How to see inside art materials / supplies shops

I've just discovered something which allows me to see inside shops which provide art materials, equipment and related supplies - on my own screen!

It's probably been around forever but I've never ever seen it before. I suspect this might be because, this age of ordering online, shops are making greater use of it to market their premises as a "go to" place for art materials, equipment and other supplies.

How to see inside art materials shops

So what you do is 

1. Go to Google Maps
2. put the name of the shop into Google Maps 
3. Click search
4. Click on the picture of the shop which comes up top left of Google Maps

What happens next is you get to see all photos posted on Google which relate to that shop.

SCORLL DOWN on the left hand column to see all the available photos - and you get a really good idea of the amount and type of art materials available in the shop.

Check out some art shops

Below are some art shop where this works. 

Why not have a go yourself with the art shops you know - or have always wanted to visit?

UK - London

L. Cornelissen & Son, Great Russell Street, London

A List of UK based Online Art Suppliers

A list of online suppliers of fine art materials in the UK

Due to the closure of all non essential shops as from this morning, all art shops you can visit in the UK should now be closed - which means ordering online or via email or telephone to replenish your supplies of whatever you need for your art.  Or working your way through the stock of art materials you've been building up for some time! ;)

I made a list a little while back of online suppliers for a website I'm building about Fine Art Materials - paints, pastels, pencils, paper, canvases, art equipment etc.

Unlike my list of art shops (which is ordered geographically), this list of online suppliers is organised alphabetically - because of course it doesn't matter where you live or where they are based so long as they can ship to you.You can find that list below. I've not checked every detail of what I've written - but every link should be live.

If you have more online art supplies retailers to recommend please leave a comment - with name and url address and WHY you recommend that supplier.

UPDATEL 25 MARCH 2020: I've updated this morning for links or notes about what websites are saying re Covid-19 Updates

(I've reopened comments and am sincerely hoping I'm not going to go back to the spamfest of the past!!) 

Banner for the as yet unpublished "UK Art Shops and Online Art Supplies"

Important notes

• Pricing: Online suppliers can choose to offer deep discounts on prices found in retail stores. 

• Suppliers who have both retail and online supplies may have two different pricing structures and/or deals which are only available online. 
• Overseas customers should remember to check with their Customs whether they will have any import tax to pay.

• Check the shipping costs and agents used - What might seem cheap on an item by item basis may start to look a lot more expensive by the time you've added in the shipping. 

• Work out what is the best size of order to take advantage of any deals on free shipping. 
• Beware suppliers who use UPS - they have been known to say they called when the artist was at home and knew they hadn't.  Check who the online supplier uses for deliveries.

I've had a twitter reply from UPS to say consider it "lost in transit"
an artist I know 

• You have the option if your supplier is local to choose your own courier to pick up direct from the retailer (if they will allow this). 

• Coronavirus has generated a lot of orders - It's apparent that some of the art suppliers are being overwhelmed with orders for art material for kids. So if you need any art supplies I wouldn't leave it to the last minute - or you might like to try a new supplier who doesn't stock art materials suitable for kids.

• Europe is no longer shipping supplies - so if you want supplies from European suppliers yu'd be well advised to order sooner rather than later - but PLEASE do not order more than you need and DO NOT HOARD!

Attention online suppliers of art materials and equipment!

I will be noting the artists who write and comment either online or via private emails/messages to be about performance.
So if you don't want an adverse comment on your company as a supplier of fine art materials do try to make sure 

• you stick to your delivery timescales 
• and/or make sure art supplies actually arrive!

A

• A.P. Fitzpatrick Fine Art Materials - A unique, specialist art materials store in Bethnal Green close to the very many galleries and artists' studios in the East End of London.  Shop online from specialist supplie Covid-19 Update: All shop business including online sales temporarily SUSPENDED as of 21.03.20.
• Art Discount - Online store for art supplies, craft materials and artist's equipment. They claim massive discounts and speedy delivery. They use reputable carrier services who require a signature on delivery Covid-19 Update: online store is open and operational as usual, UK delivery services remain largely unaffected at this point.
  Unfortunately due to the current circumstances we will not be able to take any further orders for Winsor & Newton Canvases
• Artesaver - Artesaver - The online site for Seawhite. Art Materials at Factory Prices. Art and design equipment and supplies, sketchbooks, holdalls, foamboard, presentation etc... all at competitive prices. (Linked to Seawhite of Brighton - see retail section)
• ArtiFolk - all your art supplies under one roof in the UK. The prices you see are what you pay, no VAT to add, and post and packing only if you spend less than £40 (UK Mainland). You can order online and use either our secure payment facility or pay. Very good reviews.
• Artistmaterial - online home of Turnham Arts & Crafts based at 2 Bedford Park Corner, Turnham Green Terrace, London W4 1LS Tel: +44 20 8995 2872. Covid-19 Update: you can continue to place orders online but there may be delays in delivery

PODCAST: Ask an Artist interview with Michael Harding

I have two things to tell you if you don't already know:

• there's a new podcast called "Ask an Artist" which is informative, intelligent and really useful. Very much a recommended subscription from me (I'm using the Apple Podcast app - here are some other ways). This is their website https://www.askanartistpodcast.com/
• Michael Harding is making watercolour paints!!! That is of course Michael Harding of Michael Harding Paints.

How do I know this?

