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NEW!!! Limited Edition Artist Palette: Lindsay Stripling 24 Set

Lindsay Stripling Palette.jpg
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Lindsay Stripling Palette.jpg
Lindsay Palette028.jpg
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NEW!!! Limited Edition Artist Palette: Lindsay Stripling 24 Set

250.00

Limited Edition Artist Palette: Lindsay Stripling 24 Set
available in an edition of 20

We are super excited to introduce our first artist series palette with artist, illustrator and friend Lindsay Stripling! This palette consists of 24 Case For Making watercolors selected by Lindsay which build a collection of core colors that Lindsay has been painting with as of late. All of these paints were lovingly handmade over the past four months by our favorite undergraduate intern Jesse Valdez.

Lindsay selected 18 of her favorite staple CfM watercolors and intermixed some of her favorites from our line of limited edition colors plus cerulean which is only available in this palette! The special colors are marked in bold below.

TOP ROW
ivory black, titanium white, kremer white, buff titanium, payne’s grey, burnt umber reddish, french ochre sahara, italian gold ochre, lemon yellow, sap green, vagone, emerald green

BOTTOM ROW
fluorescent orange light, terra ercolano, french vermilion, italian chestnut red, magenta, rose madder lake, ultramarine pink, ultramarine violet, cerulean, ultramarine light, indigo, cobalt bottle green

Throughout the summer, Jesse had the opportunity to sit down with Lindsay to talk about why she chose these colors in her palette, how she approaches color in her work and her creative process in general. Here’s a little bit more from Jesse on these conversations and his experience learning to make paint from pure pigment and binder and his specific experience mixing these 24 colors by hand.

Lindsay loves working with watercolors because she has found that the act of painting with pigment and binder is very special in how it easily lends itself to the exploration and manipulation of color. In our conversation it became clear how integral color is to her creative process. After spending a lot of time with these paints—mixing, mulling and panning all the colors—it’s easy to become fascinated with these pigments and the variety both in the way they react with the binder and the different ways they act on paper. I was super excited to talk to Lindsay about her fascination with these colors.
I was interested to hear how Lindsay picks her colors for her work and what combinations she likes the best. Our conversation started at the beginning of her process. Lindsay explained to me how she usually starts a painting with a wash to establish a mood. Sometimes Lindsay will just start with a color that she is really interested in at the moment, put it down and see what kind of mood it creates and work from there. But she also has some go-to colors. She loves to use a thin layer of Indigo for nightscapes and sometimes mixes the Indigo with Burnt Umber Reddish to create a deep teal for her galaxy scenes. That indigo then effects all the colors painted on top of it in a really interesting way that creates cohesion. After creating a wash Lindsay often finds herself drawn to pastels and more earthy colors which she likes to pair with harsher more vibrant, pure colors---like having a muddy brown next to a fluorescent orange. She finds that these high contrast pairings encourage the eye to move around the painting more. When done with a large landscape Lindsay often likes to use a fluorescent orange as a detail mark—forcing the eye to trace the painting in many different directions. She says she often thinks of her paintings as a “choose your own adventure”, “hidden picture” type of experience and these moments of color force the viewer to continue to explore the imagery. She doesn’t want to lead them anywhere necessarily but wants to keep sparking curiosity.
Lindsay’s 24 color palette has this variation in color types that allows artists to explore these contrasts. After teaching watercolor workshops and classes for many years Lindsay has found that a lot of people, when they are exploring paints for the first time, don’t feel like they can use both—they feel like they either have to choose an earth tone or a more vibrant color palette. In actuality the fluorescents do the exact opposite of what one would think they do when placed next to, or mixed with an earth tone. Lindsay explained that she likes the way colors like fluorescent orange light, become greyed down when mixed with earth colors to make complex colors that can really enhance a painting.
I was also curious whether psychologies of color went into her decision of picking certain pigment colors for her palette or if she thinks about or references color psychology when creating her pieces. While color theory has affected her paintings in the past and continues to do so, she tries not to get wrapped up in it to the point of having color psychology control what she is choosing. Lindsay talked about a great class she took at San Francisco Art Institute called “The Color Class” with Pagan Brooke, where she would wear colored lenses. If yellow was the color of the week the class would be assigned to wear yellow tinted sunglasses and then have to write a paragraph on how it made them feel or they would sit in a room with lights of that color and hold a group discussion as a class. These practices definitely caused her to think about how we experience color and the cohesiveness with which color can alter your perception. Lindsay said that when she is trying to make things harmonious and soothing she does a lot of similar color schemes but is always trying to test the boundaries of that, pushing it a little bit by creating an awkward color combination.  Lindsay explained that for a long time she was only working with a really limited palette only allowing herself to have 2 of each primary color; a warm and a cool, and one each of brown, white and black, she felt like she had way too many options and wanted to force herself to mix all of her own colors. But within the last year, coinciding with Case for Making bringing on a wide range of new colors, Lindsay felt the need to challenge the rules she had previously set up for herself and began to incorporate colors that she wouldn't have necessarily chosen before just to see what would happen. She referenced her body of work that was shown earlier this year at Fayes Video and Cafe as an example where she was really challenging herself and pushing the possibilities of color. However, now she finds herself again gravitating towards a more controlled palette now that she knows which colors she likes. Sometimes she needs to feel comfortable moving into a painting where she doesn’t necessarily know what is going to happen and color choice can help with that. For example, Lindsay might choose to paint a large area using emerald green and then from there think: oh, it's like sea foam green with this pigment and then she can go from there knowing what colors look good together. Soon enough the whole palette becomes based off of that first “headliner” color.  
I was curious whether she had a similar process in picking out her Case for Making palette. For this set Lindsay started with Terra Ercolano which led her to Italian Chestnut Red and then so on until she found a 24 set that had cohesion as well as the contrasts she wanted. Some other combinations within the palette that Lindsay highlighted were the Fluorescent Orange Light with the Burnt Umber Reddish or the French Ochre Sahara which Lindsay loves when they bleed together. She also loves mixing and flowing the Cerulean into the Italian Gold Ochre Light. Because of the high pigment levels of the Case for Making watercolors you can see the pigment start to break apart and spread out on the page. The Cerulean separates from the Italian Gold Ochre in an interesting way due to each individual pigment’s particle size and weight. Lindsay also wanted to point out that Ultramarine Violet Reddish and Fluorescent Orange making a super cool grey. Also, adding Kremer White to anything makes it super cloudy and grey which creates the perfect light layer that can easily help establish depth to a painting. This method of bleeding pigments is very dependent on the amount of water the artist is using and the intended saturation levels. Lindsay likes to keep her saturation levels fairly consistent maintaining semi-translucency in every step of the painting so that she always has the freedom to layer more colors as the painting progresses.
I asked Lindsay what makes her decide to be more representational with her color choices versus when she likes to be more playful—for example she said she is really into using purply-pink for the representation of water right now. Lindsay said she has always loved keeping a certain mystical quality about her work. She likes to have continuity within her subject matter where each piece can contribute to the creation of a world that sustains a narrative with no specific story arc. Right now she is in the process of creating a really large map of an imaginary world her subject matter exists in using this 24 set. We hope that this collection of colors inspires everyone to start, or continue, pursuing their own creative practice. I find this selection of colors makes it really easy to just start painting. There are so many options and unique combinations!

by Jesse Valdez

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