Review: Craig Young Paintbox

This review has been a long time coming, as it was around five years years ago that I received my paintbox from Craig Young.  The problem was, when it arrived I was so disappointed that I couldn't bear to look at the thing and just put it away.

This is very contrary to what most people say about Craig Young paintboxes. I was prepared to be as happy as any other artist when I ordered two paintboxes for delivery to Australia. One box was a gift to my watercolour painting mentor, and one was for myself. I had chosen the 16-pan model, "The Paintbox". I ordered the paintbox and all was well. A year and a half passed. I had allowed eighteen months, and planned to present the paintbox to my mentor for her birthday. Craig and I had discussed when it needed to be ready by, and as I gave him so much notice, I was assured this was not a problem.  As the date drew closer, I enquired about the paintbox, it was not yet started, but I was assured it would arrive in time.

The paintbox did arrive in time, but I was so disappointed in the quality of it that I cancelled the order for my own paintbox. I was appalled, and couldn't believe I had parted with more than five hundred Australian dollars and now had a paintbox I was too embarrassed to give away as a gift.

First was the lumpy appearance of the paintbox. Nothing was quite as smooth as it could-and should- be:

There are plenty of photos of lovely smooth Craig Young paintboxes around, but this isn't one of them.

Then there was the paint finish, poor would be a good word for it:

Exposed brass, overspray, chips and unpainted areas.

This next issue really annoyed me. The long strip of metal in the lid presses against the enameled inner lid - this chips paint off both surfaces. It shipped to me with that chip:

Surely this little ridged area could have been filed to ensure it didn't make contact?

This is another annoying one. The left mixing well is smoothly finished with minimal sharp rim. The right mixing well is unevenly cut out, and traps paint in the overhanging sharp lip area. Too hard to file this away? The two wells on the other side have the same issue, so four wells; one ok, three sub-par.

So different.

Rough brass snap-point or saw-point areas are also present.

The Paintbox, No. #930. I would have been ashamed to put my name on it.

On and off over the years I have taken this paintbox out and wondered about it. Did I get sent a b-grade or old paintbox that had been laying around? Did it get banged out in a hurry when I contacted Craig about it? Who knows, who cares. Just know that for all the great reviews, I'm sure there are more people like me who paid a lot of money for something so disappointing.

A couple of years ago I decided to make peace with the paintbox. I put a new and lovely palette of paints in it, and we've been getting along ok.  It just a shame that such a neat design is spoiled by the poor quality.

Rublev Eighteenth Century Watercolor Palette

Browsing the Natural Pigments website recently, I noticed that they have made considerable changes to their "18th Century Watercolor Palette" product since I purchased it in May, 2008.

The lists below compare the old and new paint choices:

2008 Palette	2010 Palette
Lazurite (B29) Nicosia Green Earth (G23) Verona Green Earth (G23) Italian Yellow Earth (Y43) Gold Ochre (Y43) Italian Dark Ochre (Y43) Venetian Red (R102) Ercolano Red (R102) Italian Burnt Sienna (Br7) Cyprus Burnt Umber Warm (Br7) French Raw Umber (Br7) German Vine Black (Bk8)	Prussian Blue (B27) Green Earth (G23) Olive Green (G23) Yellow Ochre (Y43) Gamboge (NY24) Vermilion (R106) Madder Lake (NR9) Indian Red (R102) Burnt Sienna (Br7) Burnt Umber (Br7) Payne's Grey (Bk9) Bone Black (Bk9)

Because I do not have the updated palette on hand, I can only approximate the paint choices based on my own knowledge. Rublev make three Burnt Umber paints, and two Burnt Sienna paints (all of which I own) - so while I can make an educated guess, it is still a guess.  With a nod to Bruce MacEvoy, I have provided two small diagrams to help visualise the paint differences and their approximate place on the colour wheel:

C18th Palette, 2008	C18th Palette, 2010

As you can see, this is quite a radical shift in terms of palette colour and mixing range.  The main improvement of the new palette is that the paints chosen are better spaced within the colour wheel.  The two yellow paints were originally quite interchangeable unless applied full strength, and their mixing capability was similar. The addition of Gamboge (fugitive NY24) should make for sweeter yellow tints.  With the introduction of Madder Lake (fugitive NR9) and Prussian Blue, purple becomes possible - the previous mixture of Lazurite and Venetian Red could only produce a greyed violet-brown colour. However, the loss of subtle Lazurite is a sad one, as it is a lovely and highly textural paint.  Gone are Ercolano and Venetian Red, instead we have Indian Red (a favourite paint of mine) and bright Vermilion - the pretty but toxic PR106.

Original C18th Palette

(A comparison image of the updated C18th Palette will be added shortly.) 

