There is much information readily available on watercolor supplies. Most beginner watercolor books have a chapter dedicated to this topic while art blogs and websites for artists who teach often provide a favorite supply list. There is a lot to know and it can quickly become confusing and overwhelming. Rather than repeating basic information here, I’d like to share some tips and thoughts on watercolor painting and supplies from my perspective. Keep in mind that while each of my tutorials lists the supplies I used, this does not mean you cannot achieve similar or better results with different supplies. I encourage you to use what you have.
- Paper makes a difference. More than any other supply, this is the one that affects results the most. The paper choice will affect many things including drying time, pigment flow and handling, vibrancy of dried color, lift-ability of paint, paper durability, buckling, edge quality, and the number of layers you can build up. I prefer using 140 lb., cold press watercolor paper by Arches, as well as other professional grade papers by other brands. Some techniques work better on hot press paper because it has the smoothest finish. Think detailed botanicals, photo-realism and portraits. Landscapes often take advantage of the more textured rough paper. Dry brush techniques for example, are especially effective on rough paper. Certain painting styles are easier on 300 lb. paper but not all, so it isn’t necessarily better. Ways to be thrifty: paper pads are cheaper than blocks, look for sales and stock up, paint on the back too! Take the pressure off by knowing that the first try is just a practice run. Since good paper is equally good on the reverse side it allows for a second chance powered by experience.
- Paper and paint comparison: In the paintings below I used professional paper (Arches) and student grade paints (Cotman and Koi) vs. student paper (Fabriano Studio) and professional grade paints (Winsor & Newton and Daniel Smith).
Image 1. Professional paper with student paints.
Image 2. Student paper with professional paints. - I had much better control with Arches paper (Image 1), allowing for more even coverage and precise, crisp details. Paint lifted on both papers but too much so on the Fabriano Studio paper, making it difficult to glaze or build layers. Notice the paint colors appear similar. The big difference will be in their longevity. Student grade paints tend to fade or change with exposure to light. This may not be a problem for beginners who are simply practicing, working in journals/sketchbooks, not selling their work, or only selling archival prints of the original.
- Size matters – sometimes. Brush sizes are not standardized across brands but in general, you should be able to substitute with one size smaller or larger than the suggested size. Keep in mind that brush size recommendations are relative to the size of the original paper/image. Larger brushes are only needed to handle lots of water, very wet techniques, large paper sizes/painting areas, larger mark-making, and to work more quickly if needed. I have found that for the smaller brush sizes, the type of brush (synthetic/natural/cheap/expensive) makes much less of a difference.
- Paint colors are like candy. While tempting to have one of each, it may lead to regret. At a minimum, start with a triad of primary colors. Then add another triad to achieve a range of cool and warm primaries, known as a split primary palette. This greatly expands the potential for mixing secondary and tertiary colors. Burnt Sienna is super useful too. As you become familiar with the pigments and mixed combinations, add convenience or favorite colors as you can. Your color choices may be influenced by preferences in subject matter. For florals, you may wish to expand the range of reds, pinks and violets while landscapes may call for more earthy colors such as ochre and umber. Professional quality pigments are more permanent (light-fast) and more concentrated. However, I have also used some student grade paints with very good results. I primarily use Winsor & Newton from tubes. The tube format allows one to customize a palette and keep some in the tube, should fresh paint be preferred. A good economical brand that is labelled professional quality is Turner (available by the tube at Jerry’s Artarama or in sets on Amazon).
- Palette or plate. I use a palette with a lid and quickly re-wet the dried paint with a spray bottle before starting. The best mixing palette is a white ceramic plate, an enameled butcher tray or even a large white glazed tile. But, plastic is more portable and lids keep the dust off. Travel palettes are popular among sketchers and plein air artists. They are good for smaller paintings and smaller brushes. For painting on full sheets of watercolor paper with big flat brushes and for mixing your own colors in large juicy puddles, palettes with bigger wells and mixing areas will work better. I have collected a variety and use what the project calls for.
- Tape it down. Unless I’m using a block of watercolor paper, gummed on all sides, I tape my sheet of paper down, all the way around, to a sturdy, water resistant board. Gatorboard is nice for larger sizes since it is lightweight. MDF/hardboard is inexpensive but heavy. Taping securely will help the paper to dry flat even if some buckles develop while painting. It also provides the instant gratification of a clean, crisp border around your finished piece. Wait until the painting is completely dry to remove the tape, peeling it away from the image to prevent any paper fibers from tearing into the image.
- There is no magic brush! There really is no substitute for mileage on your brush, so getting the latest recommended brush won’t necessarily improve your mark-making skills. My recommendations are suggestions for the way I paint and the particular project at hand. The more you learn, the more you will be able to discern if a supply would be useful to you or not. So take your time with accumulating tools and materials if affordability is an issue. You can do wonderful things with a basic few!
- Patience is key. I have witnessed students quit after trying watercolor once or twice. Disappointed in their results, they decided it was not for them because they were not any good at it. Have you ever heard of anyone decide to be a concert pianist and quit after sitting down at the piano for the first time because they could not play a symphony piece? Please be patient with yourself – at least long enough to start enjoying the process and therapeutic benefits of art-making. Everything changes after that. I promise.
- Take instructions with a grain of salt. For every artist I have heard say “never do this” or “always do that”, I have also heard one say the opposite. With time you will become experienced and comfortable with certain methods and favorite tools that will work for you and the way you prefer to paint, or the aesthetic you aspire to achieve. Some artists are purists and others break the rules. Decide what kind you want to be.
- Making progress. If something isn’t working, change one thing. When results are not as expected, it is helpful to alter one variable at a time and observe any difference. For example, try a different brush type/size, use more/less water, use more/less paint, try different paper/paint. Any one of these things can change the results. Strategic changes and careful observation will lead to clarity and reduce frustration.
- Set up for success. Reading through the instructions before starting is something every good cook trying a new recipe knows. It helps to understand where you’re headed, especially when timing and details are critical to success.
Ready to practice? Try my free step by step tutorials to get you going!
Watercolor with Stephanie 