to be completely fair, i still hold the workability of holbein above everything else. Holbeing uses no ox gall in its suspension so i'm free to add it as i see fit. as such, the holbein can be applied more like a gouache if i so choose, which is really more how i use it now. because it doesn't use ox gall, you can preserve your brush strokes and i felt i had more control of where the paint was going to go. It doesn't act like typical watercolor that you can blend through bleeding together, if that makes sense-- but it had a better ability to glaze one color over another to do the blending. the dan smiths are more like typical watercolor, though the pigments i tend to use have heavy granulating capabilities. the big reason i made the switch is for lightfastness and archival reasons. when i switched from my main palette being holbein to being dan smith, i had to approach painting in a different way. i couldn't scrub the dan smiths out of the bristol like i used to, so i had to switch to the arches blocks which are gelatin sized and now, subsequently, i have to act like a real painter rofl.
If you're thinking about switching what you paint with, just keep in mind that you'll have to treat it like working on an entirely new medium. Like I told Mel, be prepared to ruin a painting or two when you switch brands if you're not careful. xD If you already add ox gall to your holbein water, then it won't be such a huge change since you're not making a huge pigmentation jump between DSmith and Holbein (unlike mel who went from student watercolor like cotman to holbein), but there's still a big difference in the way it goes down on paper and it'll just take a little adjustment to figure out how it works for you.
If you need info on lightfastness or watercolor related stuff, [link] <--- this crazy fucker is where i get my lightfastness info from
ah thank you kindly! yes, part of the reason i do like holbein is that it works more like gouache than watercolor, though that's not always ideal for different situations. and ah, i've noticed you've been working with arches lately, something my teacher used, and it works well with the dan smith.
not think of switching for the time being, just trying to pick your brain a bit - what's the price difference out of curiosity, if you don't mind me asking?
Oh and i don't know if this matters to you, but in order to maintain the same level of control when i switched, i also flipped brushes. I went from escoda synthetic mongoose to isabey isacryl. I still do washes with the mongoose brushes, but the isacryl brushes are just a little stiffer and snappier and i can get a heavier scrub out of them for blending. They fray a little easier than escoda but i kind of beat the shit out of them with blending, and it's nothing that a brush shaper and a good cleaning won't fix :3
oh wow thank you for all this information! 8D at the moment, i just use hobby lobby's brushes since it's what i can afford (and a hake or two, depending on what's needed) and thank you for the heads up. i really love the quality of the paints you use but i need to get better before investing in better supplies.
that moonglow sounds gorgeous god ; ; but yes, thank you so much again
The price isn't too different, but tbh i didn't ever really have to buy any holbein outside of my initial investment. I initially switched to a large set of the irodori line and only supplemented with mars violet and brown madder. If you want my honest opinion, you'll spend more on the Daniel smiths. It takes a lot more paint to cover an area to my liking I've noticed, even though the pigment is similarly concentrated. I'm not really sure why that is though and it may just be a product of the change in my painting style, since i trend to glaze colors less and lay heavier washes, especially since the switch to arches blocks.
Imo pick up a couple supplemental granulating colors from dsmith since that's the huge thing the holbeins lack, especially if you're not way concerned about the archival quality of your paintings and don't mind that the holbeins are manufactured for commercial reproduction and some of their pigments are rated as fugitive. If you run through the color catalogue onthe dsmith website, there's also some really neat colors they've put out that separate out pigments as they granulate, like moonglow which in a heavy wash will granulate out to separate viridian, ultramarine, and red gradients. So gimmicky but i love it so much TT
ALSO if you worry about paint toxicity and things of those nature, dsmith has an amazing quinacridone line for a vibrant cadmium replacement. I'm in love with that deep gold omfg