Thanks so much for this Ann – I might treat myself to a small tube of the DS Raw Umber and have a little play around with it. If you check back you’ll see in my next post where I’ve overdone the burnt umber! Oh – do let me know what you think of the Seago book if you get it. All the best

Hi again John. The DS Raw Umber is totally different to the W&N version and it is how I discovered it- a happy accident if you will. I thought I was buying the same pigment as the W&N which I use but instead discovered the DS to be rich dark brown. There isn’t that reddish hint in it that you might find in Burnt Umber but that can be gotten with a touch of Burnt Sienna which gives it a lovely timber colour. But you get lovely transparency with it. It looks more like a Sepia but without the muck here
https://m.youtube.com/watch v=1m0blMLQYLw
I agree with you that Burnt Umber can be very dangerous, can make mud in secs!!
Thanks for the info on the Seago book, might treat myself
Take care
Ann

Hi Ann and thanks very much for your reply and the top tip about the Daniel Smith Raw Umber is a good substitute for the Winsor and Newton version. I’ve recently fallen foul of some really dead areas of painting from going in too heavy with Burnt Umber. Is the Daniel Smith variant just called Raw Umber or does it go be some exotic name? (I see a lot of painters that I admire use the Daniel Smith range but I’m feeling a bit stuck in my ways plus, deep down, I don’t think it’s the colours at my disposal that let me down so much as my abilities!! As for the Seago book, it does contain a goodly amount of watercolours and I’d really recommend it if you can get a copy – it’s proven endlessly inspiring to me. Many thanks Ann

Hi John,
Thanks so much for taking the time to reply and for details of your palette.I too am adding to or trying to find the least number of paints I can get by with and am always interested in what other artists who chase the ‘loose’ dream use.I have discovered that Daniel Smith’s version of Raw Umber is a fine transparent substitute for W&N Burnt Umber albeit more pricey.A little bit of Burnt Sienna to it and you have the Warm Sepia that beloved by John Yardley and it is excellent when added to Ultramarine for clouds.Thanks again and best wishes with the painting.Oh,that Seago book you have listed, is there a good spattering of watercolours in it or are they mostly oils?

Hi Ann and thanks so much for getting in touch. So pleased that you like this painting (must confess that it’s one of my favourites from this year!). Beginning with my palette, I’m trying to work with a relatively restricted palette that I can really get to know. I only use Winsor and Newton Professional colours and my basic palette is something like: French Ultramarine, Cobalt Blue, Burnt Umber, Burnt Sienna, Raw Sienna, Alizarin Crimson, Light Red, Paynes Grey, Winsor Yellow. I’ve also gradually added a few others such as raw umber, winsor red, Pthalo (winsor) blue, cerulean blue and another yellow that I can’t recall but bought because it was on special offer somewhere! I can’t recall exactly but the sand in this painting was most likely done with a really pale wash of raw sienna with maybe just the tiniest bit of winsor yellow (but I’d try just the raw sienna to start with). I think the shadows were done with some alazarin crimson and a touch of ultramarine. I’d love to be more specific but I’m normally painting quite intuitively so sometimes find it quite hard to remember what I’ve used where!! Hope that this may be of some use.

I’m looking forward to hearing about your experiences :)

I think it will be quite intensive. It’s the first time I’ve ever been on such a course so it’ll all be quite unfamiliar and it’s hard to know quite what to expect! I reckon I’ll have enough information and things to write about to keep my blog posts going for the rest of the year!!

I would imagine that those days would be like a marathon crunch …..you will learn a lot….I’m burning with envy here! :)