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Watercolor Supplies

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This page is about painting on location in watercolor. If you’re looking for a supplies list for sketchbook drawing – check over here: Sketching Gear


I mostly use “full sheets” (22×30″) artist grade 140lb cold press paper with cotton fiber content. I cut that down into 1/2, 1/4 or 1/6 sheets for field work. I usually order in bulk (5 or 10 sheet packs). You can paint on both sides. So a pack lasts a long while. You can also get paper on long rolls, or in larger cut formats. Full Sheet is not the largest size oddly enough. Larger sizes have old fashioned names like ‘Double Elephant’ (30×40″) or ‘Emperor’ (40×60″). I have never tried these – that’s way to big to be storing on my studio shelves!

Look for cold press (medium) texture. This is the ‘normal’ texture. Smooth enough to get a nice drawing, yet rough enough do some dry brushing. Hot press is the smooth finish, which is nice if you’re doing pen and ink with wash, but will give a more illustrated look to the image with a tendency towards harder edges on washes. There is also ‘rough’ texture paper, which I have not gotten around to trying personally. Plus! All brands will vary slightly in texture and even size.

Students might like to practice on mid-grade cellulose paper paper in pre-cut pads.. These are fine for beginners or for rapid sketching. There’s also blocks. (Pads gummed on all four sides – no taping to a board required), which I personally *do not* use. They’re too heavy (you carry 20 sheets to use one) Plus they can pop off the backing board if you are harsh on them – and that’s a waste of an expensive block.

Here’ some links to see the products.



Note: I don’t endorse any particular online vendor. These pages use Amazon Affiliate links to so you can see the product descriptions. If you order from this page, I get a small rebate from Amazon (starting at 4% of your order). So thanks for supporting my work on CitizenSketcher! But feel free to support your local retailers too :)

Gear_Easel (2)


I use pieces of Coroplast – a light weight corrugated plastic. You can get 4×8′ sheets from hardware stores and cut it down with a craft knife or razor blade. Or – get ready cut sizes from art supply shops at a higher square inch price.

I use a variety of sizes – my most commonly used: 14×18″, to fit a 11×15″ quarter sheet (or a 12×16″ pad). Quarter sheet – as in 1/4 of a 22×30″ full sheet of watercolor paper – is a practical size for travel. Easy enough to carry – but not so small you feel cramped painting. I happen to have a perfect bag for this size (review of the Timbuk2 Especial). But –  If I’m feeling like travelling lighter I use 11×14″ boards, which I like for 9×12″ sheets. I do have some 18×24″ boards for half sheets (or 16×20″ pads) – but I don’t take those into the field very often. That’s getting a bit big for carrying around – they tend to get used for life drawing or the rare trip to the country.

One downside to note – Coroplast will flex if you’re standing in hot sunlight while painting, which can cause your tape to pop off. I usually have at least three boards clamped in a sandwich with bulldog clips to offset this. This is also how I carry enough pre-taped paper for a whole day of work. A friend suggests cutting the grain of the board in opposing directions – one lengthwise, one height wise, and your stack will be even more resistant to flex. Or – you could just stay in the shade :)


You’ll need a folding palette with individual wells for colors. Plastic is fine, but they break annually. Some nicer brands have a rubber seal to keep the paint damp between sessions. These still break. The plastic hinges just don’t last. So tin boxes are better, but they’re expensive. I have in the past used a 2.5×3″ W&N Bijou Box – as it was once called – which I found by chance in a high end art shop here in Montreal. The small box is shy on mixing space, but it’s so light it can be clipped right onto the drawing board or sketchbook. Currently I’m using a slightly larger 5″x8″ (open) folding W&N paint box, shown below. My W&N set came with assorted half pan colors, which I have long since re-filled with tube pigments. You can buy empty half pans to expand and reorganize your color choices.

Here are some tin paintboxes on Amazon I found as of Sept 2015. Please note, I don’t know anything about these vendors and don’t own these kits (yet), these links are just to help you see the products.

Full Specturm 24 Palette


I use many brands – mostly Winsor and Newton, Daniel Smith and M Graham these days. The color you like is more important than the brand – as long as you buy artist quality paints. You will get to know over time which exactly you prefer. Also, raw pigment sources change over time, so a well loved brand name can change overnight.

Avoid student grade brands such a Winsor and Newton Cotman which have less pigment strength and more fugitive colors.

I change my color choices fairly often. To experiment, or to adapt to the location I’m headed to, or just for fun. I’ll keep this area updated so you can see what I’m using at the moment. (Please note: Raw beginners may wish to ignore the following, and try the basic setup I have listed at the very bottom of this page).