I listened to the Ask An Artist podcast interview Meeting Colour Maker Michael Harding published yesterday. (Find the link to to the podcast on this website page - but this is the Apple Podcasts link to the actual podcast)

Michael Harding Paints have a reputation of being the best in the world and in this conversation you will discover what drives Michael's successful business and why he is so passionate about paint!

The interview covers:

• his story as a colour maker over the last 40 years
• masses of information about the practicalities and technical aspects of making colour and oil paint and other products he makes
• the news that he is now making watercolour paints!  

I have to say I scoured his website in the middle of the podcast looking for information about the watercolour paints and there's nothing! It looks as if he's at beta testing stage with artists he works with and that he is maybe going to say something more about them soon - hopefully.

I learned a lot listening to the podcast - and I'm sure you will too!

About Ask an Artist

Professional artists @LauraBoswellart and @PDKeegan are all ready to answer your arty business questions on their new podcast Ask an Artist. To submit your question, visit our website https://t.co/Cj0mnXmS0Z #podcast #peterkeegan #lauraboswell #art #workingartists pic.twitter.com/z2BrYBL31G

— askanartistpodcast (@askanartistpod1) October 26, 2019

Here's some basic facts about the Ask an Artist Podcast.

• it's run by landscape printmaker Laura Boswell and portrait painter Peter Keegan
• it started in November 2019 and to date has produced 21 podcasts. 
• It's obvious to me that they're very well organised because the visit which produced the Michael Harding podcast took place in mid-December 2019!
  
• the strapline is "run by artists for artists" and the evidence from episodes I've listened to date suggests exactly that.
• unlike some artist podcasts this one has a minimal front end promoting the podcast and artists and maximum content on the topic it's focusing on - which makes it so much more accessible and informative - and verylikely to generate repeat listening to future episodes.
• each episode also has a decent page which details what's covered by the podcast
• this is how to listen
• it' a joy to listen to intelligent artists asking really good questions of well-informed people. I'm positive that most artists will find something that interests them and will end up subscribing to future podcasts.
• you can also follow Ask the Artist on:
• Facebook: https://www.facebook.com/askanartistpodcast/
• Twitter: https://twitter.com/askanartistpod1
• Instagram: https://www.instagram.com/askanartistpodcast

Here's an image of the Laura and Peter who run Ask and Artist - reviewing paint samples with Michael Harding in his colour mill.

View this post on Instagram

Laura and Peter spent an enjoyable morning exploring the Colour-Mill of master paint-maker Michael Harding. Looking at how he makes his famous oil paints and getting a glimpse of his new watercolour range, Peter and Laura interviewed Michal about his journey from artist to paint-maker and to share his extensive knowledge and passion for colour. *Episode released in the New Year!* @mhoilpaints @peterkeeganartist @laura_boswell_printmaker

A post shared by Ask an Artist Podcast (@askanartistpodcast) on Dec 18, 2019 at 4:22am PST

C Roberson & Co and an e-catalogue to drool over!

Today I was looking up a particular art material and came upon the e-catalogue of C Roberson & Co - and I started drooling alternated with reading.
Below is a REVIEW of:

• the history of C Roberson & Co
• art materials by C Roberson & co
• art materials supplied by Robersons
• an absolutely amazing e-catalogue - with supplies from some of the oldest and most prestigious suppliers of art materials

It's absolutely fascinating to trace the history and realise these are very traditional colourmen who served some of the best artists in London in the past - who would also be equally delighted by the current e-catalogue!

Roberson Oil Colours

An analysis of colours in tubes in Patrick Heron’s studio at his death showed 61 colours, out of 155, in 627 tubes, out of 790, from C. Roberson & Co Ltd, many from the mid-1960s

About C Roberson & Co

Charles Roberson & Co. were artists colourmen from 1820 until 1985 - and became one of the major firms of artists' suppliers. 

The company prepared its own paints and manufactured a wide range of materials to recipes that were kept secret and actively protected. Some of these recipes are still used today.

• unusually they both manufacture and supply artists materials
• associated with some reputable retailers
• associated with many prominent artists

Among its customers were artists such as Turner, Whistler and Sargent, designers such as William Morris, William de Morgan and Walter Crane and the royal and famous including Queen Victoria, Lady Randolph Churchill and Winston Churchill. 

History of C Roberson & Co

• Roberson was of the major artists’ suppliers of the 19th and early 20th centuries. The sequence of business names is
• Charles Roberson 1819-1828, 
• Roberson & Miller 1828-1839, 
• Charles Roberson 1840,
• Charles Roberson & Co 1840-1908, 
• C. Roberson & Co Ltd 1908-1987.
• 1819: Charles Roberson set up at 51 Long Acre in 1820 - the premises had a history of art material suppliers - it had been used for the sale of brushes and colours since 1803, firstly by John Culbert (qv), then from 1814 by his apprentice, Henry Matley. One of his first customers was Sir Thomas Lawrence. The rationale was the area was home to a lot of artists who lived/worked there (JMW Turner was born a few streets away in Maiden Lane) and was also very near the Royal Academy of Arts which, at that time, was located in Somerset House just off The Strand.  The company stayed in the Long Acre area until 1937.

In 1821 Lawrence began patronising the young Charles Roberson (1799-1876), ‘Colourman to Artists and hair pencil maker’ and successor to Henry Matley at 54 Long Acre. Initially, Lawrence purchased materials to the value of £4.3s.6d, including Italian Pink, Venetian Lake and Vermillion in one or two ounce quantities, Italian chalk totalling six ounces and Mountain Blue, that is Azurite, totalling 19 ounces (about 550 grams); of these the Venetian Lake was the most expensive pigment at 6s an ounce (see Appendix for full transcript).

