Jill Carver
Originally from London, England, Jill Carver moved to the United States fourteen years ago. Prior to becoming a full-time professional artist, she was a curatorial research assistant at the National Portrait Gallery in London for twelve years, which helped to develop her critical eye. Jill currently divides her time between Austin, TX and Rico, CO.
In 2014, Jill won the Gold Medal (Artists’ Choice) for Best in Show at Maynard Dixon Country and, in the same year, was inaugurated as a Signature Member into ‘Plein Air Painters of America.’ Previously, she won numerous awards including ‘Artists Choice’ at the Laguna Beach Invitational and at Telluride in 2009, as well as at Plein Air Easton in 2008. Jill participated in the prestigious Maynard Dixon Country event for five consecutive years; the Artistic Horizons show in Bozeman, MT for three years and, in 2016, was a Guest Artist at the Northwest Rendezvous Show at the Brinton Museum in Sheridan, WY. She currently enjoys sharing her artistic voice and love of learning with students through her highly sought-after workshops.
Jill’s work is exhibited at Insight Gallery in Texas, the Thunderbird Foundation for the Arts in Utah, and at OhBeJoyful Gallery in Colorado.
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Titanium White No. 1 is the most brilliant white in my range, suitable for crisp, cool, opaque, light shades. If you want a powerful mixer that lightens , then this is it. Although not subtle, this white is the most suitable for a bright, fresh palette. It forms a strong and durable film when cured. PW6 is an inorganic pigment.
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Inorganic – A powerful orange shade red with the usual cadmium characteristics, Cadmium Red Light has high tint power and opacity. This red presents warm, almost fiery hues when mixed with a more transparent white.
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Organic – Copper Phthalocyanine Green probably ties with Phthalo Blue and Deep Purple as the strongest pigment in the range. Atomic Tint Power, add it with great care! Ferocious acidy blue-green hues and blue undertones come to prominence in mixes with yellows. In common with the Blue, it displays, on curing and when used virtually unmixed, a certain tendency to show surface bronzing. The ruination of many a student’s work, use with great caution! Always check in a good light as it can silently destroy a painting till seen in a true light when it is too late! This colour, otherwise known as the embalmer, has been the ruination of many a student’s work as it tends to invisibly leach into all other colours on the palette till one stands back and sees in a good light what has happened, caution!
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Inorganic – Cadmium Sulphide is a ‘tangy’, bright, high-tint power yellow. It’s an inorganic pigment that lightens and increases the opacity of warm mixes without overthrowing them. The Cadmium range of pigments was introduced into production between 1840 and 1890, as costs permitted, and it has proved the most artistically reliable of all the metal compounds discovered in the 19th-century.
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Organic – Alizarin Claret has a slightly lighter mass tone than that of Alizarin Crimson, and yet it has greater resistance to UV light than Alizarin Crimson. I specifically formulated this beautiful, full-bodied colour for those artists who are reluctant to use Alizarin Crimson. With its versatility and beautry, Alizarin Claret is perfect for portraitures, landscapes, and non-figurative works, and it’s a delight for mixing with other transparent colours.
Gamsol is the safest solvent that allows oil painters to utilise all traditional painting techniques without compromise.
Primary Uses for Gamsol:
Thinning oil colours. A little goes a long way; stiff oil colours relax immediately when a little Gamsol is added. Be careful not to thin oil colours too much with solvent alone, this can compromise the ability of the paint to form a paint film.
Modifying painting mediums. Gamblin's Galkyd line of painting mediums is formulated with Gamsol, so they readily accept Gamsol as a thinning agent. Note: Gamsol should not be added to painting mediums made with natural resins (dammar, copal, mastic). They require strong solvents such as turpentine.
Studio clean up: brushes, palettes, palette knives, etc.
How does Gamsol achieve this level of performance and safety? Most solvents available to artists come from the industrial paint industry where solvent power and cheapness is prized. Gamsol is special: it is made for products and processes that come into more intimate contact with the body such as cosmetics, hand cleaners, and cleaning food service equipment.
Gamsol is a petroleum distillate but all the aromatic solvents have been refined out of it, less than .005% remains. Aromatic solvents are the most harmful types of petroleum solvents.
These facts are detailed in the MSDS for Gamsol, this document shows that it has an Exposure Limit Value higher than most solvents available to artists.
All of these factors have lead to Gamsol being used widely in oil painting classrooms; in those classes there are no solvent odours, only the wonderful smell of oil colours.
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Inorganic – Yellow Ochre is a higher-keyed and more green-gold shade of manufactured Iron Oxide. Its hues yield mustardy yellows quite close to Genuine Naples Yellow Dark. No. 119 possesses an almost viscous texture and is a lovely colour for flesh tones, landscapes, and non-figurative works.
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Inorganic – No. 113 is an obviously beautiful mid-blue. The discovery in the 1820s of a Sodium Sulphosilicate compound, which had appeared as a mysterious blue deposit on soda-ash furnaces, was a liberating moment for financially challenged artists everywhere. Up to then the only available version of this compound was the often-unobtainable Lapis Lazuli ore, mined in Afghanistan. Ultramarine has a high tint power, and our chosen shade produces strong green shade blue hues and makes wonderful violets with Magenta and the red Lake colours. It is also useful in greens and greys. The only chemical weakness is a recorded sensitivity to atmospherically borne acids, which can bleach it out. Ultramarine Blue is one of the more difficult paints to make, as it forms an intractable runny syrup when first ground into oil, which must then be stabilized with a small amount of wax.
Keep your brushes looking like new with this specially formulated brush cleaner and preserver. It's made for removing today's paints, including oil, acrylic, and watercolor. It even restores hard oil paint brushes, all with no thinners or harsh chemicals just use it with water! This package contains 21/2 ounce tubs of cleaner. Conforms to ASTM D 4236. Made in USA.
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Inorganic – This is a strong, deep orange with high tint power and opacity, yielding surprisingly pinky hues in mixes with Titanium Whites.
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Inorganic – Cobalt stannate was introduced in 1870 under the name ‘Cerulean’, i.e. sky-blue, in imitation of a Roman pigment of that name. It’s a subtle, greyish turquoise that discerning painters value for its mild hues for landscapes and seascapes. No. 602 is a gorgeous, unique blue with excellent covering power.
Compact practical tool
Great for planning compositions
Neutral grey finish for ascertaining true colour
Can be oriented horizontally or vertically
Adjustable aperture