Schmincke recently came out with a new series of limited edition Horadam (artist grade) watercolour paints that are super-granulating.Granulation in watercolour is the an affect that is created when the pigments in the paint separate and settle in a diffused patten on the paper, oftentimes allowing other pigments that they are mixed with to show through. In my everyday watercolour palette Schmincke’s Ultramarine Finest (494) is a prime example of a granulating paint that I use both for its effect as an individual paint and when mixed with various browns and greens. The new 900 limited edition series of Horadam watercolours that Schmincke has issued is composed of 25 paints that are divided into five sets: Galaxy, Glacier, Deep Sea, Forest and Tundra. I decided to purchase all five sets out of curiosity, since limited editions in artist grade watercolours aren’t common, I already use Schmincke almost exclusively, and I’ve been embracing granulation more lately in my work.
The paints can be purchased in individual 15ml tubes (which is a lot of watercolour paint), in fancy wooden boxed sets of 15ml tubes and in cardboard boxes of 5ml tubes, which is what was available at my local art supply shop and what suited me to buy anyway. 15ml of watercolour paint is a commitment, and artist grade watercolour in general and Schmincke in particular aren’t cheap. The paints aren’t sold in half pans, which I would have preferred over the tubes, and which means that you are going to need empty pans or a palette to use them.
The Galaxy set includes Galaxy Pink, Violet, Blue, Brown and Black. There are some naming peculariaries in this entire series of paints, such as the fact that the paints are super-granulating but the set is called: Supergranulation on the box, and Super Granulation by the dealers. In any case, like all the colours in this set the paints in the Galaxy set have good lightfastness. They are all non-staining (which means that they can easily be lifted off the paper), the Violet and Blue are semi transparent, the Pink and Brown and Black are semi-opaque. This is the most vibrant of the sets, but don’t believe the photos on the package or in the various marketing materials, none of the colours in any of these sets really pops or is as vibrant as they appear to be. All these colours tend towards naturalistic, landscape painting tones.
The colours in the Forest Set are: Olive, Green, Blue, Brown and Grey. They are all extremely lightfast, the Olive and the Brown are semi transparent, the Blue and the Grey are semi opaque and the Green is opaque. I have no idea why the Forest Brown (944) is called Forest Brown as it’s not a brown at all, it’s more of a greyish green. Forest Blue is also a misnomer, as it’s also a green, this time one that looks like it was mixed with indigo. This is the most monotone of the sets, though if you are focused on landscapes, there are some interesting greens here.
The Glacier set boasts the best paint in the series in my opinion, the Glacier Green which is just a delicious paint to have on your palette – a phenomenal and unique green with pronounced brown undertones. I can’t wait to use it in my work, and I’ll be buying a 15ml tube of this. The rest of the colours in this set are Glacier Blue, Turquoise, Brown and Black. Despite what the marketing material may say, there is very little difference between the various blacks in these sets, and if I could I would have skipped all of them and used the Forest Grey and the Tundra Violet instead. All the colours in this set rate in the 4-5 star lightfastness range and all apart from the Brown (which is semi-staining) are non-staining. The Blue is semi-transparent, the Turquoise, Green and Black are semi-opaque and the Brown is opaque.
The Deep Sea set features the following colours: Violet, Indigo, Blue, Green and Black. The Green here is a misnomer, as it’s also a blue (with only the slightest green tinge) and the violet is greyish and flat compared to the Glaxy Violet (and in any case if you’re looking for a vibrant violet look elsewhere in Schmincke’s lineup). This is probably the most redundant set of the five, and you can pretty much skip the colours here without missing on much. Indigo, Blue and Green are semi-transparent, Violet and Black are semi-opaque. Lightfastness is very good to excellent and non of these are staining.
The Tundra set contains Orange, Pink, Violet, Blue and Green. Tundra Violet is another misnomer as the paint is practically black with a tinge of purple. This is the most staining set (Violet and Green are staining, the rest are semi-staining), but also a pretty mixable one. Orange, Blue and Pink are transparent, Violet is semi-transparent and only Green is opaque. It’s also one of the most compelling greens in the set, with it’s olive like tones and its pinkish undertones it’s both unique and generally useful for landscapes.
Schmincke aren’t selling these in pans, which is pretty inconvenient if you just want to swap one or two of these into your existing palette.
