Juliette Aristides
Juliette Aristides is a Seattle based painter who seeks to understand and convey the human spirit through art. Juliette teaches workshops both nationally and internationally, and founded the Aristides Atelier online through Terracotta. Author of Classical Drawing Atelier: A Contemporary Guide to Traditional Studio Practice, Classical Painting Atelier: A Contemporary Guide to Traditional Studio Practice, Lessons in Classical Drawing and Lessons in Classical Painting, published by Watson-Guptill, NY. Aristides is the founder of the Classical Atelier at the Gage Academy of Fine Art in Seattle, WA and instructed there for over two decades. Vice President and Cofounder of the Da Vinci Initiative. Providing artistic training to public school educators nationally. Aristides frequently contributes to Artist & Illustrators and Artists Magazine. Her work has been featured in magazines such as Art Connoisseur, American Art Collector, American Artist and Gulf Connoisseur Magazine. She exhibits in one person and group shows nationally including a solo exhibition, “Observations” at the Reading Public Museum of Art in Reading, Pennsylvania (2014).Aristides acquired a rigorous education on the principles of classical realism, beginning her studies in 1988 under Myron Barnstone in Design Systems. She continued to study drawing and painting at the Pennsylvania Academy of Fine Art, then at The Atelier in Minneapolis in the tradition of Richard Lack. This work was followed two years of instruction at the National Academy in New York with Jacob Collins, while also receiving instruction from Carlos Madrid. Juliette spent a year working with a small group of students at Jacob Collins’ studio prior to becoming a founding member of the Water Street Studio in Brooklyn, New York.
Officially Signed By Juliette Aristides
Rublev Colours Lead White #2 in filtered, pale walnut oil is an opaque white that is soft and slightly ropey. Lead White #2 is a brighter white than our first flake white (also known as Cremnitz white) because of the paler walnut oil. 50 ml (1.69 fl oz) tube.
Ⓥ VEGAN
Inorganic, Natural Earth – Burnt Sienna is one of the natural earth iron oxides, of such antiquity and usefulness it barely needs an introduction. It creates rich but subdued pinks, which reveal how transparent and warm are its undertones. Its Tint Power is noticeably stronger than the more opaque Earths.
Ⓥ VEGAN
Inorganic – Venetian Red is synthetic Iron Oxide, a heavy red that yields fruity, fleshy hues and makes great sonority when mixed with the Yellow Lakes. Venetian Red is a most favoured staple for many portrait and landscape artists.
Ⓥ VEGAN
Inorganic – Viridian is about the fastest curing colour in my entire range, along with Stack Lead White. This hydrated variant of Chromium Hydroxide, introduced in the mid-19th century, is a valued support colour used for influencing greys in underpainting. The vivid blue undertones apparent in thin layers are soon eclipsed in thicker applications. Landscapists and some portraitists still prefer it to the more brutal power of the Phthalo Greens. When combined with reds, an interesting range of blue-greys results. Placing it as local colour in the proximity of vermilion can also produce some interesting complementary effects.
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.
Compact, comfortable and conversational, the Expressionist Confidant palette is perfect for artists who desire a small "go to" palette in their studio or for working en plein air. The New Wave unique three point design distributes the palette weight between the hand, rear forearm, and torso providing maximum balance and comfort. This significantly reduces stress on muscles and tendons in the hand, wrist, arm and shoulder.
This open palette design features an open hand grasp to hold brushes or a mahlstick, and a lower quadrant that can be used for additional mixing, or to hold your medium palette cup and/or paint cloth. The surface area has ample room for colour, and is ideal for finishing or detail work because the design will allow you to work extremely close to your canvas.
Officially Signed by Juliette Aristides
Organic, Natural Earth – An impure, amorphous Carbon in Calcium Phosphate, Ivory Black is no longer made from burnt ivory scraps but from charred animal bones. It is denser in shade and cooler than Lamp Black, with stronger tint power. Ivory Black, the blackest of the blacks, is the most frequently used black in the range.
Ⓥ VEGAN
Organic, Natural Earth – Raw Umber is one of the fundamental Earths used as an imprimatura pigment to draw out compositions as a ground, as many Rubens sketches prove. Depending on the degree of transparency, it exhibits greenish undertones.
Ⓥ VEGAN
Inorganic – This is Titanium Antinomy Chromium Oxide, a synthetic, inorganic compound which Michael began to use to make a solid, mid-range substitute Naples Yellow whilst seeking a source of genuine Lead Antimoniate. Though Michael now has one, many artists want me to retain this beautifully golden paint, which makes bronze-like hues and works well with the low earths.
Ⓥ VEGAN
Inorganic – This is a strong, deep orange with high tint power and opacity, yielding surprisingly pinky hues in mixes with Titanium Whites.
