Art materials are unique to every artist. We all have personal reasons why we prefer one brand/item over another. I would say the single biggest determining factor for most artists in choosing their equipment is their style of painting and what they want to achieve. Some of the questions I get asked the most is, "what brand of paint do you like best?" and "what is your favourite brand of watercolour brushes?"

My own first watercolour brushes were quite nasty, I knew it back then because my dad taught me to paint with sables. The shape was wrong and difficult, it didn’t hold much water and the bristles were stiff and flicky – sometimes I felt there was more paint on me than the painting (I hear you all laughing – stop that!! Xx). My excuse is that was accidental flicking (control yourselves!!). A problem I encountered was being encouraged to paint “Big” but all I had, all I could get, were small brushes – mama mia!! However, I was lucky to be a member of a great local art group through which I met fantastic artists and found my way to their workshops. Interestingly, they all used flat brushes – yay for me!!
  
Brushes: 

Selecting a watercolour brush can be a bit overwhelming especially when you visit an art supply store and see all the goodies!!  

I like to use a combination of both synthetic and natural hair brushes. I love the Daler Rowney Sapphires  and Silver Black Velvet and Princeton Neptune. I also have a variety of natural hair brushes from several different manufacturers like Da Vinci, Escoda and Rosemary.

My first flat brush was a 2 inch squirrel wash brush which cost $300. Since then I have also purchased the 1.5 inch and a 1 inch which I love so much!! They’re synthetic/squirrel blend, very soft and perfect for watercolour because they hold a lot of water and paint for washing and blocking-in and more paint when needed. Their softness also means an easier, more reliable glaze, they won’t lift colour while you’re trying to put it down. I use my 1 inch for about 95% small plein air work.

I also have synthetic flat brushes to hand, 1”, ¾”, ½” and ¼”. They are all different brands Daler Rowney system 3, W&N and da Vinci.

I use a da Vinci #6 squirrel mop, with a lovely fat belly and point, I can paint a complete small painting because of its versatility – fat brush strokes with the belly and detail marks with the point. It’s great for studio painting and en plein air. It has lovely long bristles and the ferrule is positioned to avoid scratch the paper. I also have a #4 but I use it less often.

My detail brushes are from Daler-Rowney, Sapphire S85. I always have #14 or #12, #10, #8, #6, #4 to hand. I love these brushes because they don’t have a point – they’re rounded. They are a sable/synthetic blend and hold lots of water and paint and make interesting shapes.
 
My own style of painting is traditional techniques x10!! I use very loose brushwork in the beginning of a painting then I add calligraphic detail marks toward the end of each painting. I prefer geometric shapes I can create with a flat brush over round brush shapes.
 
Paint: 

I always choose tube colours over pan colours. I've been using a combination of Winsor & Newton professional grade paint for close to 30 years, I started with Cotmans but quickly grew out of it as I discovered it’s limitations. I also love Schmincke but I don’t like their lids as they often stick and require time and additional muscle. Another brand I use is Holbein, although they have a bad rap for using many pigments in each colour, I have never found that to be a problem. I have tried many other brands but generally I have found them lacking compared to W&N or Schmincke. If I have one 5ml tube of W&N, I need 3 tubes of any other brand.

Paper:
​
I prefer to paint on Arches cold press medium 300gsm 100% cotton rag. Arches is a company that has been around for a very long time and the quality is always consistent. 
For students and my studio “playing” I recommend Fabriano Artistico Cold press 300gsm 100% cotton rag, it is exhibition grade and takes a lot of punishment but is more affordable.
 

The materials you choose will have a lot to do with the style of your painting and your goals. I suggest doing some exploring on your own to see what YOU like best. In my experience it’s best to get recommendations from other watercolour painters who paint in a style you like. You may start out with one brand, but as your style develops you may find that a completely different type of brush, paper, or paint, is something that you like more.

Paint and paint often. Experiment and play with different types and brands of supplies. Eventually you will land on something that works best for you. 

Handy tips and tricks for beginners 

Always ...

1. Have plenty of drawing paper handy for practicing.
   
   
2. Take notes in class.
   
   
3. Squeeze out new good quality, tube paint every week so that you don’t have to scrub at dry paint (aka bird-poo) and damage your brushes.
   
   
4. A white porcelain dinner plate is the best palette ever, use cling film to cover when you have finished for the day.
   
   
5. OR use a palette with a lid to avoid dust and stray animal hairs in your pigment (my Bertie used to love sitting in blue!!).
   
   
6. Prepare your brushes with a quick swill in water so they’re ready to load with paint.
   
   
7. Use a kitchen sponge or old tea towel to moderate the water content in your brush.
   
   
8. Keep a hand towel close-by to control stray drips of water from your hands and brushes.
   
   
9. Paint standing up for as long as possible.
   
   
10. Sit for more control when adding calligraphy and detailed strokes.
    
    
11. For tubes proving difficult to open, run the cap under hot water and then use pliers to gently open.
    
    
12. It’s called WATERcolour for a reason.
    
    
13. Keep spare sheets of good quality watercolour paper handy to practice washes, colour charging, shapes and investigate new pigments before you venture onto your painting.
    