Roberson & Miller’s trade sheet (detail),
Materials for Drawing and Painting, c.1828-39.

Modern Slavery and Art Media, Materials & Supplies

Next time you use a paint using cobalt you might want to think about whether and how your purchase is contributing to the continuation of modern slavery.

This post is about:

• child slaves being used to mine cobalt
• the law and regulation in the UK, California and Australia - relating to Modern Slavery and the need for the proper audit of supply chains
• whether art materials manufacturers and distributors are transparent about their actions to recognise and identify any modern slavery practices in their supply chains and, in particular, child slavery
• a detailed listing of current practices by different manufacturers and retailers of art materials and supplies

How this blog post started

I was really shocked this morning when I read about how children were being used to mine cobalt in the Congo. It stayed with me all day - hence this post.

I have absolutely no idea where the cobalt comes from which is used in "Cobalt Blue" - but this article might make you pause the next time you reach for this colour.

Earlier today, I wondered aloud on my Facebook page about how many manufacturers of art materials were taking appropriate action to ensure that there were no children involved in mining cobalt to produce the cobalt oxide which then contributes to "cobalt Blue".

Cobalt pigments such as cobalt blue (cobalt aluminate), cerulean blue (cobalt(II) stannate), various hues of cobalt green (a mixture of cobalt(II) oxide and zinc oxide), and cobalt violet (cobalt phosphate) are used as artist's pigments because of their superior chromatic stability.[96][97] Wikipedia | Cobalt

Cobalt Blue pigment

Are art supplies companies transparent about sources?

I then began to wonder how many other current components of art materials might be tainted by association with modern slavery.

Companies have a moral responsibility of ensuring that no slavery has been used in producing the products they sell. This should apply not only to goods produced in their own factories but also to their suppliers, and suppliers of their suppliers, all the way down the supply chain. Slavery in Supply Chains | Anti Slavery

A little while passed and I wondered some more why human slavery was much less of an issue and had a much lower profile than for example

• breeding/saving sables from having their hair taken for brushes.
• the extent to which animal products formed part of art materials (see Schminke page) 

Child slaves don't get a choice about what they can do.......


My conclusions from taking a look at the current situation in relation to art materials/media and modern slavery is that:

• priorities need to be reviewed
• most of the requirements of the Modern Slavery Act (see below) completely bypass companies which produce or distribute art materials and media - mainly because they are too small in turnover terms to be regulated by current legislation
• we know extremely little about the extent to which modern slavery might be related to the production of art materials
• HOWEVER good practice does not require regulation.  There's nothing to stop companies which manufacture art materials and media being honest and ethical and providing statements on their website saying what they currently do to ensure that modern slavery is not involved in the production of art media sold to the public. 

Here's how I arrived at my conclusions. 

Modern Slavery

I started by looking at the legislation, regulations and government guidance for organisations on how to ensure that slavery and human trafficking is not taking place in their business or supply chains.

• in the UK: the Modern Slavery Act 2015 and the Transparency in supply chains: a practical guide PDF, 1.73MB, 46 pages
• The guidance, which makes good practice suggestions for employers preparing their modern slavery statements, was updated on 4 October 2017 and again in 2018. See also
  Publish an annual modern slavery statement
• The Act specifically states that the statement must include ‘the steps the organisation has taken during the financial year to ensure that slavery and human trafficking is not taking place in any of its supply chains, and in any part of its own business’. (my underlining)
• the Companies, Partnerships and Groups (Accounts and Non-Financial Reporting) Regulations 2016 strengthens the MSA for the bigger, public interest companies caught by the changes, which have to include the same sort of information the MSA wants included in Modern Slavery Statements in their annual Strategic Reports. (but notably does not apply to small and medium sized companies)
• in California: The California Transparency in Supply Chains Act

consumers and businesses are inadvertently promoting and sanctioning these crimes through the purchase of goods and products that have been tainted in the supply chain, and that, absent publicly available disclosures, consumers are at a disadvantage in being able to distinguish companies on the merits of their efforts to supply products free from the taint of slavery and trafficking. The California Transparency in Supply Chains Act

• in Australia: The Modern Slavery Act 2018

This Act requires entities based, or operating, in Australia, which have an annual consolidated revenue of more than $100 million, to report annually on the risks of modern slavery in their operations and supply chains, and actions to address those risks.

But interestingly in Europe, the situation seems to be one of encouragement but no laws or and regulations..... Why not?  Also is it only California in the USA? Why not Canada?

Manufacturers of Paint and Coloured Art Media

I then wondered how many manufacturers of art materials had adequate statements about what they were doing to prevent child slavery and other abhorrent practices.

JMW Turner's Travelling Watercolour Paints

Yesterday I visited the Permanent Collection in the NEW Collection Gallery at the Royal Academy of Arts (one of the new developments). This is free to visit for everybody.