Current Color Choices:

I’ve organized my 24 color paint box, into two sides. 12 warm in one side, 9 cool on the other + three blacks. Here’s the pigments, listed by row:

Cool Side:

  • Indigo PB60/PBk6 | French Ultramarine PB29 | M.Graham Turqoise PB15:3/PG 7
  • Manganese Blue Hue PB15 | Cobalt Teal PB 50 | Fuschite Genuine
  • Viridian Green PG18 | Sap Green PG36/PY110 | Perylene Green PBk31
  • Bloodstone Genuine | Graphite Grey | Ivory Black PBk9

Warm Side

  • Buff Titanium PW 6:1 | Naples Yellow PW4/PY97/PP101 | Nickel Titanate Yellow PY53
  • Goethite (Brown Ocher) PY43 | Quinacridone Gold Deep PO48/PY150 | Transparent Red Iron Oxide PR101
  • Pyrrol Orange PO70 | Cadmium Red PR108 | Perylene Maroon PR179
  • Cobalt Violet PV14 | Raw Umber Violet PBr7/PV19 | Moonglow PG18/PB29/PR177

I’ve listed the colors with pigment numbers – which should help you shop cross brands. Look for number codes, not names – names like Indian Red vs. Red Oxide are just brand marketing for the same pigments. In case of pure minerals such as Fuschite Genuine – no numbers required, as these are simply ground rock with gum arabic binder.

Some of my pigments are odd choices. Purist watercolorists might disagree with my taste :) I like intense colors like Pyrrol Orange or the Perlyne colors, which can be overly strong if you’re not cautious. Also sedimentary, granulating earth colors like Goethite. Yet, I prefer no sediment in the blue/greens – as they tend to be for water and skies where granulation is less desirable. I also have some very opaque-ish colors (Buff Titanium) – which I find suit my light-to-dark, large-to-small layered painting style. Plus I like some silly choices such as Moonglow and Graphite Grey which are sort of ‘special effects’ colors.

Tube vs. Pan:

I use tube colors because I like to put down a lot of pigment and allow it to float on the page. If you don’t paint that often tube color can dry rock-hard in the pan making it hard to release color. Thus, some people use semi-moist half pans which are formulated to re-wet no matter how old they are.

However, painting with pans is a bit of thinner, washy-er experience. You can’t pick up a juicy gob of paint to make a big bloom on the page. In short – tubes vs. pans depends on your style and how often you paint with a particular kit. Just *never* student grade pans. They’re just frustrating.

You might also consider carrying a Titanium White Gouache (opaque watercolor). You can mix white gouache with any watercolor pigment to make ‘body color’ – opaque paint that can bring back lights on top of dried washes. Some people claim this is not ‘acceptable’ in traditional watercolor technique, but John Singer Sargent did it, so that is good enough for me.

I sometimes carry a small tin with a tube of white gouache a first-aid kit for painting emergencies. I mix my body color on the lit of the tin.




I’ve recently (mid 2014) switched from synthetic to sable. I use pointed rounds and have a few ‘large’ sizes that I use on smaller paintings (1/2 to 1/4 sheet sizes). I do have a few sizes in between (#5,7,8,10). But I do most of the work with the big #12/14 brush – then step down to the #1 or 2 for details.  I have not invested in a sable larger than #14 – the price does jump considerably.

  • #14 Escoda, Round
  • #12 Winsor and Newton Artist Watercolor Sable
  • #3 DaVinci Artissimo, Quill (Quills have strange numbering. This is really the same size as the others).

For detail work I’ll jump right down to:

  • #1 and 2  W&N Series Seven Sable for the fine details.
  • I like the Series Seven in the long hair (almost a rigger) version if you can find them. The superior sharp point and larger water-loading capacity of a sable lets you do a lot of work with one or two sizes.


I am just now trying a new fiber by Raphael called Soft Aqua. They claim it is engineered to hold more water than a normal synthetic. The fiber is spiraled, rather than smooth like a nylon strand. They come in synthetic squirrel brushes that are working very well for me. Can’t say how long the points will last, as they are new to me in 2015. So far they perform very well for the price.


  • Princeton Neptune Series 4750 Dagger Brush: This brush has a curved blade-shape, a bit like a short steak knife. This brush puts you a bit out of control, but can give you nice effects. You can get some interesting thick-to-thin brush work. I like it for trees and foliage or choppy waves. Sometimes clouds.
  • Princeton Neptune Series 4750 Oval Wash: Good for larger areas – skies or large flat foregrounds.