    
14. Make colour charts with your pigments – colour wheels, value scales, practice mixing greys and greens, opaque, staining and transparent pigments and brands.
    
    
15. Wash out and dry your brushes gently, lay them flat on a towel to dry on your table. 

remember to have fun!!

:)

Hello there *|FNAME|*

I can't tell you how many times my students say these words - it occurs to me that none of them are useful, enlightening or positive. All they achieve is making people feel miserable about what they're trying to accomplish! Let's strike these words from our vocabulary TODAY!!


Mud
In watercolour there is an overuse of the word mud. It is now used to describe anything the painter doesn’t like in their painting - without evaluation or critique – it’s just mud!
Actual mud is very difficult to create, however people who have painted in other mediums seem to be particularly adept at the chief skill required – overmixing.
Mud is the usual description when the lights (whites) are lost and the painting seems overrun with neutrals and mid values. The true issue is the painting is not finished and seems awash with nothing in particular. its a difficult stage to push through.
Watercolour needs a light touch in every possible way, much like making scones or a difficult putt – less is more!
In the early phase of your learning, make things easier for yourself and only use a good quality brand of transparent colours – you’ll only need 3 primaries to start with. Mix your colours on the paper with one or two brushstrokes (I’m not kidding!) and then keep your hands off – walk away and make a cuppa!!
The problem with the word mud is it’s negative connotations – mud from the river is dirty thick and horrible. In watercolour painting, what mud really is, is neutral. It makes your brights and focal point stand-out. To make neutrals while retaining harmony in your painting, all you need to neutralise a colour is to add the tiniest touch of it’s complementary.


Fix
Another overused word. I have to admit, I say this myself from time-to-time, there is a difference however - I know why I'm saying it - I'm saying it with purpose and knowledge. Beginners are saying it because that's what they've heard other people say and they lack confidence in their work.
Again, the actual problem is your painting is not finished. It’s out of balance and your creative brain knows it but you are not in practised at evaluating or articulating it.
The word “fix” implies our painting is wrong or bad. For the beginner the difficulty is how to resolve our work so we can finish. It’s not easy, no art is. Further, nothing worthwhile is easy, that’s why we do it!
It’s a journey, learning to see, learning to draw and learning to paint. Learning what we like and don’t like. Learning to talk to ourselves in more productive and kinder ways.
 

Perfect
I feel like a broken record about this, it comes up so often. Sometimes I get so angry and frustrated that so many creative people have been thwarted by this nonsense.
Firstly, we’re making something by hand – it’s going to have some exciting variations!
“Perfection” is a way for our creativity to be curbed by ourselves or by others. We’re really repeating what some dummy said to us when we were kids.
I was lucky as a young maker. My role model mother was a constant maker but with a few children she had little time for neatening edges and playing with niceties. She made us gorgeous little dresses with coats and bonnets to match. A super clever woman but DON’T CHECK the inside!! Actually, you've reminded me that my sister's dance costume fell apart on stage once, I don't think she was phased at all - the show must go on - what a great girl - just like her Mum!! I remember everyone running around looking for safety pins!!
Here’s a question: What is Perfection? Describe it. I defy you!!
Let’s also remember, one man’s meat is another man’s poison.
In my experience “Perfect” is used as a manipulation tool. They can’t describe how they want “it” and leave you to make up your own exciting creation and then they are very quick to tell you it’s not Perfect, it’s wrong and how badly you’ve done! But they still don’t tell you what they want!! Do not get sucked into this vortex of someone else’s nonsense, don’t be a victim and don’t pass it on!!
 

Mistake
Who cares?
As above, the reality is, your painting is not finished and needs something to balance it.
Work out what it needs to be resolved. Does it need to be lighter, darker, less bright, more bright?
There are no mistakes in watercolour, however, you might get a few surprises along the way. And this, my friend, is the gift that does our heads in!! When we receive a surprise from the watercolour Gods, we need to stop and think. How can we use this gift? The answer might take a little while to present itself, we just need to pretend we are patient and wait for it to appear.
Initially, I recommend ignoring it. I often find by the time I finish my painting, I’ve forgotten about it. However, if it’s still bothering you, it must need to be resolved.
 

Watercolour is Backwards
Whenever I hear this it makes me crack up – it’s just so stupid! It’s never said by a true watercolour artist.
Watercolour is a forward medium.
We start with white paper, then add a light value, then we add a medium value, then a mid dark value and finally a dark value. – we come forward from light to dark! Much the same as pencil sketching.
Only opaque medium artists focus on obliterating the white canvas with a dark value and then paint increasingly lighter values - now that’s backwards!

‘Nuff said!!


Fade
modern watercolours don't fade they dry lighter much like acrylics dry darker.
the watercolour painter must compensate for this and use more pigment - if it looks right when its wet, its probably wrong.
using the word fade perpetuates old stories and nonsense. As in any situation anywhere, using the right words sets the story straight and reduces  misunderstandings.


​ciao cari pittori!!