I viewed (amongst other items) the travelling watercolour set of JMW Turner RA which is currently part of a temporary display. Below you can see my photos of:

• his travelling watercolour set - with cakes of paint and a section for paper for trying out colours before he used them
• his porcelain watercolour colour mixing palette
• the inevitable colour swatch of colours - to remind himself of what they looked like when clean

The travelling watercolour set of JMW Turner RA ca. 1842
Dimensions: 296 mm x 317 mm x 9 mm

The set was given to the RA by Given by Mrs Hilda Félicité Finberg in 1940

Watercolour palette owned by J.M.W. Turner, R.A.
175 mm x 148 mm x 4 mm

This porcelain watercolour palette was also given to the RA by Mrs Hilda Félicité Finberg in 1940. It's in remarkably good condition if a little scratched.

The imprint on Turner's palette for watercolours

It's clearly marked as being made by RB Newsom. This is what the online resource British artists’ suppliers, 1650-1950 maintained by the National Portrait Gallery has to say about this gentleman.

Richard Bowden Newsom, 14 Wellington St, Borough, London 1834-1837, oilman and artists’ colourman; 7, 8 and 9 Leyland St, Vauxhall 1837, candle maker and preparer of canvas and mill boards for artists; 9-10 Leland St, Lambeth 1839 candlemaker and colourman. Post-1839, see below.

Richard Bowden Newsom (1806-80) led a varied career over many years in retailing and manufacturing. He was christened on 22 January 1806 at St Mary Scarborough, the son of Joseph Newsom and Sarah Maria, née Bowden. He was apprenticed in 1820 to his father, a grocer and tallow chandler of St Albans, Hertfordshire, and a Citizen and Cordwainer of London, and was admitted in 1827 to the freedom of the Company of Cordwainers. His father set up as a tea dealer in the Borough in 1823.

Richard Bowden Newsom married Mary Wright in 1830 and they had eight surviving children. He traded from 14 Wellington St, Borough as an oilman and artists’ colourman from 1834 to 1837, and was specifically listed as an artists’ colourman in Pigot’s 1836 London directory. He was followed at this address by Frank Livett, oilman and artists’ colourman, in 1838. Newsom moved to 7, 8 and 9 Leyland St, Vauxhall, where he took out insurance as a patent wax candle maker and preparer of canvas and mill boards for artists in May 1837 (London Metropolitan Archives, Sun Fire Office policy registers, 564/1250680). In Pigot’s 1839 directory he was described as an artist, colourman and manufacturer of improved imperial wax and sperm candles, his last listing as a colourman.

His partnership with William Bayley the younger as goldbeaters at 79 White Lion St, Pentonville, and woodcutters in Hoxton, was subject to bankruptcy proceedings in 1860 (London Gazette 5 June 1860). Described as of Orpington, he was made bankrupt again in 1865, when in partnership with William Maslen and Thomas Tillam, gas apparatus manufacturers (London Gazette 7 February 1865). In census records he can be found in Lambeth in 1841, in Plaistow in 1851 as a ‘collector wine trade’ and in 1871 in Orpington as a retired grocer. He died in January 1880 at the age of 73, leaving an estate worth under £100.

Activities as an artists’ supplier: A porcelain watercolour palette once owned by J.M.W. Turner can be dated to the mid-1830s since it bears an oval printed label: R.B. NEWSOM/ 14 BOROUGH/ Requisites for/ Drawing & Painting. (Royal Academy, 03/7070). (see British artists' suppliers, 1650-1950 - N)

Watercolour swatch taken from travelling watercolour watercolour set owned by JMW Turner

This is described by the as the Watercolour test paper taken from travelling watercolour box owned by J.M.W. Turner, R.A.

Their photo on the website is considerably lighter than mine. I'm wondering if they're trying to give the impression of what it would have looked like when paper was white. So I had a go at changing the colour of the paper today - as viewed in a dimmish gallery - to one which was lighter and brighter.

Watercolours if paper is nearer to white (adjusted via Photoshop Levels)

The colours of the watercolour pans he used are as follows:

TOP ROW (left to right)

• Carmine
• Purple Madder
• Purple Madder
• Orange Chrome
• Vermillion
• Permanent Blue

ROW 2 (left to right)

• Burnt Sienna
• Burnt Sienna
• Brown Madder
• Yellow Ochre
• Raw Sienna
• Cobalt (Blue)

ROW 3 (left to right)

• Ivory Black
• Purple Carmine?
• Crimson Lake
• Roman Ochre
• Vandyke Brown
• empty space

ROW 4 (left to right)

• Burnt Umber
• Intense Brown Madder
• empty space
• empty space
• empty space
• green colour no name

ROW 5 (left to right)

• Burnt Umber
• Intense Brown Madder
• indecipherable writing (a mix?)
• Olive Green
• Yellow Lake
• Lae Lake

ROW 6 (left to right)

• Indigo
• Indigo (lighter)
• Yellow Lake
• Brown Pink
• Gamboge
• Lae lake

You can see these items for yourself in the new Permanent Collection Gallery at the Royal Academy of Arts - which the RA seems determined to keep obscure as I can't find a reference to the space on their website. 

Shortlist for Jackson's £5,000 Open Art Prize published

The shortlist of finalists for the Jackson's Open Art Prize (£5,000) are listed below.
The prize aims to celebrate exceptional artworks by artists at all stages of theirs careers

There's some admirable work included in the shortlist. This a link to images of the shortlisted artwork in 2019 - the names of the artists are below.

A selection of those shortlisted for the Prize

There are a number of Prizes worth £10,000 overall

• Overall Winner of the Jackson's Art Prize - £5,000
• People's Choice Award (of all the entries received) - £1,000 - Voting is now open
• Emerging Artist Award - £1,000
• 6 Category Prizes - £500 each

Bottom line - it's an Art Competition worth entering (see more details at the end)! 

