Hello friends!
This is Kat from MeowMeowKapow.
About a week or two ago, I was messaging with Kate from Ruby Mountain Paint co., admiring
her paints.
We got to chatting a bit and I basically said that her paints are gorgeous, and while I
can't afford to purchase any of them right now, in the future I'd love to do a review.
Well friends, it looks like we live in the future because Kate so lovingly sent me a
couple of little sample cards to test out.
Full disclosure, I did not pay for these, and I am definitely not being paid to talk
about them, either.
When I opened the little envelope she sent, I loved seeing the handmade note in her beautiful,
beautiful paints.
For a small, artisanal paint-maker, Ruby Mountain Paint Company really has a shocking variety
of colors.
The package had little dot cards of Lodge Red (or crimson), Sun (which was the yellow),
French Ultramarine, Verona ( or rare Earth), Pine (or Chrome Green), Burnt Umber, Slate,
and Black Earth.
To start, I sketched out a couple of quick bats in pen to make swatches for all eight
of the colors.
To prep, a couple of drops of water were placed on each dot card to make sure they were easily
reactivated, which I'll talk about more in a bit.
Then, I would wet a bat lightly with water, load the brush with some pigment, and lightly
tap the brush to the wet bat to test each paint's bloom.
For many many reasons, Pine ended up being my absolute favorite paint of the bunch and
its bloom pattern was especially enchanting.
Most of the other colors would bloom in a soft sort of puff of color, but Pine's blooms
had tendrils that would reach out like the spindly branches on a haunted tree.
It was so beautiful to watch.
After letting the first wash of paint dry, I went over each color again in certain places
to test the glazing capabilities and try to achieve a fully-pigmented darkness.
They all glazed wonderfully and I have no complaints about their use, except one.
During this swatch test, I found that the Verona or Rare Earth paint was incredibly
difficult to reactivate, and once it was activated it did not move the way you would expect most
other paints to.
For the life of me, I couldn't get a smooth flat wash, and the paint seemed to always
show exactly where my brush had moved or been picked up.
It's a nice, subtle color that would be beautiful in landscape paintings, but its
characteristics did not suit my personal painting style.
Maybe I just haven't thought of the right subject, what would you use it for?
To further demonstrate the opacity and usability of these paints, I went over them with both
a black pen and a white pen.
The black pen helped me determine that the only pigments that weren't completely transparent
were the Sun and Slate, or yellow and gray.
I wouldn't call them opaque so much as semi-opaque, and not very much at that.
I had to really look hard to notice a difference in the tone of the original black lines versus
the new black lines.
A couple of months ago, I noticed that whenever I use my Uniball Signo white gel pen on top
of my Sennelier paints, the white ink would somehow reactivate the paint below and turn
pink no matter how dry the paint had been, but nothing would happen at all if I used
my Sakura Jelly Roll pen.
I like to test both out now to see if they react differently to to new paints and am
delighted to say that they both passed with flying colors.
This is good news, since they are regular members of my doodle team.
After the individual swatches, it's time to make a color chart and see what types of
mixes can be achieved.
For this chart, the colors above the "pure color" line all have a slightly higher amount
of the paint along the top row, while the swatches below the line have a slightly higher
concentration of the paint along the left side.
Don't worry, at the end I make tiny dots of the original colors along the outside to
make it slightly easier to locate each color.
I also did a small color wheel using just the primary colors, and made some neutrals
out of those primaries for poops and chuckles even though I've already got a brown, gray,
and black.
The Black Earth paint is really a gorgeous, warm color that I really ended up loving,
by the way.
There were two really interesting things I noticed while mixing these paints, and those
were to do with the Verona and the French Ultramarine.
The verona paint made really smoky, cloudy mixes that could almost be pastel in-nature,
which were actually really lovely and delicate colors despite me not enjoying having to relinquish
control of where they laid.
The French ultramarine would almost always settle and separate a bit when mixed with
other colors, which is actually a feature I really like.
Ruby Mountain's French Ultramarine is HIGHLY granular, which may be undesirable for some
but actually proved to be quite charming here.
You will never ever be able to get a fully smooth color with it in the mix, but that's
kind of part of what makes it great.
