The Wilcox Guide to the Best Watercolor Paints

It is amazing how different the colors are look and behave. Confused by the labeling PB42 or Hue or ASTM I? Why does the same labelings (i.e. PR108) appear on multiple colors? What do those weird names really represent? It makes for interesting reading - the history, the best, and the worst products. I always wondered why some of my watercolors looked grainy. Not all colors by the best manufacturer rate highly. This book looks like a lifelong effort that will save your experimenting forever to find a good Cadium Red color, a member of one of the 10 major color groupings covered.

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.

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 book has revolutionized and reformed the world of watercolour painting. Major, respectable pigmenters have misinformed us in the labelling of their pigments. Now they are held to account. You need to know the information in this book. It will change your painting habits permanently. Wilcox is the Ralph Nader of the world of pigments.

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...?"