“If I could say it in words there would be no reason to paint.” Edward Hopper
This quote from painter Edward Hopper encapsulates the ongoing dilemma of describing your paintings with words. No matter what you say about your subject matter, your colors, the texture of your paint, you come up short. Talking about the paint itself is a little easier but tends to draw upon descriptors that may sound foreign to the untrained painter. There are artists who view paint as mere pigment to extend with water and get some color on their image. Then there are painters who can sense the difference in paint lines, from the way it comes out of the tube, to how it grabs onto a brush and then how it releases onto the canvas. And how colors mix varies from one manufacturer to another, how much elbow grease it takes to blend yellow and red into orange.
When companies come to Wet Paint and offer a new acrylic line, we shuffle and make excuses like we don’t have the space. What it really comes down to there often isn’t that much difference from one brand to another. So along comes Holbein, a favorite manufacturer partner of Wet Paint’s with a newly formulated line of acrylics. We were very pleased to find out that they have developed a line of color that is not a “me too” replicant of the category leader. The Holbein Heavy Body Artist Acrylic has some unique properties to claim a position of their own.
Virginia trying out the new Holbein Acrylics
Greg Graham, painter and Wet Paint Floor Manager, got the opportunity to play with these new acrylics. He felt the paint’s consistency is softer, even silky, under the brush, but not slippery, compared to other acrylic lines. “It reminds me of Lascaux which, unfortunately, is out of many acrylic painters’ price range.” It feels a little more like oil paint and does seem to have a longer working time. It didn’t tack up as quickly as many of the other acrylics. If you like to paint directly from the tube rather than using additives, gels and mediums, the Holbein acrylic has a great feel under the brush. Virginia McBride, another Wet Paint staffer who is more of a drawer than a painter, found the silkiness when mixing colors very enticing.
The new Holbein Acrylic
Holbein is offering a range of 113 colors in acrylics. Their color selection contains many pigments you find in their oils and watercolors. Manufactured in Japan, the Holbein palette not only contains traditional Western palettes from the Renaissance through the Impressionists to the Moderns but includes colors friendlier to an Asian esthetic. Some favorites from other mediums that are unique to Holbein are their classic mixed colors like the Compose Blue series and the Luminous colors of Violet, Rose and Opera. Like their oil paint, Holbein’s acrylics have a consistent body and sheen from one color to another.
The new Holbein Heavy Body Artist Acrylic is a painter’s paint. We are happy to add this color line to our selection at Wet Paint. This fall is a great time to try them out. They are on sale and there is a free tube of Titanium White with a purchase of 5 tubes of color.
We are pleased to have two hours next Monday, August 19th, with Carla Sonheim. Artist, author and teacher, Carla will rev up your creativity through an organic presentation and hands on event like so much of what we do at Wet Paint. Sonheim is finishing up a series of classes at the Midwest Art & Lettering Retreat and we are thrilled to have her visit Wet Paint during her trip to the Upper Midwest. She is widely known for her books “Drawing Lab for Mixed-Media Artists,” “Drawing and Painting Imaginary Animals” and “The Art of Silliness” as well as her retreat workshops and online classes. We will have her books on hand for Carla to autograph. And she will nudge you through some “blob hunting” exercises to inspire and encourage your creativity.
Carla Sonheim’s new book
What really excites me about Carla’s work is how much fun she has. I have watched many of the demos Wet Paint has hosted this summer and many techniques I’ve seen are really created just to get beyond staring at the blank canvas and asking, what am I going to make? She breaks through that barrier and helps you unleash your creativity to turn a contour drawing of a piece of bacon into an imaginary creature looking something like a dog. Not unlike techniques the Surrealists used to draw images out of their unconscious, Sonheim’s exercises will likely find the Dr. Seuss in you rather than the Dr. Freud. The pure joy of being creative. Just what the doctor ordered.
