Watercolor Supplies

Here is a list of my basic watercolor materials and how I use them. Drawing Supplies and Their Application
I use a hard bound or spiral bound 8.5 by 11 inch (or 9 by 12 inch) sketchbook. There are many hard bound sketchbooks. The spiral sketchbooks I like are Robert Bateman’s Artist Quality Sketchbook and Aquabee’s Super Deluxe 808 Sketchbook. I draw with soft pencils (a No. school pencil and 6B), soft graphite sticks, or India ink with watercolor washes. I draw using one of three techniques.
When I use a pencil, I draw shapes with an exploratory line. I do not lift the pencil tip but double over lines to create interesting shapes. I redraw lines as I go, trying to produce more imaginative shapes. When I pause, I decide where to go next, and this produces compositions with related shapes.
A graphite stick laid on its side allows me to do “volume drawings.” I want to produce shapes in different values. These shapes do not contain lines and look like black, gray, and white washes. I use this sketching method to rehearse watercolor painting.
My third drawing technique makes use of waterproof India ink and watercolor washes sketched in an Aquabee 808 or comparable paper weight sketchbook. Simply sketch a contour line drawing in ink, let it dry, and paint over it using different watercolor washes. The washes should go beyond the shape boundaries. Apply your colors playfully. This sketching approach also previews the painting ahead.
Watercolor Papers (Pick the paper that suits your particular need.)
I use all cotton 140 lb. Arches or Jack Richeson cold press watercolor paper. I clip it to the watercolor board and paint. If I want the paper to remain wet, I brush water on both sides of the paper. Heavier, 300 lb. paper does not buckle, is perfectly fine to use, costs substantially more, and takes longer to dry.
Rough paper requires more patience to create large washes because the surface has indentations, but it really allows granulation to occur and readily accommodates the dry brush technique.
Occasionally I use hot press paper if I want subtle washes and sharp shape edges. Hot press paper, though, dries out quickly, so have a plan and work in the shade or indoors.
I like painting with large, flat, long handled brushes that have ample water holding capacity and body. They can contain natural, synthetic, or a blend of hairs. I occasionally use round brushes for line work and painting small details, but find if I rely on them too much, I produce fussy little paintings composed of distracting lines and small, competitive shapes. Currently I am using Richeson’s Stephen Quiller and sable brushes.
I use Stephen Quiller, M. Graham, and Holbein professional tube watercolor pigments. For quick value studies I use Ivory Black.
For a field palette that produces a variety of grays as well as pure color I use Burnt Sienna, Ultramarine Blue, Aureolin Yellow, Viridian, and Quinacridone Rose.
To create transparent painting with a touch of opacity I select Aureolin Yellow, Rose Madder Genuine, Cobalt Blue, and Viridian. They provide the primaries and mix well to create transparent secondary oranges, purples, and greens. Use stronger, staining transparent colors, like Quinacridone Rose, Thalo Blue and Thalo Green, to create striking dark passages. Remember, though, that they permanently stain paper. If you want to occasionally use opaque colors to create solidity, turn to the yellow, orange, and red

cadmiums and Ultramarine Blue. Raw Sienna and Burnt Sienna should be used alone because they are tertiaries that don’t mix well with additional pigments.
To experiment with warm and cool colors I use New Gamboge (warm yellow), Lemon Yellow (cool yellow), Cadmium Red Light (warm red), Quinacridone Rose (cool red), Ultramarine Blue (warm blue) and Thalo Blue (cool blue). Just let the warm (New Gamboge, Lemon Yellow, and Cadmium Red Light) or cool combination dominate.
To learn how to handle the color wheel select Aureolin Yellow, Cadmium Red Light, Quinacridone Rose, Ultramarine Violet, Thalo Blue, and Viridian. If you mix the complementary colors (blue and orange, red and green, or yellow and purple) you will produce lively neutral and semi-neutral grays.
Other Materials
Masking fluid to preserve small white areas. I rarely use it, preferring instead improve my brush control. However, if you need to preserve an area of white paper for later painting, use a mask sparingly.
Toothbrushes and stiff bristle brushes for flicking on paint.
Tissue for creating patterns in paint.
Manilla folders for cutting out stencils to use with a clean damp natural sponge for paint removal. Single edged razor blades and palette knives for moving paint around.

No comments:

Post a Comment