Those shortlisted artists who choose to do so will submit their work for exhibition at the Affordable Art Fair in Hampstead (9-12 May 2019)

This is a link to the longlist of artworks eligible for the People's Choice Awards. 

• It's NOT in the least bit obvious but there are images on more than one page
• I predict that all those NOT on the front page of each category will received fewer votes as a result

Names of shortlisted artists for Jackson's Open Art Prize

Green and Stone art shop is moving to.....

Green and Stone - the renowned and extremely popular supplier of art materials - is on the move from its current home at 251 Kings Road in Chelsea.

It has to move quickly and hopes to be in its new home by October - and you can help!

The interior of 251 Kings Road

The shop has some very loyal fans and due to their support, unlike other art shops it has not closed and is now the longest running shop in the King's Road - until the move in October....

.....over the years, due to our fiercely loyal customers we have remained; and I am proud to say we are the longest running shop in Kings Road. We have kept Green and Stone exactly as it should be; a creative hub of information for the artistic and with an eclectic mix of curios. It serves as a peaceful escape from London’s modern revolt.
We have welcomed the locals of Chelsea and tourists from near and far; those who have sought us out, those who stumble upon us, the artists, writers, directors, movie stars and musicians, and everyone in between. Having served some of the greatest contemporary artists like David Hockney, Francis Bacon, Damien Hirst, Lucien Freud, Quentin Blake and Henry Moore to name but a few, we are considered the best art shop in Europe. Hester Baldwin, manager of Green and Stone

However, the building has been suffering from some serious structural problems and has experienced repetitive flooding in the basement.

To remain in the same building has its perks. We are a landmark destination; the black cabs know where to find us if you can’t. Our nostalgic shop front suspends you in a time now past and we can be relied upon as a location for a meeting place as we have been here for 85 years; indeed, Green and Stone is an institution.
However, as with anything old, 259 Kings Road has its downfalls too. Without the TLC the building needed our dear shop has started to shake its head in protest and sent floods of biblical proportions through the basement; more than once, I hasten to add. I believe, after 85 years of trading here at 259 Kings Road, this old gal wants an early retirement. This day would always come, but we were not expecting it quite so soon.

If you value the continued existence of this much loved store - and I suspect most of its current fans do - can I suggest you read on past the details of the location of their new home to the Crowdfunder - because the actual move is going to cost some £100,000

WE HAVE SOME PRETTY IMPORTANT NEWS.
Sadly we are having to vacate our beloved home at 259 Kings Road fairly imminently due to severe deterioration. We have found a new home so please follow this link for all the news on this mammoth task ahead of us.https://t.co/TZclLajerM

— Green and Stone (@greenandstone) 28 August 2018

Green and Stone's New Home

The Travels of Atlantis Art Materials - on the move again!

The largest art shop in London has moved again! 

I regard Atlantis Art Materials as one of my local art materials shops. It's had lots of locations around the East End of London since I first encountered it just off Devons Road in E3 more years ago than I can accurately remember.

I've bought masses of art materials and supplies "stuff" from Atlantis in my time. They were my supplier of choice for paper, foam core, mat board when I could access them easily by car - because you could buy masses and just load it straight on to the back seat.  Plus I've been known to acquire an awful lots of bits and bobs having to walk past shelves to get to the foam core!  I can visualise all the pastels and pencils racks still because I used to spend so long in front of them....

I was idling trying to work out how many locations it has had since I've known them - and in the end came up with six - but I have only visited four of them.

There again they've only been in the latest one in Hackney since 5th March 2018.

1. Original Location: Devons Road, London E3 (mid/late 1980s?)

I'm sure this is the first place that I first I came across Atlantis Art Materials. I don';t think they'd been going for very long when I first came across them.

It was a typical location for a company looking for a large building and not wanting to pay lots of rent! They inhabited a very modern techie type building next to where the Devons Road DLR Station (opened 1987) is now. This was by far the smallest of the stores. They got a lot bigger when they moved on from here.  I don't think the DLR was open when I first visited it - but I could be wrong.

The original Devons Road location. 

I seem to recall the building they were in looked different so it might have changed or it might just be so many years ago I can't actually remember.

I do remember going there to review watercolour paint after reading Michael Wilcox's book The Wilcox Guide to the Best Watercolor Paints (published 1993) because this was the first time I'd taken a good long hard look at Old Holland Paint - which I never ever saw in any other art suppliers. (Note: this book is now way out of date - but did trigger a bit of a revolution if testing watercolours!)

2. The Huge Warehouse in Brick Lane (Early - Late 90s?)

I can't remember the precise address but it was right opposite the Old Truman Brewery - in an HUGE warehouse with great parking. It was absolutely cavernous and one of the stores I liked the best.

They were here for ages and I made lots of early purchases here.

Many is the time I've climbed that little flight of stairs
and entered the cathedral of art materials

a very small entrance
- which led to an enormous space behind

3. Whitechapel - early 2000s - 2009

7-9 Plumber's Row London E1 1EQ (just behind the Mosque on Whitechapel Road - as was)

This was one of the best locations and was also very accessible whether visiting using public transport or by car. I could normally guarantee I could park the car either in their car park or on the street - which meant I could take my time and spend lots of money I hadn't planned to.

Plus I really liked the layout and the paper desk - which was away from everything else.

I have some very pleasant memories of having a wind down from work wander around on Saturday afternoons.