“Make Your Mark” Lake Country Pastel Exhibition at BTAC
Who would have thought that July would become a hot soft pastel month? Out at BTAC (Bloomington Theater and Art Center) our friends with the Lake Country Pastel Society have presented a wonderful member show called “Make Your Mark.” Over 40 artists represent an amazing breadth of imagery and technique using soft pastels. There are landscapes that are distinctly Minnesotan, as well as several that remind me of a recent road trip to the Pacific Northwest. There are portraits, one of which incorporates new media by starting with a digital photo. There is an abstract image that pushes the boundaries of both the stick and the surface: pastel – a media with little adhesive property- adhered to the slick surface of Yupo with water. There is subject matter for any taste. And it is amazing to see one medium that can create such different results from the density of oil to the airiness of watercolor. It was a real treat to be at the opening reception with so many of the exhibiting artists in attendance. They were truly thrilled with the exhibit as well as being down right verbose about their artistic pursuits, their influences and their techniques. The show is up through August 23. A presentation of awards by the juror, Albert Handell, will take place Tuesday, August 6th, at 6:30 p.m. If you haven’t seen the great gallery space at BTAC, this is a perfect opportunity to remedy that situation.
McCann sidewalk pastel painting at the MIA
Also in pastel, but in a vastly different format, Shawn McCann takes the centuries old Trompe l’oeil technique and his box of soft pastels to the street. Shawn will be at Wet Paint this Saturday, July 27th, from 11 a.m. to 3 p.m. creating an illusory image on our sidewalk with Jack Richeson’s new big, fat soft pastels called Street Stix. I have to admit that soft pastels haven’t been considered the cutting edge medium in recent years. But 3D street painting brings pastel paintings out of the flat files and museums and into the contemporary art gallery space shared with aerosol painting and stenciling. Just as the Lake Country Pastel Society has a pastel painting to appeal to any esthetic, McCann’s street art will appeal to everyone’s in its populist presentation.
This Thursday, July 11th, Wet Paint will host an evening event that’s part Try-It, part meet-and-greet and part book signing with our friend Ruthann Godollei. Hot off the press is Godollei’s new book, “How to Create Your Own Gig Posters, Band T-Shirts, Album Covers, & Stickers: Screenprinting, Photocopy Art, Mixed-Media Collage, and Other Guerilla Poster Styles”, published by Voyageur Press. If you’ve ever wanted to print party announcements, your soccer team’s t-shirts, or posters for a band, this book is for you. Although Godollei is the printmaking professor at our neighboring institution, Macalester College, this book isn’t just for artists and students. It covers all DIY topics and media and will help anyone create their own prints. In fact, Ruthann will be demonstrating cutting your own stencils out of paper during this Thursday night event. Don’t stay away because you don’t have your own printing press. Don’t stay away because you can’t draw. She will assist you in overcoming any barriers to creating your own multiples in no time. And neighborhood folks, don’t be shy. You will most likely know Ruthann from her green stenciled Volvo art car. If nothing else, make sure to stop in so you can hear her many stories from a recent European tour with the group of artists called “Travels in Typography.” They printed their way through Europe, even at the Gutenberg Museum.
Godollei’s unique Volvo
It is exciting to see the growing interest in printmaking happening far beyond the walls of art departments in colleges and museums. Our smart phones and many image sharing programs online have given everybody images to work with and printmakers seem to be embracing the general population’s interest in their mediums. Maybe that’s because printmakers have had to share all along. They have shared equipment, and they have naturally had to help each other in a group effort to produce a print compared to the more isolated processing of making a painting.
So join Ruthann and Wet Paint this Thursday evening. Hear some stories. Get a book. Cut a stencil. Take part in some community and some fun.
I have had about 50 years personal experience with canvas as a painting support. The first 20 as a painter, the next 30 mostly as an art supply retailer. Some of the historic canvas prep techniques I learned in school aren’t taught anymore and many of the materials used aren’t readily available. There are a number of reasons for these changes. First, many painters want to spend their time creating rather than preparing. Second, many don’t have the access to tools and space for stretcher building and canvas stretching. Third, pre-made stretched canvases are now available at a much higher quality.
Wet Paint staffer, Meg, holding one of the small 6×8″ size canvases
Since 1965, Masterpiece Artist Canvas has been improving their stretched canvases to earn their reputation for professional quality today. Artists used to build their own stretched canvases so they had control over the end results. Masterpiece has built into their everyday production the features that artists could not find in “ready-mades” 20 years ago. They offer 3 profiles of bars, all of which keep the canvas surface away from the wood so it doesn’t show through one’s paintings. All the stapling is done on the back so the edges are smooth to be painted or for ease of framing. Corners of the canvas are folded and not cut so the painting can be taken off the stretchers, rolled, shipped and easily re-stretched. They also automatically add cross braces to canvases 24” and larger to keep the wood from twisting and surface from warping. Masterpiece’s stretched canvas range includes 10 different canvas surfaces to give the artist the right ground, weight & texture for their medium and technique. And they offer 130 sizes from 4×4 to 72×96. All in all, that means that artists now have access to over 3000 different stretched canvas options.
