Watercolour Equipment and Materials

As a watercolourist, I've noticed a common obsession among us to learn about the materials and tools used by other artists. We crave to know about the paper, pigments, and brushes used in their paintings. However, with the vast selection available in the market, choosing the right tools and materials can be a daunting task.

Personally, I believe in simplicity and follow the "KISS" principle, which stands for Keep It Simple Stupid. While I've explored the idea of finding the perfect brush, the one that every watercolourist dreams of, made from the whiskers of a rare mouse found only in a specific part of China, I eventually realized that such a brush doesn't exist. We spend a lot of money in search of these magic tools, only to end up frustrated.

So, my advice is to keep things simple and not get too caught up in the materials and tools. With practice and experimentation, you'll find the tools that work best for you and develop your unique style. 

It's the same with papers, the range is huge. There are so many combinations of thickness, surface texture, sizing, absorbency, hot press, cold press, cotton, wood pulp etc, it would take a lifetime and small fortune to experiment and find the one most suited to you. I know, I've travelled that path too.

The complexity in the selection of watercolour pigments is another challenge we face. It's not straightforward, and there is no standardization in colour names among different manufacturers. For instance, a sunset yellow from one manufacturer may have a different name but be identical in colour to another manufacturer's product. The only standardization is the pigment numbers printed on the tube labels. For example, PBr7 refers to Raw Umber, which is made up of a single pigment.

It's essential to know the composition of the paint we use because this affects how the colour mixes with other colours. If a colour is made up of multiple pigments, there is a higher chance that the resulting colour will be muddy when mixed with other colours. Hence, we try to find paints made up of only one pigment whenever possible.

The Handprint Website provides an in-depth explanation of this topic, and I recommend checking it out if you're interested.

I once found myself contemplating the endless array of painting tools and materials available to artists. It occurred to me that I could spend a lifetime experimenting with different options or simply begin painting. This reflection led me to the legendary watercolor painter, Turner, who created masterpieces using far humbler materials than what modern artists have at their disposal.

Inspired by Turner's dedication to his craft, I decided to embrace affordable tools in my artistic journey, with the exception of high-quality pigments from Winsor and Newton. Knowing that even my most budget-friendly choices would likely surpass the materials available to Turner in his time, I made the conscious decision to work with the following:

- **Affordable Brushes:** Turner's work reminds us that exceptional art can be created with basic brushes, so I opted for affordable ones that allow me to focus on my creativity rather than the price tag.

- **Economical Papers:** While there are countless premium papers on the market, I chose to explore economical paper options that offer their own unique charm and possibilities in the artistic process.

- **High-Quality Pigments:** To ensure the vibrancy and longevity of my work, I invested in high-quality pigments from Winsor and Newton. These pigments provide a solid foundation for my artistic expression, giving me the best of both worlds.

Embracing the spirit of Turner's resourcefulness, I've found that it's not the cost of the materials but the passion and dedication we bring to our art that truly matter. This approach has allowed me to create and connect with my inner artist, all while honouring the legacy of those who came before us."

Watercolour Paper.

While I do appreciate the quality of expensive watercolour papers like 140lb Arches and St Cuthbert's Mill's 100% Cotton Saunders Waterford, I have a particular fondness for a more affordable option - Bockingford. This versatile paper is also crafted by St Cuthbert's Mill, and it has unique characteristics that I find incredibly valuable in my artistic journey.

One of the standout features of Bockingford is its surface longevity, thanks to the carefully applied sizing. This property allows watercolour to stay on the paper's surface for a longer period, granting me greater control and flexibility in my creative process. Moreover, Bockingford's sizing enables me to lift paint from the paper effortlessly, a technique that I find indispensable in achieving my artistic vision. (Sizing, for those unfamiliar, is a substance incorporated into the paper to enhance its durability and resistance to water and pigments.)

It's true that some artists are quite particular about using exclusively high-end papers such as Arches, sometimes looking down on more budget-friendly alternatives like Bockingford. However, my experience has shown me that Bockingford's less absorbent nature better suits my artistic needs. It allows me to explore watercolours with a unique perspective, and I cherish the creative possibilities it opens up.

On a nostalgic note, I must admit that there's something special about the scent of the sizing on Arches when it's wet. It evokes memories of my school carpentry lessons, where we used fish glue. While I appreciate the sentiment, my artistic preference ultimately lies with the versatility and affordability of Bockingford paper. It's a choice that empowers my creative process and allows me to bring my vision to life.

Watercolour Brushes.

My preferred brushes are the budget-friendly yet reliable Royal Soft-Grip SG3000 Synthetic/Sable mix and the Royal Soft-Grip SG250 Gold Taklon range, both crafted by the esteemed Royal and Langnickel. You can find links to the Royal and Langnickel website and a UK online supplier, The Art Shop Skipton, on my Useful Links page.

While these brushes may not possess the luxurious softness of sable or squirrel hair, they excel in other areas. Their ability to hold a fine point and their durability make them invaluable tools for any artist. You won't hesitate to use them vigorously around your palette, knowing they can withstand the demands of your creative process.

In my collection, I do have various brushes that I occasionally employ for specific purposes. However, when it comes to dependable workhorses that consistently meet my artistic needs, the Royal Soft-Grips are my go-to choice.

It's worth noting that brushes, no matter how well-crafted, have a finite lifespan. Even if you invest in the priciest Kolinsky Sable brushes, they too will wear out over time. I've had some Kolinsky Sable brushes that I was initially hesitant to use, fearing I might damage them. However, I've come to realize that brushes are meant to serve our creative expression, and their eventual wear and tear are natural consequences of artistic exploration.

So, whether you opt for budget-friendly brushes like the Royal Soft-Grips or indulge in the luxury of Kolinsky Sable, remember that each brushstroke is a step toward your artistic vision, and the journey is just as important as the tools you choose. 

My Paint Palette.
My paint palette is a plastic folding palette which measures approximately 10 x 10.5 inches when opened. It has 28 wells for the pigment and 5 large mixing wells. It is made using an excellent quality plastic and has a thumb hole/grip if you prefer to work with it in your hand when painting en plein air. It is made by Royal and Langnickel the model number is RD322P.  Highly recommended. 

My Colour Palette.

People often ask me about the colours I use for my paintings. I try to keep my palette minimal for two reasons. First, it helps me avoid the need to constantly decide which colours to use. Second, using fewer colors creates more harmony in watercolour paintings. My main palette consists of Cobalt Blue, Ultramarine Blue, Permanent Sap Green, Lemon Yellow, Quinacridone Gold, Light Red, Burnt Sienna, Burnt Umber, and Neutral Tint. While I may use other colours occasionally, this is my go-to palette for landscapes. I only use Winsor and Newtons watercolour paints, which are artists' quality. I cannot say they are the best, but I have been using them for a long time and am hesitant to switch at this stage of my watercolour journey. They are quite expensive, so I may try other brands in the future. 

The Drawing Board.

You can easily create your own drawing board instead of buying one from an art supplies store. I used a plywood board for many years, but as I improved my skills, I found it didn't work well for certain techniques such as wet into wet painting. The board would absorb the moisture from the paper, causing it to dry too quickly. To fix this, I experimented with different surfaces and found that using MDF board with a non-absorbent plastic material glued to it worked best. You can find MDF board at most hardware stores, like B&Q in the UK. The plastic material I used was a mat from IKEA called PROJ, which is used for protecting surfaces when crafting or using glue or paints. I simply cut the mat to the same size and glue it on my board. 

I buy most of my art materials online from Jacksons Art in the UK. They are very reasonable and provide a quick service.

There are links to other art suppliers I have used on my Useful Links page.