They had to move on when plans for the area were developed and the site is now home to student accommodation.

4. Hanbury Street - August 2009- 2015

Disabled unfriendly entrance
- especially when carrying stuff!

Britannia House, 68-80 Hanbury Street, London E1 5JL

This was a large bright space once you got inside and lots of space to display the products well. However the access was a total nightmare (particularly for those with mobility challenges) in terms of both stairs at the entrance, the store on the second floor and a lift that took forever - plus never enough parking spaces outside - plus controlled parking zone. Luckily I could park locally being a resident of Tower Hamlets - however I still had to time visits for when it was more likely there would be spaces!

My shopping at Atlantis dropped off after they moved here - largely because of the accessibility reasons. It more or less became an emergency visits only - and I took to ordering online for larger stock supplies.

I'm guessing this is what finally stimulated the eternal "mail order" firm into finally getting its act together and generating an internet ordering service

The building is now a  refurbished very modern and"funky" apartment block.

5. Old Street 2015 - 25 February 2018

Basement, 16-28 Tabernacle Street, EC2A 4DD

The 2015 Invite to New Premises

I've never visited this venue as I'd stopped being a regular customer after the parking problems associated with Hanbury Street. It never struck me as being particularly easy to visit - being in the middle of a gigantic one way system.

NEW / Current Location - Hackney E8 - from 5th March 2018

Unit 1/Unit 7 Bayford Street Industrial Centre, London E8 3SE

This is their announcement.  They've got two units in a business centre - Unit 1 for main art supplies and Unit 7 just for paper.

• The plus points: 
• London Fields overground is within 200m
• It's near the main bus routes via Mare Street
• will be great for Hackney based artists
• The negatives: 
• double yellow lines everywhere - if you're not a Hackney resident don't even think about taking a car! 
• no information on the website about parking - it's as if nobody ever has to move large or heavy items!
• Atlantis have left Tower Hamlets - it's not local any more!

They're not a very internet savvy firm however you can follow them on:

• Facebook https://www.facebook.com/atlantisartmaterials/
• Twitter https://twitter.com/atlantisartuk (visually inarticulate!)
• and they've only managed 7 pics on Instagram so I wouldn't bother!

Coloured Pencil Junkie - I need more greens!

I'm a coloured pencil junkie and every now and again I place a big pencil order. Very often it's associated with working on artwork when I become concerned that I've run out of a colour or I'm down to my last one and it's getting very short. There again there's the ones I've never used and wished I had which I find when start looking at the complete list of colours!

This is my pencil order which arrived from Pencils4artists this morning which was rather later than I was expecting - and two days after the artwork got handed in!

Nevertheless - like all true coloured pencil junkies - I lined up my pencils in order of colour and took a photo!  Not least because it helps me to remember that I have had that pencil before and this is what it looks like!  It also helps me gauge the differences between the different manufacturers colours when you mix them in this way.

[Note: It's a BIG photo so if you're interested right click and open in a new tab and you should be able to see them up close!]

My new pencils

Above are the colours and below is a list of what I ordered.

The list is not in the same order as the picture - and I've ordered two of some colours. However the list is in the order of colours and manufacturer's numbers.

These artists' coloured pencils come from three manufacturers:

• Faber-Castell Polychromos (oil based), 
• Lyra Rembrandt Polycolour (also oil based and work extremely well with Polychromos).
• Caran d'Ache Pablos (which are water resistant - and produce the only decent variations on olive)

You can read more about the individual manufacturers and their ranges on my Coloured Pencils - Brands and Manufacturers page on my website which provides an index of reputable coloured pencils and product reviews

BLUES

Lyra Rembrandt Polycolor Pencils

Colour 044 Light Cobalt Blue
Colour 047 Light Blue
Colour 046 Sky Blue
Colour 054 Aquamarine

Faber Castell Polychromos Colour Pencils

Colour 157 Dark Indigo
Colour 149 Bluish Turquoise

GREENS

Lyra Rembrandt Polycolor Pencils

Colour 055 Night Green
Colour 058 Sea Green
Colour 059 Hookers Green
Colour 062 True Green
Colour 063 Emerald Green
Colour 065 Juniper Green
Colour 067 Sap Green
Colour 068 Moss Green
Colour 070 Apple Green
Colour 071 Light Green
Colour 072 Green Grey
Colour 074 Cedar Green

Faber Castell Polychromos Colour Pencils

Colour 158 Deep Cobalt Green
Colour 163 Emerald Green
Colour 159 Hooker's Green
Colour 165 Juniper Green
Colour 173 Olive Green Yellowish
Colour 171 Light Green
Colour 166 Grass Green
Colour 112 Leaf Green
Colour 266 Permanent Green
Colour 167 Permanent Green Olive
Colour 267 Pine Green
Colour 168 Earth Green Yellowish
Colour 172 Earth Green
Colour 170 May Green
Colour 174 Chromium Green Opaque
Colour 230 Yellow Green
Colour 470 Spring Green
Colour 231 Lime Green

Caran D'Ache Pablo Water Resistant Coloured Pencils

Colour 015 Olive Yellow
Colour 016 Khaki Green
Colour 225 Moss Green
Colour 018 Olive Grey
Colour 039 Olive Brown
Colour 019 Olive Black

YELLOWS

Lyra Rembrandt Polycolor Pencils

Colour 008 Canary Yellow
Colour 009 Orange Yellow
Colour 085 Light ochre

Faber Castell Polychromos Colour Pencils

Colour 107 Cadmium Yellow
Colour 108 Dark Cadmium Yellow
Colour 109 Dark Chrome Yellow
Colour 268 Green Gold

How to return defective art materials and get a refund

From time to time, artists need to return art materials and get a refund because they have found the art media and/or supports and/or equipment to be defective. It may not achieve the quality advertised or perform as it has in the past.