I have tested almost every watercolour paint in the Rublev line, and all have delightful textural properties.  I use these paints mostly for small works or field sketches, as the paints are best applied and then left alone. Re-wetting them and brushing over them lifts them and destroys the texture.  The updated palette introduces mostly staining paints - this will reduce lifting with the brush in mixtures and help to make the paints a little easier to use.  While the updated choices are a good introduction to historical paint, I do wish strident Prussian Blue was not the only blue choice.

Rublev Nineteenth Century Palette

Earlier this year I treated myself to a Rublev "19th Century Watercolor Palette".  The main attraction for me was the presence of real Vermilion (Mercuric Sulfide PR106) and a lead yellow, Chrome Yellow Primrose (Lead Chromate PY34). While both of these toxic historical pigments are readily replaced with a cadmium paint, I was curious about the originals all the same.

C19th Palette (click to enlarge).

As you can see, this is a palette devoid of green paint. This poses no problem because a variety of attractive greens can be mixed here, especially with vibrant Primrose.

Because colour wheels are interesting, below is a diagram which shows the approximate location of these well-spaced paints on the colour wheel:

From the website:

"Due to the large particles of this color, we recommend using this watercolor only with rough watercolor paper or with additional watercolor medium to aid the large particles to adhere to the paper."

This is good advice. These paints disturb easily and do not accept re-work, put it down and leave it. :)

Review: Brush Cleaners

A couple of years ago, I was at a product event and saw a Chroma liquid soap brush cleaning product being demonstrated.  It was quite impressive.  From Chroma:

"Chroma Incredible Brush Cleaner is a superb soap for cleaning and maintaining all your fine brushes. It cleans and preserves natural or synthetic brushes, easily removes acrylic, oil or lacquer and even removes dried paint that is years old."

I can attest that all of the above is true - especially the years-old paint bit. For dried paint, make a slightly dilute solution of soap by adding water, and then coat the brush head. Best results are achieved if you leave the brush for a few hours.

The only other soap I have tried is Da Vinci All Natural Brush Soap with Conditioner (Kernseife). This curd soap is also an excellent cleaner, and seems kinder - not a lot of lather is produced from this bar of soap. The Da Vinci is not effective at removing old paint, but for normal use either cleaner will leave your brushes soft and squeaky clean. :)

After oil painting, my normal cleaning process is as follows: First, I use oil and then odourless solvent to clean my brushes, then I wash them with soap.  I swish my brushes in a few drops of the soap cleaner, and then 'comb' out the paint with a soft toothbrush to loosen it. I rinse then repeat this process a couple of times.  If you don't use any solvents to clean brushes your brushes first, the Chroma or Da Vinci will still do a brilliant job - it just takes a little longer.


Usually a watercolourist has no need for brush soap, but once a year or so I do like to clean my most used brushes. The heavily staining pigments like phthalocyanine blue/green and dioxazine purple do build up.  After cleaning a watercolour brush, make sure the brush is rinsed thoroughly.

Chroma Incredible Brush Cleaner - 250ml (~$12AU)
Da Vinci All Natural Brush Soap - 100g (~$9AU)

Preparing Panels

Today I prepared a batch of small masonite panels for my oil painting.  The masonite is a little thicker than I like at about 6mm, but at least I won't have to worry about it warping.  I sealed the panels, and then brushed 3 coats of gesso on to all sides and edges.  Later, I used a roller to apply some thinned Art Spectrum Colourfix Primer to some of the panels.  From AS:

"Art Spectrum Colourfix™ Primer is a fine tooth, quick drying acrylic primer which bonds aggressively to practically any clean, dry surface - all types of papers (300 gsm or heavier recommended), canvas, card, ply, plastic, glass, timber, ceramic and metal. Art Spectrum Colourfix™ Primer can be applied with brushes, sponges, rollers etc."

Primarily used as a fine tooth surface for pastelists, Colourfix Primer is actually a multimedia product.  It can be used as a base for pastel, conté, acrylic, or oil.

I'm very happy with the Colourfix Primer painting surface.  Thinned down with a little water, it dried to a beautifully fine tooth, and then I lightly sanded the surface with some 600 grit sandpaper just before painting.  This has produced a perfect painting surface for me so far.

The Colourfix Primer doesn't need to be thinned, but the more you thin it, the smoother it applies.  Visible roller patterns and brush strokes will be visible if you use it straight. This can always be sanded down, but I prefer thinner coats.

Because I have sanded the Colourfix surface, I don't feel the surface tooth will be damaging to my brushes.  So far I have tried Rich Beige and Storm Blue Colourfix, and I plan to try Raw Sienna, Soft Umber and Terra Cotta next.

Art Spectrum Colourfix Primer - 250ml (~$14AU)