Wet Paint staffers, Chris and Justin, holding a giant 48×72″ stretched canvas
Masterpiece is also the only company I know that is obsessed enough about stretched canvas to offer artists dimensions that employ the golden ratio. The golden ratio (or, as in the case of canvas, the golden rectangle) has been used in art and architecture throughout history (DaVinci, Dali and others) to achieve what is believed to be the most pleasing proportions to the human eye. So you may want to try an 18×29 rather than an 18×24 canvas and see if it makes your painting more pleasant. Of course, now that you no longer have to spend your time stretching your own canvas, you have time to paint both an 18×29 and an 18×24 to compare the two.
I know somebody out there is tsk tsk-ing that many artists don’t prep their own surfaces, but there’s a lot to be said for pre-stretched options. Come in and we can talk about how much fun it used to be to prepare rabbit skin glue and apply white lead with a painting knife. Come in and I will to tell you about the 6 canvases I stretched during a tornado (they always had a life of their own.) The bottom line is, most artists stretched their own canvases because it use to be the only way to get the size and surface that they needed. We have a lot more options these days thanks to Masterpiece Canvas and that gives us lots more time to just be painting. Until July 3rd, all Masterpiece Canvases are 50% off MSRP!
Schmincke set color comparison: old set colors on left, new set colors on right
Schmincke set color comparison: old set colors on left, new set colors on right
Editor’s note: Since 2013 we’ve done a series of custom sets and the current can be found here.
If you have shopped at Wet Paint in Saint Paul during the past 25 years, you know Darin Rinne, our General Manager. And you know Darin loves to tell a story. And I’d bet he’d tell you his favorite story is about the Schmincke Half-pan Watercolor Set. About 10 years ago, the U.S. importer of Schmincke color offered Wet Paint a deal on their 12 color half-pan set. We could give our customers a professional grade watercolor in a metal box at a comparable price to the competitor’s student grade in plastic. The only hitch, we had to purchase 100 sets. At the time, it was a big investment for Wet Paint, but we went for it anyway. The set was such a success; we ordered the set 3 times. Each time, the tin was a slightly different model. The fourth time around, no more were available.
The story continues and now Schmincke has a new importer in the U.S. but no watercolor set we felt met the criteria for our customers. Marcus from Schmincke in Germany came to visit us in 2011 and asked how he could improve their relationship with Wet Paint. Darin and Greg Graham, our Floor Manager, worked with Marcus to put together a selection of warm and cool colors of their choosing which would be affordable and still a workable palette. They found an appropriate tin with space to fit another 6 colors for expansion. We worked with other independent art supply stores to meet the manufacturer’s custom run commitment. The set was so well received by our customers, that we needed to order more custom runs. And we worked again with Marcus to develop a Schmincke Gouache set to complement the watercolors with a palette selected by our friend Roz Stendahl.
As we started seeing the end of our inventory, Schmincke informed us our tin was no longer available. Being such a successful program, Marcus and Darin worked up a 2013 edition which just got shipped to Wet Paint last week.
Liz Carlson holding the 2013 set and her color chart
Liz Carlson, urban sketcher and Wet Paint sales associate, got into the act by creating a new palette of colors for the new edition. The colors in the 2013 set are more transparent than the original selection. It is a stand-alone palette of colors but has no duplication from the original selection. The new tin is a longer box that has enough room to hold a standard length brush (or a pen) or 2 travel brushes. And it comes with 12 empty half-pans. So a painter could include the colors from their studio palette, include the colors from the original Schmincke Half-Pan Set or expand their palette in a completely unique way.
The new 2013 Schmincke Half-pan Watercolor Set!
Kate Katzer, Wet Paint’s framer and web sales associate, is very excited, almost giddy in fact, about the new Schmincke Half-Pan Set’s arrival. She has a number of web customers disappointed they missed the original set. She likes the fact that the palette of colors is chosen by a working artist rather than a marketing department. Liz Carlson’s color selection is appropriate for the plein air painter, the sketcher, landscape painter or portrait artist. The colors are for warm weather, vibrant and fresh. There is a story behind each color selection. For example, Liz picked Mountain Blue because “it isn’t as bossy as Ultramarine.” She likes Cobalt Turquoise and Transparent Orange because they mix well to make great middle tones.
