Inspiration comes not only from our painting subjects but very much also from the materials with which we create art.
Vintage tins have a unique rustic charm to them. Personally, using vintage tins as watercolor palettes recalls the same kind of playful nostalgia as seeing toy wagons made out of plastic baby powder bottles, or fetching little earrings of sappy santan leaves. Be inspired by these little items of history!
If you have not bought vintage items before, please note that the tins listed here are actual vintage with reference to their age, i.e. not just 'vintage-style' or 'retro' with reference to their design. Most vintage items cannot be expected to look flawless, on the contrary, the patina that can only be achieved with age - that wear and tear, that's their exact appeal. I do my best to be honest with descriptions and take photos that best show their condition, so please do check all photos and read the descriptions.
PLEASE HOVER/MOUSE OVER THE PHOTOS TO SEE UP CLOSE. The photos are part of the description, they best communicate the degree of ageing and patina.
Length: 2 13/16 inches | 72 mm
Width: 2 6/16 inches | 60 mm
Depth: 1/4 inch | 7 mm
Number of wells: 16
One lot includes:
1 piece vintage Phillips Milk of Magnesia tin
1 piece 16-well white plastic palette
As with the other travel palettes, this palette is designed with the objective of being able to carry as many colors as possible in a small case. Think of it as an upgraded dot 'card'. It is ideal for working on smaller pieces or journals, on works where one would not normally lay down big washes or use big brushes, or as a secondary travel palette when bag weight/space is a priority. It is NOT designed to be used as a main palette and will be insufficient as a studio palette, or for use with brushes with tips wider than 8mm. I recommend this palette if your journal is 5"x 8" or smaller, with round brushes size 6 or smaller, filberts and flats with widths of 7mm or smaller.
The 16-well palette is handmade by manually pouring liquid urethane on manually cast moulds. The moulds were cast from 3D-prints of palette configurations that I custom-designed and modelled specifically for each type of tin in my shop. Because of these manual aspects of production, you might find imperfections such as an occasional bubble or uneven bottom. I will ensure that none of the flaws affect the usability of the palettes.