I first saw these paints on Schmincke’s Instagram and then on the Jackson’s Art blog. In both the paints are much more vibrant and with much more pronounced granulating, to the point of almost marbling, than what I got when I first created a the above reference drawing. I had a feeling that this was somewhat due to the extreme closeups that they took, and likely also the paper that they used.
In any case, since I and many others also use Stillman and Birn Alpha paper for watercolours, I decided to try and create a painting using these paints exclusively. In the end I also added Schmincke Indian Yellow (220) for the signs, but I didn’t mix it with anything else. As you can see, the granulation is still pretty pronounced throughout, but the colours, with the exception of the Glacier Blue aren’t exactly vibrant or saturated.
I then decided to break out the good paper, and tested the paints on 100% cotton 300gsm cold pressed rough watercolour paper. Here you can see the granulation at its best, and yes, as promised it is pronounced in all of these paints. Yet as I suspected the choice of paper does nothing to make these paints more vibrant, which means that I certainly won’t be using them to replace large swaths of my current palette or recommending that you use them exclusively (especially since there are no yellows here and the red selection is pretty poor).
Here are the paints all labeled (I got the Deep Sea Black and Green swabs out of order).
Here’s a very quick sketch with these paints on the cold press paper. They are built for washes and wet on wet work, and so relish this paper.
And here they are on Stillmand and Birn Beta paper, which is better watercolour paper than the Alpha but still not good watercolour paper. You still get much of their effect here, especially if you don’t much around too much with the paint. These aren’t the best for mixing on the palette but do work well with layering and working wet on wet on the page. If you like to put down paint in washes and see what it does, these paints are for you. If you like to work in a more controlled fashion, you likely aren’t a fan of granulating watercolours anyway.
You can see the granulation here, and some of the best colours in this set at work (Tundra Orange, Glacier Green, Tundra Violet, Forest Green, Tundra Green and Glacier Brown).
Again you can see the granulation at work and how the effect lets the whiteness of the page show through, bringing light to a dark patch.
So, would I recommend all 25 paints? Of course not. Of the paints in these sets here are the ones that seem worthwhile:
963 Glacier Green (the best of the bunch!)
983 Tundra Violet (a great replacement for black in your palette, if you have it)
952 Deep Sea Indigo (bonus points for a transparent indigo with reddish purple undertones!)
964 Glacier Brown (the best brown of the bunch and the most saturated of them, with dark black green undertones)
942 Forest Green (a saturated green in a natural but not easy to mix colour with reddish undertones)
985 Tundra Green (a natural greyish yellow green that is not easy to mix and has brown undertones)
981 Tundra Orange (because this is a transparent paint in a colour that is rarely otherwise granulating, with pinkish undertones and a good generally useful hue that will work well in mixing).
If you’re looking to buy sets, the Tundra set and the Glacier set are the best in my opinion, but it depends on what colours you use most often in your palette.
5 thoughts on “Schmincke Horadam Super-Granulating Watercolour Review”
Excellent write-up! I’ve been wondering about these Schmincke colors, but being as expensive as they are, I’m hard-pressed to justify buying them on impulse. I picked up a small sampler of some of the colors off eBay, but have yet to use them in a painting.
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Thank you! They aren’t cheap, and I definitely wouldn’t recommend buying all of them. They are useful as a “special treat” colour on your palette – something that makes your painting your own, and makes you smile – or to replace a colour that you find uninspiring in your current palette (brown, green, or black for instance). If you use them solely and without varying your paint consistency you’ll just end up with a very dull, grainy painting.
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thanks – what a great post. Can I ask your thoughts on mixing the colours yourself*. for example, I mean, Glacier Turquoise is a mix of PG50 (cobolt turquoise) and PV16 (manganese violet). DO you think that if you mixed these single colours that the effect (amount of granulation and colour separation) would be the same as buying a tube of the Super Granulating colour? Not sure if you tried this.. I’d love to know * Not just Glacier turquoise, but if you mixed the single colours that are listed as the ingredients in any of the super granulating tubes, do you think the result would be as good? thanks so much
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I have no idea, but I imagine that with some experimentation you could probably achieve a similar result as Schmincke isn’t adding anything extra to these paints. I personally wouldn’t go down that route because buying the individual paints to mix the colours would be more expensive and wasteful in both time and materials (until you get the right mix), and I don’t currently use the basic paints used in these mixes. But if you already have the paints and want to see what specialised mixes you can get this way I see no reason why it wouldn’t work.