A travel brush has a hollow handle that reverses to enclose the brush when it’s tossed into your bag. I recommend the Da Vinci Cosmotop Spin (synthetic fiber) or the Da Vinci Maestro Series 1503 (sable). These are the most reliable travel brushes I’ve found. Other brands have cheap enclosures that get crushed over time, slip off the brush, or bend back the brush hairs.

13Nov29_MHolmes_GearShots (3)


I don’t always use an easel. This is the most optional part of the kit. It adds a lot of weight, so I’ll only bring it if I’m going to paint all day.

If I’m walking around and sketching, I’ll just use my Coroplast panels and work’hand held’. (Shown below). But if you’re doing a slower sketch, where you might be taking an hour or more, an easel helps you keep your work up at eye level – near your natural sight line, and lets you keep all your brushes and paints in easy reach.

I’m currently using a collapsible Sirui T-005X 54.5″ Aluminum Tripod (12″ when folded down), paired with a plastic tray called an: Eric Michaels En Plein Air Traveller, which is designed to attach to the threaded screw that holds the camera.


You might also find accessory trays marketed to digital photographers – look for laptop supports or tablet holders. For smaller works I’m using an iPad holder, inserting a drawing board in the clamp meant for the device. If you’re handy with tools, you might make your own. The threaded female screw your need to connect to the camera mount is called a ‘tee-nut’.


Sometimes I just clip a travel palette right onto the Coroplast boards, so I can pick the whole thing up and walk around with it on location. You can use a single Coroplast panel, or two or three clipped together as shown above.  Or, clip an entire sketchbook onto the boards, as below:



  • Nalgene Bottles: I bring three or four 60 ml bottles. I don’t carry too much water (it’s heavy!) so I bring many smaller bottles instead of one large one. It’s lighter over all, and I only dirty one bottle at time.Refill water every chance you get. (e.g. lunch breaks).I get these at camping supply stores.
  • Zippered nylon bush case: The kind with little slots for each brush. Keep your sables point’s protected. Store it upright in your bag.
  • A small misting spray bottle: To dampen your paints in the palette – get them ready to release color.
  • Paper towels: For quickly blotting mistakes, removing excess water from brushes.


I’m keeping this advice that follows on this page for reference – even though I do not use this color selection anymore. I still recommend it for people who want to learn color mixing the ‘proper way’ before branching out into more personal color choices.

When I was a student, I was taught to organize my pigments into a split complementary palette. These are pairs of warm and cool shades of each primary color. (Red, Yellow, Blue). By staring with these pairs you can easily bias a color towards warm or cool by juggling the proportion of each – and easily neutralize by cross mixing with the complementary color.

  • Alizarin Crimson / Cadmium Red Light (Warm/Cool Red)
  • Yellow Ocher (or Raw Sienna) / Cadmium Yellow Light (Warm/Cool Yellow)
  • Ultramarine Blue / Cerulean Blue (Warm/Cool Blue)

Add to this some secondaries that you can cross mix with the opposing pairs.

  • Sap Green
  • Cadmium Orange
  • Cobalt Violet

Then I include a set of colored darks I use to make deeper colors.:Any two of these can make a more interesting black vs. an ivory black,or neutral tint.

  • Burnt Sienna (Dark Red (sort of)
  • Prussian Blue (Dark Blue)
  • Perylene Green (Dark Green)
40 Comments leave one →
  1. April 27, 2015 1:00 PM

    I am looking at the Sirui tripod, but was curious about the mobikity of its ball head. Do you get good 360 pan and tilt movement? From the pics it seems so. My current tripod has some limitations, and it can be complicated when I need to tilt the board in various directions while doing washes. The sirui seems to offer this. Also, does it have a quick release?

    Seems like a wonderful Plein air tripod. Thanks!

    • April 27, 2015 6:26 PM

      It has good movement in 360 – except that you have to twist a small knob to do so, so you have to reach under the drawing board where you can’t see. But it’s not a big deal. It does not have a quick release – but it has a ‘foot’ you screw to the drawing board, and then you slot the foot into the jaws and tighten. So, again, a little knob, not a instant click. But – there you go, it’s the trade off for price I expect.

  2. July 9, 2015 3:09 AM

    Marc, what bag do you carry your get in. I saw you in a photo with Liz Steel and you appeared to have some type of sling bag on. Could you tell me what brand it is?

    I took your craftsy class and love it. Wish you could do one of just sketching and painting too.

