Wilmar Schütz is best known for their restrained yet honest architectural watercolour portraits where our colours are sourced from nature and the built environment. We pride ourselves on creating architectural watercolours as paintings and not drawings painted in. Our watercolour technique is always evolving and we exercise artistic license not to slavishly replicate texture tone and detail for detail sake. To stay fresh, we regularly undertake international master classes by renowned artists. Above all, our watercolours represent precision documents using international draughting conventions.
WATERCOLOUR PAPERS & STOCK SIZES
Watercolour papers will vary in their ability to withstand exposure to light. Good quality paper made of linen or cotton‐rag is highly durable. Wilmar Schütz is committed to best practice and source only the highest quality 640gsm/300lb 100% acid‐free Saunders Waterford or Arches 640gsm/300lb cotton‐rag watercolour papers. These are extremely stable and available in a variety of format sizes. We use traditional imperial 30 x 22 inch sheets in either portrait or landscape format; for large projects 40 x 26 inch sheets are used.
PAINT AND CONSERVATION PRACTICE
Watercolours consist of pigments applied to their paper substrate and bound in a water soluble Arabic gum. This traditional practice is century’s old and is still upheld today. Generally, both pigment and supporting paper may alter with time due to light conditions, temperature, humidity and acidity. Wilmar Schütz use the highest quality Schmincke or Winsor & Newton AA‐rated (extremely permanent) watercolour paints. Fugitive colours are simply not used. On completion of each project, a registration of watercolours that were used is inscribed on the reverse side of the watercolour board. On the same side, the portrait is stamped, dated and signed.
The science of cast and projected shadow forms is a fascinating and challenging subject that Wilmar Schutz fully embrace; refer https://wilmarschutz.com/blog/sciography/