That's when artists need to return the art materials to retailers. Below are some tips for how make those returns speedy and effective so as to ensure you get a refund - and the problem is fixed for the future.

Screen shot of a video by Eunike Nugroho
This highlights two spots which appear on the watercolour paper only when the paint passes over them
(see the video here)

TIPS for returning defective art materials and getting a refund

Why it's important to return goods

• Manufacturers cannot correct faults if they're not aware of them. The nature of the manufacturing process is such that while they can sample check for obvious things that can be checked it's entirely feasible that problems can occur without this being obvious to the manufacturer.

Returns - Policy, Principles and the Law

• The overriding principle is that Retailers will only deal with returns on goods supplied by them. You can't expect a retailer to sort out returns for goods he hasn't supplied - even if he also stocks that product.  However if the manufacturer's policy is that you can deal with any of their approved retailers than that's what you can do.
• Most retailers have a Returns Policy. 
• Do read what this is for the retailers you do business with. 
• In general, this should echo current legislation. However if the law changed recently, what it says on their website may not yet have caught up with the change
• Remind retailers who say "no can do" that all goods need to be of merchantable quality for the purpose for which they are sold and that they are obliged to comply with the law. (Plus document everything if a retailer takes this stance - put everything in writing rather than dealing with them on the phone).
• The Law governing the rights of customers always "trumps" any Returns Policy devised by a Retailer. 
• Note that retailers cannot deny you your rights in law.
• In effect this means it doesn't matter what a retailer's Returns Policy says if you live in a country where your consumer rights are enshrined in law. What a retailer has to do is comply with the law or deal with the agency which regulates trading standards.
• However also note that some retailers will have a Returns Policy that can be better than the rights you are entitled to (eg "no questions asked"). This sort of approach is what gives some retailers the 'edge' and enables them to build a faithful customer base.
• Returns in the UK: Here is a link to the government website which states the rules on Accepting returns and giving refunds: the law for all UK retailers. There are only certain circumstances when a retailer does NOT have to offer a refund.

When you don’t have to offer a refund

You don’t have to refund a customer if they:

• knew an item was faulty when they bought it

• damaged an item by trying to repair it themselves or getting someone else to do it (though they may still have the right to a repair, replacement or partial refund)

• no longer want an item (eg because it’s the wrong size or colour) unless they bought it without seeing it

You have to offer a refund for certain items only if they’re faulty, such as:

• personalised items and custom-made items, eg curtains

• perishable items, eg frozen food or flowers
• newspapers and magazines
• unwrapped CDs, DVDs and computer software

Who to contact

• Contact the retailer you bought the art materials from in the first instance. They are responsible for actioning a return and providing feedback to the wholesaler and the manufacturer. The latter is also more likely to listen to others in the supply chain who are feeding back the same message about problems with a product.

The importance of paperwork

• Find your proof of purchase - which means keeping all your receipts. 
• You are of course filing all receipts away in your tax file if you are claiming for business expenses!
• This establishes which retailer you bought the goods from
• Use their Retailer's Returns Form - it makes life much easier for you and them if you use their return form. This should have the correct address to mail goods back. If you're not sure of the address email them and ask - and then copy paste.

The importance of images

• Send your retailer a photo of the problem. This is sometimes enough and means you don't have to send back the goods
• Even better send a video which illustrates the problem. Eunike was videoing herself painting when the spots suddenly appeared in her paper!

The importance of packaging

• The best and cheapest approach is to reuse their packaging if possible. If you are buying online and having art materials mailed to you, it's very wise to:
• open the package carefully so you can reuse the packaging if you need to
• if buying online keep the packaging until you have checked goods are OK eg there are no obvious problems (eg marks and/or creases on fine art paper)

The importance of timing

• It's much easier to return if you do so promptly. You remember better who you bought the goods from and they have all their records to hand
• Check when you receive your goods even if you not going to use straightaway.  Make sure they are visibly OK before adding them to your stock.
• However you can never check for invisible faults that do not manifest themselves until e.g. you apply paint on the paper - as happened to Eunike. Make it clear that the fault was invisible.
• It's not impossible to return goods you've not used straight away - but to do so you do need to be clear about:
• who you bought them from - and have the evidence, 
• how you have stored them in the meantime (have you observed good practice?) and 
• how you have treated them. (see for example How to avoid contamination of watercolour paper)

The refund and the credit transaction

• A refund is normally done via a credit to the card which you used to pay for the goods.  Whether or not the retailer has access to the details of your card depends on the system used to make the payment. You may need to provide the card details to the retailer.
• You will only get a cash refund if... you bought the goods in an art shop, paid by cash and return them to the art shop.
• You are NOT required to accept a credit note for future goods from the retailer - unless this is acceptable to you. Only accept a credit note if you know for certain that you will be ordering again from this supplier.

What's your experience? Have your say

• What's been your experience when you have have needed to make a return and ask for a refund? 
• Are some retailers better than others?

