SIGNATURE SET – JOSEDAVINCI 3G

A palette put together to suit one painter

Signature sets of the third generation come about differently from thematic collections. They do not gather shades according to one aircraft or one army, but according to what a particular painter actually has on his palette when he paints. The result is eighteen bottles that were used to working together before they became a package. For collectors of figures that means a ready-made starting point: they do not have to put their own selection together by trial and error.

Eighteen tones and their roles

The extremes are held by ivory and black. Between them lie three yellows, from an icy cool one through a saturated one to a brilliant one, followed by a warm flesh tone. The red group opens with old rose and a violet red, continues with scarlet and burgundy and ends with a dark red with a black cast, which serves as a shadow. The brown band is made up of a saturated brown, a chocolate suitable for chipping and a cork tone. The cooler end is represented by a dark green, an anthracite gray and a deep blue.

Layering and mixing

The pigmentation of the third generation is chosen so that the paint keeps its depth even when thinned to a fine layer. That is what matters with figures: the transition between light and shadow is built up by laying translucent layers one after another, not with a single thick coat. For a glaze it pays to thin with water or a medium and to let the surface dry thoroughly between layers, otherwise the brush will lift the tone underneath back off. It is sensible to bring the more saturated dark shades in last, because they are the hardest to remove from a finished surface. Closed bottles belong upright, so that the pigment does not settle in the cap.