Wet Paint is pleased to offer our customers the 2013 edition of the Schmincke Half-Pan Watercolor Set. Schmincke makes the best half-pan watercolors on the market. We have made a unique color selection you won’t find anywhere else. This set is priced ridiculously well. And the box wraps it all up as a beautiful object in itself. This is a watercolor set for those with great taste and an understanding of value & quality. We have worked hard to bring you a unique, professional grade product at a very affordable price. Visit our website to purchase and see the entire list of colors in this set!
Wet Paint staff, Steve and Langhan, and the display of Stillman & Birn sketchbooks.
Justin Terlecki pen on Delta
Back in the 1970s, if you were a serious art student, it was standard to carry a black bound sketchbook just like your professor. Besides being the repository of your sketches and notes, the binding gave you the sense of this being a permanent record, a uniform format that would be the historic record of the studies for your artwork. As this tradition continued through the decades, the black sketchbook began to evolve. Some artists didn’t like the roll of the page caused by the binding, so paper manufacturers started providing the field sketchbook: the same hard black leatherette cover but with spiral binding. Others introduced micro-perforated sheets that could be torn out discreetly. In doing so, the original intent of the bound book changed over time. The book could now be easily edited; pages torn out and discarded instead of kept archived in place and in sequence.
Liz Carlson; watermedia on Epsilon
By the beginning of the 21st century, the popularity of the black sketchbook made it quite a commodity item for the pad makers. Unfortunately, in order to compete with each other, this meant that many black sketchbooks began to come out of Asia with lower and lower prices and with paper of the quality of a cocktail napkin. This devolution of the quality of the black bound sketchbook only took into consideration that all art students and most artists wanted this product. They had lost track of the purpose of the book … They ignored the fact that paper quality could affect the drawings made on their pages. They totally missed the trend of artists working in mixed media which requires heavier and better paper. They didn’t notice the growing movement of sketching as an art form where the final work is kept within the sketchbook itself. And they lost sight of the vital role that the black sketchbook could play as a place to record ideas, document the creative process, and archive one’s development as an artist.
Wet Paint staff, Steve and Langhan, and the display of Stillman & Birn sketchbooks.
As an industry, art materials has been ripe for the return of a quality black bound sketchbook and in 2011, Stillman & Birn did just that. Michael Kalman and Oscar Hernandez are the founders of Stillman & Birn. Michael is the nephew of the original manufacturer of the first black bound sketchbook in 1958. Michael and Oscar believe that artists need sketchbooks that are the same caliber as any of their other art materials. Stillman & Birn understands that all artists don’t work alike and need papers with different surface qualities, different weights, different levels of whiteness, and of course, different sizes and different bindings. They have listened to artists and worked to provide them with a line of bound sketchbooks that is as diverse as their needs. Stillman & Birn has sourced the finest quality papers from Europe and then bound them under the strictest quality control in the United States. They’ve mastered the challenge of featuring heavier papers in bound books in addition to spirals, and, most remarkable of all, their bindings will actually allow the pages to lie flat and satisfy the sketcher who wants to work across 2 pages.
Stillman & Birn is a supplier that truly wants to provide artists with the best possible product they can afford and Wet Paint has worked closely with them in the improving of their product and the development of new items. Their commitment to the artist shows not just in the sketchbooks themselves, but in the amount of information that is provided on each book.
Justin Terlecki; pen on Alpha
Wet Paint has stocked the Stillman & Birn books since their first manufacture run. The Wet Paint staff personally endorses this line. Justin Terlecki only uses Stillman & Birn sketchbooks now and says, “The Alpha and Beta have wonderful paper in them that is suitable for fountain pen sketching. The paper takes the ink beautifully and produces nice clean lines that don’t feather. The paper is also heavy enough that your drawings do not bleed on the other side. When you hold one of these books in your hand, you can tell that they are no ordinary sketchbook.” They are Liz Carlson’s go-to sketchbooks too. She uses the Alpha series because “the bright white tone of the paper is perfect to show off color media.”