When you step back and look at the full color chart, it becomes apparent that these paints'
strength is really in making a wide variety of earth tones.
Kate moved to Colorado for school in 2002 and fell in love with the mountains, so she
draws a lot of inspiration for both her personal art and her handmade paints from the local
landscapes.
Because of her geographical location, she has better access to pigments that aren't
as easily commercially available, like Violet Hematite, Maya Blue, and Kyanite.
Her real strength is in making customized collections and travel palettes that are inspired
by specific landscapes, and her Etsy store is a basically a shrine for all plein-air
painters to worship at.
With my color chart and original swatches at the ready, it was time to start some real
paint tests with these dot cards.
Normally, I tend to be inspired by bold and vibrant colors, but I kept finding myself
drawn back into using muted mixes, especially if it involved that Pine color.
When all was said and done, I made about 30 mini-paintings with these little samples,
and had plenty of pigment left to spare.
Over the course of my experiments, I started to notice that almost all of the paints smudge
slightly when rubbed with a paper towel, usually depositing some of their pigment onto the
dry cloth.
I don't have any footage of this, but I did contact Kate about it because I was concerned
that the dried paintings would be ruined if they were inside of closed sketchbooks that
get bumped around in a bag often.
She never once made me feel like a fool for being concerned, and went out of her way to
both test her own paints and ask customers about their experiences.
All of the collective feedback determined that I am apparently an unlucky ducky and
seem to be the only person with a rubbing issue.
Even in her own sketchbooks, Kate went back to make sure there wasn't any pigment transfer.
I didn't want to leave this out of the review because It was important to me when I discovered
it, but I think what's even more important is that Kate took my concerns seriously, and
responded with grace and compassion.
She very clearly cares not only about her paint and the environment, but also the people
whose lives she crosses paths with.
I may as well just be some stranger who conned her out of a couple of paint samples with
the promise of fame and glory, and she still cared about my experience, and about respecting
my perspective.
All-in-all, would I recommend these paints?
Well let's talk about them for a second.
I had two problems that we already discussed, the Verona color, and the pigment transferring
problem, but there are a lot of positives about these.
First of all, every single paint made by Ruby Mountain uses natural, non-toxic pigments.
I can't tell you the number of times I've accidentally had a sip of paint water knowing
full well it was loaded with Cadmium, so that's kind of a relief.
Because each paint is handmade in a small batch, there is a lot of love that goes into
it.
I think this is readily apparent just from the conversations that Kate and I had about
the problems I was having, as well as her love of the world around her and the inspiration
she finds in nature.
There will likely be slight variations from batch to batch, but there is kind of a magic
in the potential for a new surprise.
Some of her paints use standard pigments for which there are existing lightfastness ratings
and pigment numbers, but some of them are customized blends that she creates.
None of this information is listed on her website, but she warmly welcomes any questions
in relation to specific paints and I personally recommend getting the opportunity to speak
with such a lovely soul.
With each paint being inspired by nature, all of the available colors work incredibly
well together and easily help to create warm and welcoming pieces.
Most of the paints blend seamlessly, and even though the French Ultramarine's granulation
makes that impossible for it, I stand by my earlier opinion that there is a lot of charm
in the variable and slightly-separating mixtures it makes.
Well, I think ultimately it's up to you to decide what matters to you in your paints.
These are handmade artisanal watercolors, so they are a bit more expensive but also
a bit more dynamic than a lot of the paints you can buy in a shop.
As for my opinion?
Well, I spent a week using only these Ruby Mountain paints and could not stop myself
from making "just one more" image…
So I think despite whatever difficulties I found along the way, the paints themselves
were incredibly fun to use, and continually inspired me to play.
I'd say that means I loved them, after all.
Thank you so much for watching, please check the doobly-doo and the i-card for links to
Ruby Mountain Paint Company's Etsy and Instagram.
If you liked this video and want to support it, or at least prevent the mole people who
live in the center of our earth from burrowing to the surface and rising to power…
Please remember to like and subscribe.
Until I see you next time, I wish you peace, love, and a warm cup of hot cocoa.
Bye!
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