Artist Interviews

Artist Interview: Janna Watson

Q: Tell us a little about yourself.

I am an abstract painter that lives and works in Toronto.  I graduated from OCAD in 2008 and soon after signed with Bau-Xi Gallery in Toronto & Vancouver.  Since then, I have built relationships with my seven dealers across North America and abroad.

My practise over the last 10 years has really been a process of self reflection. I am always looking to develop and challenge my techniques, and to understand the relationship of colour, as well as its relationship to the world. My foundation comes from spontaneity, intuition and materiality, and how these basic fundamentals explore the psychology of colour.

There is a “becoming” about painting that I deeply relate to. The quality of pigments and texture is pivotal to my work and that is why I use Tri-Art paint. Certain brands of paint in the last 10 years have changed their quality and even diminished the saturation of pigment in some of my most used colours. But I have discovered from my own experimentation that Tri-Art’s quality has always remained the same. The materiality of paint is one of the key factors to my success. I am now represented across North America and abroad.

I live with my cat named White Cat, my dog named Anouk, and my fiance Pamela.  I own a rug design company, Studio Watson, that is dedicated to redefining interiors with hand-tufted floor pieces inspired by my favourite paintings. My greatest inspiration in life is colour.

Painting by Janna Watson, Fly Horise

Fly Horsie!, Janna Watson
Notes from the Lab: Archive

Green and yellow pigment developments.

This is an archived post from late 2017.

We have developed our production for certain transparent pigments to obtain a cleaner, more transparent paint film. The pigments have the same strength and the mass tone and undertones will appear the same. The visible difference will be increased glossiness and a more transparent finish.

  • Transparent Yellow Oxide
  • Sap Green Light
  • Nickel Azo Yellow
  • Golden Yellow
  • Golden Orange
  • Green Gold
  • Golden Green

from the Finest Quality lines will all be modified to the new process.

Notes from the Lab: Archive

Aging additive mediums.

This is an archived post from June, 2016.

Retarders belong to Tri-Art’s collections of mediums classified as additives. Additives completely evaporate over time from the paint film and have no lasting effect on the final finish of the paints.

These products will naturally age and appear amber in tone. The aging or amber colouration will not affect the performance or alter the colour they are mixed with.

Notes from the Lab: Archive

Improved umber pigments.

This is an archived post from June, 2015.

Tri-Art recently improved upon our recipe for grinding our umber pigments. We are using the same PBr 7 pigments but are now able to develop the colour further. As a result Burnt Umber, Raw Umber, and all the mixed colours using these pigments will benefit from this development. This applies for all our acrylic colour lines.

The more efficient use of the pigment also results in:

  • Darker and richer umbers than previous batches.
  • More intense chroma.
  • Stronger tinting strength.
  • Higher staining.
  • Glossier finish.

The following colours will show a slight shift in their mass tone and undertone:

Burnt Sienna, Neutral Grey, and Viridian Hue.


There is the same ratio of solids to liquids with each line. The colours will maintain the performance and ability associated with their line.

Notes from the Lab: Archive

Improvements to our acrylic products.

This is an archived post from March, 2014.

Tri-Art has recently made significant improvements in the quality and performance of our entire range of acrylic products. After much testing and evaluation, we have been able to produce the best formulations for our product lines, achieving the same quality in terms of flexibility, adhesion, and resistance to yellowing with time.

We have been working towards these changes for some time, the implementation of which has resulted in the following improvements:

  • Glossier dry film.
  • Improved shelf life.
  • Enhanced colour staining power.
  • Increased transparency of dry resin (acrylic) resulting in higher chroma and pigment tone accuracy.
  • Improved rheology resulting in creamier wet film handling.
  • Augmented texture holding capabilities and brushstroke fidelity.

The dry film improvements have led to some physical changes in the appearance of the colours in their wet state. The wet to dry colour shift is most noticeable in our student lines.

Be assured that these colours, once dry, will have the same or greater chroma and pigment tone accuracy.