UPDATE: Fabriano Paper

Two notable things have happened since my last blog post (Fabriano, R K Burt and St Cuthberts Mill - and fine art watercolour paper for precision painting) about innovation and change within the world of Fine Art Hot Press paper used by watercolour painters who paint plants and flowers to botanical standards. .

Systematic tests of watercolour paper

The first is that yesterday Dianne Sutherland published an extremely helpful blog post - Paper Matters: St Cuthbert Mill vs Fabriano.

As I wrote yesterday

It covers:

• various types and weights of paper produced by Fabriano (in Italy) and St Cuthberts Mill (in the UK).
• systematic and structured tests involving the various techniques used by botanical artists - as you can see from some of the samples in the image below
• a well-informed and well balanced commentary by Dianne who is a very experienced botanical artist and teacher.

Dianne Sutherland's blog post

I should also emphasise that we're also beginning to see other artists try the new papers and commenting on the results via the Botanical Artists group on Facebook.

The Fabriano Response

The second is that today I received a letter by email from the Marketing Director of Fabriano.  In it he:

• explains the changes made recently - and indicates an acknowledgement that maybe the changes that artists have detected are ones that might not be picked up my their machines which measure continuously for quality control purposes
• makes a very generous offer of wanting to know more about what artists have experienced and offering to come and watch artists work on the paper and explain what sort of problems they have experienced. 

So this is all really GOOD NEWS!

I've attached an image of the letter so you can all read it. I close cropped the letter to make it easier to reproduce. You'll need to right click and open in a new tab if you want to be able to read the larger version more easily.

I'm now convinced they want to know so we need to show them!

Now I just need to work out - with Dianne and other botanical artists who are interested parties - how we can demonstrate what has been happening to the Fabriano people so they can see for themselves.

One option might be to set up a Special Group on Facebook to which people could contribute a narrative and/or videos and/or photos of their experiences and problems with the paper of late.  That might lend itself to a virtual meeting with Fabriano if the logistics of getting everybody in the same place were to prove too difficult.

Anybody interested in meeting up with the Fabriano people please

• either leave a comment below 
• or contact me personally via the Botanical Artists Group on Facebook 
• or contact me via my email address (see contact me in side column).

Fabriano, R K Burt and St Cuthberts Mill - and fine art watercolour paper for precision painting

The HP surfaces of Fabriano Artistico and Fabriano 5 have changed. (The latter being the paper which is used in the RKB FatPad) .

A number of botanical watercolour artists have recently reported that they have noticed changes to the robustness and performance of the surface of their Hot Press paper from Fabriano. This was also reported by Jacksons in its recent blog post Fabriano 5 Paper Texture Change.

The explanation seems to be mechanical. Fabriano Paper Mills have won a contract to produce a new paper. This means they've changed the settings on the machine which produces the new paper AND the fine art watercolour papers

While such a change in machine settings is very unlikely to be noticed by those using Rough or Not surfaces - this is not the case for those using Hot Press paper. When you are an artist who's looking for the smoothest watercolour paper known to Botanical Artists, there's more than a few who can easily detect any difference in quality very quickly!

However I am beginning to wonder if it is solely the change in the machine setting that is behind the problems being experienced....

About Fabriano Watercolour Paper 

Below are some examples of comments that botanical artists have been making. I'm not going to identify the artists other than to say these are people:

• who care hugely about the HP surfaces they use as it makes a massive difference to the very precise paintings they produce
• who are very experienced watercolour painters, who have been painting in the exact same way for some time. When using their own particular techniques they spot very quickly when a paper has changed.
• who do not make things up!  
• who return paper or stop buying it when it does not perform as per usual!

About the Artistico

The paper is mould made with 100% cotton, chlorine and acid free and archival. It is sized both internally and externally. It comes in two colours Traditional White (an ivory shade) and Extra White (white with a very pale cream tint) which are both made without any optical bleaching. It has two deckle edges and is watermarked “FABRIANO+ARTISTICO” on the short side.

It's available as both sheets (56 x 76cm and 75 x 105cm)  and and as glued blocks.

My pad of Fabriano Artistico HP Extra White 140lb

Recent comments from artists have included:

I always use both the light (140lb) and heavy (300lb) and have had the same problem, in fact I have returned some of the heavy to the importer. I found an old batch and it was beautifully smooth but the latest purchase is fluffy and although I can work it ok it is not as nice and damages easily. I think they have made a huge dodgy batch and sent it out so I will be checking it thoroughly from now on. (December 2015 - user of both weights of Artistico)

I'm having terrible trouble with the 'new' Fabriano paper and looking for an alternative heavy weight paper that's as smooth as the old stuff. (March 2016 - user of 300lb / 640gsm2 paper)

About the Fabiano 5 (also used in the RKB FatPad)

RKB FatPad - Fabriano Classico 5

The paper is mould made, acid free and comprises 50% cotton and 50% other raw material.

I have always used Fabriano fat pad 140 lb and recently I have found that if I have to wash anything out I have to be so careful as the surface of the paper just breaks up .... I actually had to abandon 1 painting when just taking highlights out of leaves. It looked as though I'd been scrubbing at it for hours. It never used to be like that. (December 2015)

I've found" BITS "coming off the surface &! Only using the first layer of paint & not very wet either (February 2016)

About the complaints

Adverse comments and complaints are tending to come from those who have bought in new stock in the last few months. Obviously those artists who are still working off 'old stock' or buying from suppliers still holding 'old stock' will not yet have noticed a difference.