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.
- Arches 140 lb Cold Press, Bright White, 22×30″, 5-Sheet Pack
- Fabriano Artistico 140lb, Cold Press Extra White, 22×30″, 10-Sheet Pack
- Fabriano Studio (Student Grade), 140lb, Cold Press, 22×30″, 10-Sheet Pack
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 :)
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.
- Small 2.5×3.5″ paintbox, 8 half pans, (12 if modified), 2 tiny mixing areas
- Medium 3×5″ paintbox, 12 half pans ( 24 if modified), 3 mixing areas
- Large 3×6″, holds 24 half pans properly, 4 mixing areas”
- Empty Half Pan Refills
- “Blue Tack” reusable adhesive I use to stick in extra pans
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).
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:
- Indigo PB60/PBk6 | French Ultramarine PB29 | M.Graham Turqoise PB15:3/PG 7
- Manganese Blue Hue PB15 | Cobalt Teal PB 50 | Fuschite Genune
- Viridian Green PG18 | Sap Green PG36/PY110 | Perlyne Green PBk31
- Bloodstone Genuine | Graphite Grey | Ivory Black PBk9
- Buff Titanium PW 6:1 | Naples Yellow PW4/PY97/PP101 | Nickle Titanate Yellow PY53
- Goethite (Brown Ocher) PY43 | Quinacridone Gold Deep PO48/PY150 | Transparent Red Iron Oxide PR101
- Pyrrol Orange PO70 | Cadmium Red PR108 | Perlyne 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.
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 to make ‘body color’ – opaque pigments that can bring back lights on top of dried washes. Some people claim this is not traditional watercolor technique, but John Singer Sargent did it, so that is good enough for me. I sometimes carry these in a small tin – like a first-aid kit for painting emergencies.
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.
ODD SHAPED BRUSHES:
- 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.
I don’t always use an easel. Much of the time I’m just carrying my Coroplast panels and working ‘hand held’. But an easel helps you have your work up at eye level – near your natural sight line, and lets you keep all your brushes and paints in easy reach.
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:
GENERAL PURPOSE STUFF:
- 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.
THE SPLIT COMPLEMENTARY PALETTE:
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)