued and reformulated paints, including paints by manufacturers that have gone out of business, are thrown in with current offerings, apparently to convince us that this is an encyclopedic reference. who would want a consumer report on cars that included an evaluation of the ford pinto?

in some cases the ASTM ratings are in error, and wilcox simply parrots this misinformation. the ASTM tested a single sample of a pigment, yet wilcox applies this single rating to every paint that contains the pigment. this is simply reckless. pigment lightfastness varies according to pigment particle size, among other things, and particle size depends on how the paint was manufactured by each paint company. wilcox is apparently oblivious to these nuances in materials testing in his sloppy efforts to appear comprehensive.

a professional editor could have helped with the many nontechnical flaws in the book -- reining in wilcox's penchant for juvenile sarcasm, for one thing, and providing a better organization for the paint information. the printed paint samples bear no resemblance to the actual paint appearance; paints are organized by "color" categories (such as "vermilion" or "gamboge") that jumble together different pigments and different paint hues. paint brands are not even alphabetized within each color section.

no artist should rely on the paint ratings in the wilcox book. the hilary page guide is serviceable, if somewhat outdated. at least she tested the paints, describes her tests, and produced a credible reference in doing so. the wilcox book is something altogether different.

If you spend hours or days painting a watercolor picture, you are going to want to use the best possible paints. You won't want to see your painting fade, become blotchy, or otherwise deteriorate due to inferior paint. To prevent just that sort of thing, this reference book attempts to educate you on the pigments used in watercolor paints--their lightfastness especially, but also other qualities. Which pigments will fade or become blotchy over time? Which will stay strong and true? This book does its best to exhaustively answer those questions.

This book has been updated several times. It is due for another update, but since there is no telling when or even if such an update will be produced, it is still so valuable that I highly recommend getting it now before you buy any (more) watercolor paints.

Although I am reading it all the way through (because that's the kind of person I am), this is not a book to be read, but rather referred to. Let's say, for example, that you want to replace a red you've been using. You would turn to the description of the red pigments, glance through to find the pigments that have been rated highly lightfast by the ASTM (American Society for Testing and Measurement) and that have the color quality you want, then you would turn to the paint reference section to see what brands offer a red using the chosen pigment(s). Even if you cannot find a brand that suits you (and you should be able to), armed with the information in this book, you can go shopping with confidence, checking the paint tubes to make sure they have the pigment you want and not some pigment that will fade and ruin your painting.

For that alone, this book is valuable.

Allow me to address some of the comments other reviewers have made. One reviewer commented that the Da Vinci paints are student grade. I disagree. I've tried a number of different brands, and Da Vinci's artist-grade paints are wonderful--buttery, smooth, and a pleasure to use. (I also like many of Windsor & Newton's paints.) Yes, Michael Wilcox contracted with Da Vinci to create his own custom line of paints, but, as he states in the latest edition of this book, he did that many years after the initial editions in which he had already praised and recommended many of Da Vincis's paints. And he doesn't hold back in criticizing many of the Da Vinci student-grade paints, nor does he hold back in praising or criticizing any brand of paint.

I believe that Mr. Wilcox has tried to be as objective as possible, and I also do *not* see any inappropriate pushing of his own line of paints. He has a single very low-key page--at the back of the book!--describing the Michael Wilcox School of Color, which lets you be the judge of whether you want to look into it more. I also haven't seen any advertisements of his line of paints in the book yet, and, as I said, I'm reading it cover to cover. (I'm in the reds at the moment, though, so I could be wrong, but if the remaining pages follow the pattern already established, I don't expect to see any such advertisement in the remaining pages.)

Another reviewer said that this book has out-of-date paints (it does) and *doesn't* reflect reformulations (but it does). Had they read the book (though perhaps they had an older edition), they would have found Mr. Wilcox's reasons for including discontinued paints. He states that some people may have those older paints still in their supplies, and so he wanted to present that information for those people. If you are a watercolor artist, you know how long paints last. I have tubes I purchased ten years ago. I know artists who have tubes they purchased even longer ago. How valuable it is to be able to read what is in those paints, and possibly avoid using something that will, in the end, disappoint!

He also provides information on old formulas, with an arrow pointing to a new entry on the reformulated paint. Again, including information on both the old and new formulations is valuable. If you are an artist with the old formulation in your supplies, you will want to know that (A) it is perhaps unsuitable and (B) there is a better replacement available for it. Yes, it is possible that there have been even further reformulations since the last edition, but each edition has been keeping up with the times, and I fully expect that, should Mr. Wilcox produce another edition, it will be as up-to-date as possible.

The one valid criticism of this book is that it could be better organized and better edited. DEFINITELY. There are missing words, grammatical errors, punctuation errors, dead-end sentences, orphan sentences, sentence fragments, and so on pretty much on every page. The organization of the material could also be better, and more information on both his testing methods and on the ASTM standards would be greatly appreciated. Mr. Wilcox should perhaps be told that there are copy editors he can hire on a contract basis to copy-edit his works and improve them vastly. Better yet, a developmental editor, who will be more expensive but also more valuable, could help with the organization and content as well.

An alphabetical index of at least all the colors would be great too. A professional indexer could create such.

These are the reasons I gave this book four stars instead of five are (A) the age of the book, (B) the errors, and (C) the need to better organize and expand the content, especially the information on testing standards and methods.

However, flaws aside, this is an enormous work, enormously valuable, with clearly hundreds if not thousands of hours of work put into it, and the information shows that effort.

It should also be mentioned that, before Michael Wilcox published the first edition of this book, whether you would get good paints from even some of the major manufacturers was a hit-or-miss proposition. Many non-lightfast pigments were used, and poor quality paints were created, even by the giants. When this book hit the scene, it had a great deal of positive influence on the watercolor manufacturers. Many of them dropped or reformulated their more questionable paints. That in itself tells you the value of the information in this book. Of course, the ASTM had a lot to do with it too, but without this book pointing out the lack of clothes on the emperor, I am not sure how much weight the ASTM standards alone would have had.

If you are a watercolor artist, do yourself the favor of adding this book to your reference library.

Inaccurate information abounds. Tiresome reading. Little good information. Overly expensive...sorry I bought it.

a poor quality book, badly written and full of mistakes. wilcox is clearly a charlaton, he rants on about other paints being poor quality whilst trying to sell you his own.
I do not recomend this book to anyone.
buy it at your peril

I should preface my comments by saying I'm not a watercolour painter although I'm interested in colour and pigments, however this book is still a fascinating read and an invaluable resource for any serious watercolourist - leisure or professional.

The book is broken down into sections on each colour family with exhaustive comments given on colour, density, handling and lightfastness I think. Some of the results are surprising - some colours from 'reliable' manufacturers are a big disappointment in one or more of the criteria mentioned above and the occasional colour is simply laughable - read it and see what I mean. Any watercolourist who wants to buy colours he or she can rely on should definitely invest in this book.

Oil and acrylic follow-ups were planned but I'm not sure if they were ever produced. I highly recommend Wilcox's book "Blue and Yellow Don't Make Green" as well. Despite the apparently-nonsensical title this is one of the definitive books EVER on colour theory as applied to the real world - not some abstract notion of perfect colours. When you learn about colour bias as explained in this book you will never look back to your days of wondering, "Now how do I mix this colour...?"