Ⓥ VEGAN
When mixed with oil paint, Michael Harding’s linseed oil increases the gloss and transparency of the paint, thins the paint for easier flow, and reduces visible brush marks. It also slows the drying time of the paint. However, using too much can cause yellowing due to the natural color of the oil and can lead to defects like wrinkling if layers are applied too thickly.
Alkali Refined Pale Linseed Oil, a pale oil extracted from flax seeds, is used in many of Michael Harding’s paints. This oil ensures a strong paint film during drying, contributing to the longevity of each painting. It is also suitable for use with dry ground pigments.
Please note: Soft materials soaked in linseed oil should be stored in sealed containers to prevent oxidation, which can generate heat and potentially cause spontaneous combustion. Ensure the container is securely closed and stored in a cool place. Brushes and tools used with linseed oil should be cleaned with white spirit.
Michael Harding’s Refined Linseed Oil is crafted from the finest materials. Michael Harding continually develops, tests, and releases new artist supplies, maintaining a commitment to sourcing the highest quality materials. Using Michael Harding products means working with materials that meet the standards of the Old Masters, combined with modern innovation.
Compact, comfortable and conversational, the Expressionist Confidant palette is perfect for artists who desire a small "go to" palette in their studio or for working en plein air. The New Wave unique three point design distributes the palette weight between the hand, rear forearm, and torso providing maximum balance and comfort. This significantly reduces stress on muscles and tendons in the hand, wrist, arm and shoulder.
This open palette design features an open hand grasp to hold brushes or a mahlstick, and a lower quadrant that can be used for additional mixing, or to hold your medium palette cup and/or paint cloth. The surface area has ample room for colour, and is ideal for finishing or detail work because the design will allow you to work extremely close to your canvas.
Officially Signed by Juliette Aristides
Ⓥ VEGAN
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.
Ⓥ VEGAN
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.
A sophisticated dark yellowish-green blended from PR101 (Iron Oxide Red), PY74 (Arylide Yellow), and PB15.3 (Phthalo Blue GS). Combining organic and inorganic pigments, Olive Green is fast-drying, semi-transparent, and exhibits excellent lightfastness. With high tinting strength and strong coverage, it’s perfect for landscapes, foliage, and botanical studies.
Ⓥ VEGAN
Inorganic – This oil paint is a warmer version of Cadmium Yellow Golden, giving a transitional colour more powerful, vivid colour than those obtained by mixing Cadmium Reds and Yellows. Cadmium Yellow Deep is often used to warm the mid-tones and lights of some flesh painting.
The Highland palette provides a true ergonomic fit and soft curves. The New Wave unique three point design distributes the palette weight between the hand, rear forearm, and torso providing maximum balance and comfort. This significantly reduces stress on muscles and tendons in the hand, wrist, arm and shoulder.
This palette will fit in most landscape boxes, allowing for ease of transportation and convenience while outdoors. Please note, this palette is designed to be held in the painter's left hand.
Ⓥ VEGAN
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.
Ⓥ VEGAN
Inorganic – This is a version of Burnt Umber that has heavier and more red-brown undertones than the raw umber variant. This is the colour in its presentation from the last two centuries, invaluable for underpainting and showing a range of sandy pinks in hues.
Ⓥ VEGAN
Organic – Alizarin Crimson is the oldest synthetic, organic lake introduced in 1868, and the only lake of the coal-tar lake range to have survived in use until the present. Before the end of the 19th-century, other Lakes were found too impermanent, and some Amerian authorities frown on Alizarin because its lightfastness (II-III on the ASTM scale) doesn’t match that of more recent organic red pigments. But its clarity and subtly beautiful bluish undertones are unique; since its introduction, portraitists have prized its range of cool, rather smoky hues, which are well suited for Caucasian tones. If you have concerns about using Alizarin Crimson, try mixing transparent oxide red with magenta for “look-alike” oil paint, or use Alizarin Claret.
Ⓥ VEGAN
Cadmium Green (No. 412) is a vivid colour created from pigments PY35 and PG18. With excellent lightfastness and opaque transparency, it adds depth to compositions. Its average drying speed and linseed oil binder make it a versatile choice for artists seeking reliability and vibrancy in their work.
Ⓥ VEGAN
Inorganic – My Cadmium Red is a powerful, orange shade red with the usual cadmium characteristics of high tint power and opacity. This red presents warm, almost fiery hues when mixed with a more transparent white.
The Highland palette provides a true ergonomic fit and soft curves. The New Wave unique three point design distributes the palette weight between the hand, rear forearm, and torso providing maximum balance and comfort. This significantly reduces stress on muscles and tendons in the hand, wrist, arm and shoulder.
This palette will fit in most landscape boxes, allowing for ease of transportation and convenience while outdoors. Please note, this palette is designed to be held in the painter's right hand.