Liz Carlson; watermedia on Alpha
Last month Stillman & Birn began shipping their new “Zeta Series” sketchbook to meet the demands of artists wanting a 180# heavy weight, natural white, smooth surface in both hardbound and wirebound books. And in June 2013, Wet Paint will have 22×30” individual sheets for each of the 6 papers featured in Stillman & Birn’s sketchbooks. This enables the artist to move from their sketchbook to a larger format without having to adapt to different surface qualities. Later in the year, we will have sampler sketchbooks which will include pages of all 6 papers so people can experiment will all the surfaces in the series.
Visit Wet Paint in person or online to see the entire line of Stillman & Birn sketchbooks. And visit the Stillman & Birn blog to see more examples of what artists are doing in their books.
Wet Paint is offering you more than a week of headliners, Sunday, April 28th through Monday, May 6th. The International Art Materials Trade Show and Convention takes place in Minneapolis this year bringing all these artists into our community. An opportunity like this rarely occurs so you need to make room on your calendar to visit Wet Paint a number of times.
Scott Gellatly, an accomplished landscape painter and an active plein air painter, is also Product Manager for Gamblin Artists Colors. Scott will present a 90 minute talk, “Understanding Contemporary Oil Painting Materials.” He will cover topics such as oil and alkyd paints, painting mediums and varnishes, pigments, painting techniques and studio safety. Wet Paint has stocked Gamblin products since the beginning of their production. We like to support American made art supplies. Like us, Gamblin Artists Colors is committed to artists from product development to staffing. Over the years Robert Gamblin and I have had many conversations. One was comparing Gamblin’s oil to some other paint brands. Robert always says his paint is ready for painters to use right out of the tube unlike stiffer paints that need considerable manipulation before they can be applied to a canvas. Robert Gamblin still remains active in the company but paints as much as possible. Scott has learned the art of oil paint from Robert and has taken over his “on the road” responsibilities. We feel quite honored to have Scott visit Wet Paint. See his work at www.scottgellatly.com
We have certain customers who are so excited about Patti Brady coming to Wet Paint, they can hardly wait. Artist and author of “Rethinking Acrylic,” Patti is also the Director of the Working Artist Program for Golden Artist Colors. Her knowledge of pushing acrylics over the limits, in any direction imaginable, is astounding. You want acrylics to do what? Patti has an answer and probably a sample in her bag of paint swatches. Patti will give a short presentation followed by all the interaction our audience wants. Come see the new products Golden is introducing in 2013. Golden is a company Wet Paint really believes in. Besides innovative products that meet the needs of artists, they are committed to making sure artists know how to use the products effectively and safely. Her work can be seen on her website www.pattibrady.com
Antistatik, AKA, Stephane Helbert, represents Molotow, and we couldn’t be more pleased to welcome him to Wet Paint from France. Stephane has been part of the Graffuturism art movement and has murals and exhibits throughout Europe. We saw the Molotow marker line last year at the art materials trade show and were so impressed with their covering power. At Wet Paint, acrylic paint markers are one of our fastest growing product categories. Like spray paint, we didn’t realize how many different types of artists would be interested in this product. The applications are numerous. The results are immediate and possibly more spontaneous. They work in a sketchbook as well as on canvas. Acrylic paint markers work in combination with spray paint, traditional acrylic tube paint and anything else you can imagine. And Stephane incorporates many media in his own paintings. Come try Molotow paint markers and see some other products coming soon from Germany. See Antistatik’s work here.
Marie Browning is a new friend of Wet Paint. She is a design consultant to the U.S. Company that imports Tombow products from Japan. Marie has embraced the art of Zentangle along with her Tombow markers and pencils. Her recent book is “Time to Tangle with Colors.” For those unfamiliar with this movement, Zentangle offers an opportunity for opening your creativity through a multi-patterned drawing design. I can attest to the Zen part of the process. I personally find it relaxing and rewarding at the same time. Tombow brush markers are a standard in the world of water based brush markers. They seem to find a place within various creativity practices such as calligraphy, rubber stamping, journaling and more. What you really want to experience is Tombow’s Irojiten colored pencils. Not just another colored pencil line, they are a beautiful range of colors that Tombow presents in striking color family sets. At first they may seem hard and dry but the pencils actually release their colors in a very controlled manner. They are superb for color layering. I haven’t found any color combinations that don’t blend effectively. Check out Marie’s blog.
