Early Access: Supervision Watercolor Fieldtest (Patreon)

Supervision Watercolor Fieldtest

Supervision Unbox and Swatch: Get Your Own: Other Materials Used: Stonehenge Coldpress watercolor paper: Ceramic watercolor palette Paint cup Low tack blue tape Binder Clips Bulldog Clips Gatorboard Silver Black Velvet watercolor brushes Viva Paper towels White gouache Sakura Pigma FB brushpen More Supervision: More It Came From AliExpress Support reviews like this one patreon.com/nattosoup From the Natto-shop: Lilliputian Living 7" Kara Volume 1 7" Kara Volume 2: More of my art: 7" Kara (webcomic): Instagram: Artstation: Artfol: Recommended Viewing: Watercolor 101 Watercolor Basics Favorite Watercolor Tutorials: Mentioned in this Video: Prima Marketing watercolors Tropicals: Basics: Jane Davenport watercolors: Paul Rubens Half Pan Watercolors: Shownotes: Supervision Fieldtest The Payne's Grey I mixed (ultramarine+burnt sienna) really seperates out with the ultramarine being the most noticable Many of these colors granulate a LOT, which can make them a bit tricky to use for illustration, as they fall out of solution quickly, or leave chunks of pigment behind. This is particularly noticable with both the yellow ochre and burnt sienna. As I'm painting, I also notice that some colors get really goopy and opaque- tend to glob onto my paintbrush. This makes it difficult to use delicately. I’m not talking mass tone saturation, I’m talking about pigment and binder globbing up onto the brush, even if you just gently dip it into the palette. Although these are studio paints, they get used quickly, almost like student grade. They fall out of solution quickly (especially burnt sienna) which requires frequent remixing. I really loved these during the first two unbox and swatches, but I’m kinda annoyed with these paints. The colors are still bright and saturated, but they’re a bit annoying to mix, especially greys using burnt sienna and ultramarine blue. The granulation on colors I commonly use for skintones is also frustrating- it leaves a graininess on skintone mixes, which is the absolute worst time for graininess when you work small. I’m used to yellow ochres having some opacity, and know how to deal with that, but the large chunks of pigment are a new one for me. I hate to say it, but these kinda remind me of the Prima nad Jane Davenport paints. Can be very challenging to get strong enough mixes- whether it’s skintones or purples, everything mixes kinda weak. By falling out of solution quickly, you get a slightly different shade each layer, which is frustrating for color control. When blended wet into wet over several layers, colors get muddy and I can start to tell there’s some optical brighteners at play, as the colors lighten the area, but don’t actually add color. I’m comparing this against the Paul Rubens tubes- which offer some opacity and a lot of color vibrancy, but allow for a lot of layering. The Verdict: While I like the supervision watercolors decently well, I think their real appeal comes from their more unusual offerings. While I initially really liked how Super Vision watercolors swatched in the two Unbox and Swatch videos, the fieldtest showed me that I don’t really like how these handle. In this instance, I won’t chalk it up to user error, or to my own preferences, but to some strange choices made by Super Vision in how some colors are produced. If you want to try chinese watercolors, I can recommend Paul Rubens over the regular Super Vision watercolors, but I do recommend you try out the Super Vision super granulating colors. I find the Professional Super Vision watercolors handle more like student grade watercolors, so I’d be curious to try their Studio version and compare to the two. Supervision Fieldtest Theme for a One Handed Piano Concerto- Sir Cubworth Friday Fugue- Trevor Garrod Summer Symphony- Sir Cubworth Silver Blue Light Snow Drop Marigold Orange Octopus