    • July 10, 2015 9:59 AM

      Hey Cynthia – glad you’re enjoying the class! Re bags: I have a set of small courier bags from a quebec company – here’s a post:

    • July 10, 2015 10:00 AM

      There is also my large painting bag:

  3. Barbara Chandler permalink
    August 21, 2015 8:53 PM

    Your art is wonderful. Please add me to your blog mailing list. Thanks.

  4. Barbara Chandler permalink
    August 21, 2015 9:25 PM

    Where can one find a Winsor&Newton TIN watercolor box like you use? I can only find plastic ones. Thanks.

    • August 21, 2015 9:48 PM

      Hye Barbara – Here’s a Windsor and Newton set on Amazon. Some retailers sell the sets empty like This One. I got mine in a local store (Avenue Des Arts on Victoria) – but Amazon is always the option if you can’t find in locally.

      • Barbara Chandler permalink
        August 21, 2015 9:53 PM

        Thanks so much for the info and you speedy reply!

        • slowlane permalink
          December 13, 2015 10:33 AM

          Kathy Johnson once recommended Kremer Pigments for empty pans. They also sell empty metal palettes. I found them fast and well-priced on an online order for empty half-pans. Their pigments are intriguing, too….

          • December 13, 2015 12:08 PM

            I’ve only tried Kremer’s one time (a friend lent me a set for a few hours). They were intensely pigmented – I could see them being great to use once you got used to the strong colors. You can get them here in Montreal, but you have to get to an off-island Hachem to get the best prices. I’m comfortable for now with my Daniel Smiths, but someday I might try some Kremer’s just for fun. I suppose if they were to send me a set I could do a demo! Hah. ~m

  5. Alexandra Connor permalink
    September 16, 2015 2:05 PM

    Hello Marc, I love your work!! I have a question about your equipment. On your “About” page there’s a photo (last one) of you working on a tripod with what looks like a swing arm that holds the palette. It looks like a very sturdy and convenient way to hold your paints up high where you can reach them standing up. Would you possibly know the name and/or the manufacturer? Thanks so much!!

    • September 16, 2015 4:35 PM

      That is called a “Magic Arm” from manfroto, and I’m using it with a generic lighting clamp and a video camera mounting tray. All accumulated from various photo supply places – mostly B&H photo shipping out of NYC. But! All that gear ends up being quite heavy! So watch out for that. I don’t take that stuff out if the studio anymore :)

      • Alexandra Connor permalink
        September 16, 2015 7:12 PM

        Thank you for your fast reply!! And thank you for the information. I can see that it would be heavy. It’s just that it looked so convenient to have the palette up high. I just discovered you and am enjoying looking at your great work!

        • September 16, 2015 7:16 PM

          I should have said – now that I use a smaller palette, I keep it up high and accessible by clipping it rght to the drawing board itself. So thats the light weight solution these days:)

  6. September 22, 2015 5:24 PM

    I think I have a solution to the Coroplast warping in the sun…..I cut two pieces of Coroplast with one piece having the corrugated part 90 degrees to the other. Then I put dabs of superglue gel on one and carefully put the other on top. Put some books or weight on top for about 5 minutes. Then black Duct Tape around the edge. I’ve used this board in the hot Texas sun with no problem. And if you can find Scotch Brand 234 masking tape. I think they developed this particular masking tape for artists. It works extremely well with quality watercolor paper like arches. With thin multi-media paper, it tends to pull up bits of paper. Pull it towards you and away from your work for good results.

    • September 22, 2015 5:52 PM

      That is brilliant. I will totally try this – sounds perfect. Thanks very much Rene!

  7. lmnavroth permalink
    September 30, 2015 5:17 PM

    You can add a drop or two of glycerin to your tube watercolors (and stir with a toothpick to mix) to keep them moist. They’ll still solidify, but will re-wet with ease. I’ve found, however, that with Daniel Smith tube colors there is no need to do this.

    • September 30, 2015 6:03 PM

      Hey Imna – I had heard about this, but have never tried it. Where does one get glycerin? Are there better or worse types? thx ~m

  8. lmnavroth permalink
    September 30, 2015 6:18 PM

    I bought a bottle online from Natural Pigments. I haven’t tried any others–but they have very high quality standards for their products.–Linda

    • September 30, 2015 6:19 PM

      Excellent! Will try this out next trip to a dry area.

  9. September 30, 2015 6:23 PM

    What do you think of – have you used – water based brush markers like Tombow? The color doesn’t spread like watercolors, but they do come with a clear blending pen. I thought they might be useful for color highlights.