If all this color is too much to handle, Kathi Hanson from General Pencil has the perfect antidote – graphite and charcoal drawing techniques. She has some new mixed media applications that may surprise you. Kathi will show you all the possibilities with their new Sketch & Draw Kits that would be great for summer travels. General Pencil still produces wood encased graphite pencils in the U.S., and they love to share their pencil making process with their fans. And General Pencil is a family operated company too. I have always appreciated how they incorporate artists’ drawings into their packaging. All in all, General Pencil is the kind of company we at Wet Paint believe in and believe our customers believe in too. Visit her website www.kathihanson.com
We couldn’t be happier to have Denise Lapointe and David Carruthers from Papeterie Saint-Armand visit Wet Paint to talk about papermaking. Their operation is right at the apex between handmade processes and machine driven mills. I have visited their studio twice and I am amazed at their operation. The first visit the cab driver didn’t want to take me there – it is outside of lovely Montreal in a relatively abandoned warehouse district. Last fall, the area looked like it is ready for revitalization. Denise and David are passionate about papermaking in general and specifically about their own mill. They are proud of their equipment and their black rags for making black paper. Denise is fiery and David is circumspect. And they have stories about the history of papermaking in Canada, about making paper for the restoration of the home of Edith Wharton, about spec’ing paper jobs for rock and roll bands. They are as beautiful as their papers. See their website www.st-armand.com
Robert Paschal and Iwata are both synonymous with airbrush. Robert’s books on airbrush techniques are best sellers. He is a respected airbrush artist known worldwide. Iwata is the most well-known and respected name in airbrush equipment. Take advantage of Bob being here and bombard him with your questions and Bob will help you overcome your fears of airbrushing. We see a new interest in this tool as many artists look for new venues after starting their art making with aerosol paint. An airbrush gives you control where even the widest range of spray nozzles can’t. Joined by Brooke Cedros from Iwata Airbrush, we are giving you the opportunity to test drive the best with the best. For more info on Robert, click here.
In 2008 Daniel Smith Watercolors became available to retailers like Wet Paint. We jumped at the opportunity to stock the watercolor most often requested by our customers. We have been completely happy with this decision and are delighted to introduce our customers to Katherine Taylor from Daniel Smith. Katherine has worked with us from day one to ensure they could work with Wet Paint and our sometimes unique demands upon our suppliers. We have been quite surprised with their constant introduction of new colors. And the colors they come up with do the most amazing things. Serpentine, Shadow Violet, Moonglow. Colors that almost do the painting for you. Join Katherine to experience the hundreds of additional colors available through mixing in the Daniel Smith Watercolor line. See all their colors at www.danielsmith.com
Two years ago I met Don Colley at a workshop. When he showed me his journals, old ledgers from secondhand stores, filled with his drawings created with Faber Castell pens and pencils, I knew these were special. Besides having a tactile quality of well used books, Don truly captures his subjects. I came back to Wet Paint and said we had to have Don Colley come to Wet Paint with his sketchbooks. We looked at his website and there was a drawing he had done of Darin Rinne, our General Manager, just months before at the art materials convention in Phoenix. Don had drawn him from the back, across the patio, and without knowing his subject, he had captured Darin to a T. If you need a personal coach to motivate you to get moving with your sketchbook, Don is your answer. Don will share his strategies of sketching a subject in public when you don’t know if you have your model for 60 seconds or 60 minutes. Take this opportunity to get out and urban sketch the Grand Avenue neighborhood with a true master. See more of Don’s sketches here
Carl Judson is my own private cowboy. He saw the traditional European pochade box and made a bullet proof one to address the real needs of the plein air painter. Carl, an engineer turned painter turned product designer, has created and sourced an entire palette of products, the Guerrilla Painter line, to make outdoor painting a painless process with no loose ends trailing behind you from your vehicle to your painting site. Come see Carl at Wet Paint and he will help solve your personal dilemmas of onsite painting. Be amazed as Carl explains why he moved the latch on a box or how to fight glare off the brush ferrule. See Carl’s lovely paintings of the American landscape. And watch him drive off into the sunset in his pick-em-up truck. Check out Carl’s paintings at www.carljudson.com
When companies come to Wet Paint and offer a new acrylic line, we shuffle and make excuses like we don’t have the space. What it really comes down to there often isn’t that much difference from one brand to another. So along comes Holbein, a favorite manufacturer partner of Wet Paint’s with a newly formulated line of acrylics. We were very pleased to find out that they have developed a line of color that is not a “me too” replicant of the category leader. The Holbein Heavy Body Artist Acrylic has some unique properties to claim a position of their own.