    • September 30, 2015 6:50 PM

      Hey Robert – I have tried the Windsor and Newton version of watercolor markers. Only a couple sketch outings, (unsuccessfully) trying to make a post about them actually. I’m sure any tool can be used to good effect – but for me, they don’t turn my crank. The color simply doesn’t flow like watercolor – the marker can’t paint down enough pigment to bloom out into a big wash or intermingle with the next color (at least not enough). As well, you can’t control the opacity via paint/water ratio. Or tint the color by mixing on the palette. Plus the colors are very bright and clear – and I like a lot of strong granular colors. So – basically I’m hooked on the complexity tube watercolor offers. If you wanted a more graphic look – I bet you could make it work. But the few tests I’ve tried I didn’t see anything I could use. I’m sure as soon as I say that, you could link to an amazing drawing done with them :) But yes, that’s my take on it.

      • October 2, 2015 12:38 AM

        I realize they’re not your general style – but thought you might have some thoughts – and I was right!! LOL The brush tips do provide more flexibility in line style and shape than regular markers – but I agree they do not allow the flow you like. I have your book and currently taking your Travel Sketching class on Both are terrific. Love your style. Having read/skimmed several other sketching (urban and other) books, I keep coming back to yours. Both your teaching style and explanations and examples in your book are terrific. Am working on your flowing, less structured style – I’m used to drawing a more “accurate” pic as opposed to capturing the feeling. More practicing!!

        • October 2, 2015 11:04 AM

          Great to hear the book is clicking with you Robert!!

  10. Cherngzhi permalink
    October 3, 2015 12:39 PM

    Great resources Marc.
    Didn’t get a chance to say hi when you were in Singapore :-)

    • October 3, 2015 1:04 PM

      Yes sorry! Sometimes the teaching gets in the way of meeting everyone. One day I’ll have to go just as a student and have more fun with it!

  11. Pat Cameron permalink
    October 3, 2015 4:51 PM

    I read this post as your reply to my ‘Craftsy ‘ question and it has ticked all the boxes for me. Thank you! I stumbled upon your ‘Drawing people in Motion’ class and now have the travel class as well. They are both terrific and I am learning so much from your relaxed and wonderful teaching style. You just make sense! Thanks Marc! When are you coming to Australia???

    • October 3, 2015 5:22 PM

      I hope to make it down there soon! In the mean time – do you know my friend Liz Steel? You might like to take a course with her :)

  12. june permalink
    December 3, 2015 4:49 PM

    Thank you so much for this post, really interesting. I’ve got one question : where did you find the palette box shown on the picture in Rio? It seems very handy and original, we don’t get that in France…

    • December 3, 2015 5:02 PM

      Hi June – that one in the Rio photo is a Holbein box. It’s 3×8″ and has 12 sloped paint wells for squeezing paint – instead of the trays meant for half pans. So – it’s not a good trade-off in my opinion. More size and weight, and half as many colors – in exchange for a lot more mixing space. I don’t really need the mixing area as much as I need the colors :) So I’ve settled on this other one as my favorite: I see a lot of sketchers with this same style box. Mine is a Winsor and Newton, but I’ve seen the same thing from Senellier and the amazon vendors I linked above. Hope that helps!

  13. Cathy Inzer permalink
    January 20, 2016 7:34 PM

    Hi Marc, if you aren’t using a palette of warm/cool, how are you using your 24 color palette? By hue, texture? Is using watercolor on a sketch with ink different than painting? It seems to me that there might be a different way of using watercolor than the warm/cool method. I appreciate your time, love your classes!

    • January 20, 2016 7:51 PM

      Hey Cathy – well my paint box is organized into warm and cool – if that’s what you mean? I have greens/blues (and blacks) on one side and yellow/earth/red/purple on the other. Then in each row I have the colors in three values. (sort of). You’ll see there’s three reds and three yellows, three greens – etc. Each color has a light, middle,dark (though for some reason I have a LOT of blue. I was talking to someone recently about getting rid of Manganese – my sky blue. Blue skies are feeling a bit cliche these days :)

      I do have some colors chosen for opacity and granulation. For instance, Bloodstone and Goethite. I tend to use a lot of opaque colors – I think that’s a bit unusual in watercolor, but I’ve gravitated towards it, as I try to get a lot of work done with each stroke, and keep the layering to the minimum.

      I think the difference between tinting and painting for me, is that when I have a drawing I can rely on it for structure – so I just ‘hang the shadows’ on the drawing’s skeleton. When I’m painting for real I have to be more aware of making clean/strong silhouette shapes first, and adding detail on top of that. Does that make sense?


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