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MATERIALS

I have kept the materials for the contents of this book to a minimum. This is not only for the sake of simplicity for beginners who are being introduced to the subject, but I think it is also a good exercise for more experienced artists to produce work with a limited range of colours and equipment.

As with most subjects, if you are new to drawing and painting you may find that you are faced with an unfamiliar vocabulary. Art techniques are often described in specific terms that may appear confusing to you at first, but once you have begun to understand these terms you will find that they are useful to you. Do not hesitate to consult art reference books for help in clarifying any term or technique further. You will progress more quickly when you understand how both techniques and your materials work for you.

WATERCOLOUR PAINTS

My mixing palette with the ten basic colours I use in the book as tubes of watercolour.

Artists often use the term ‘pigment’ when referring to colour. This is the source powder obtained from the earth, plants, animals or minerals, or man-made synthetic substitutes. The powder is compressed and mixed with a binder, then either sold dry in little square cakes referred to as pans, or half pans depending on their size, or as moist paint in tubes.

The best watercolour paints are those known as artists’ colours. These are of a finer, purer quality and give more vibrant results than the slightly lower grade students’ colours. However, for beginner painters, I recommend students’ watercolours as they are less expensive. Paints from Daler-Rowney’s Aquafine range of students’ colours are shown here.

I use watercolour tube paints because I find them easier to work with than the dried watercolour pans. This is a personal preference, however, and you may find pans more suitable. However, if you use watercolour tubes you will find you need only a small amount to mix with water because the pigment is strong. Tubes can be bought singly or in boxes of ten, twelve or more. You can start with a small pack of basic colours and add to them gradually by buying single tubes.

I have used the following ten tube colours throughout this book: Burnt Sienna, Raw Sienna, Burnt Umber, Raw Umber, Yellow Ochre, Sap Green, Alizarin Crimson, French Ultramarine, Lamp Black and Chinese White.

I use quite a large plastic palette as I find it helps to have plenty of space in which to place the colours before mixing. Always wash your brush well in clean water before and after mixing and change the water in your jars regularly to avoid any hint of muddiness in the mixes. Keep a piece of kitchen roll handy to mop up any splashes that will inevitably occur in your enthusiasm.

Take your time when mixing and practise before starting to paint. If necessary allocate half a day, or as long as it takes you to become confident. Learn the basics of colour theory and make a colour wheel as a reference to familiarize yourself with the rules of mixing.

BRUSHES

The five watercolour sable brushes I recommend (sizes 00 and 000, and nos 3, 8 and 11), HB sketching pencils, a putty eraser and a selection of watercolour pencils.

I have used only five brushes throughout the book. The round brushes that I prefer are sizes 00 and 000, and nos 3, 8 and 11. The size 00 and 000 brushes are the smallest ones and I use them for very fine, detailed work. I favour sable brushes made by Daler-Rowney. Although the sable ones are more expensive it is worth spending that bit extra because sable really are the best to work with. I find them much more pliable than synthetic brushes; they hold moisture better and therefore make controlling the paint easier. If cost is a major factor to consider, however, you will find that synthetic brushes are quite adequate, and I have used many in the past, especially in my early years as a watercolourist.

Sometimes a vast array of brushes of all shapes and sizes is somewhat overwhelming to the beginner. Whatever brush you decide to buy, though, always remember to check that the tip of the brush forms a fine point when wet. If you have any doubts you will find that the assistants in a good art shop will help you to choose.

Once you have become familiar with the types of brushes suitable for your particular type of work, and are competent in using them, you will start to understand how watercolour can vary by using different types of brushes for different types of paintings.

Landscapes, for instance, require bigger brushes for colour washes that cover a larger area than those for portraiture. Concentrate on learning just a little technique at a time and become comfortable with that and the types of materials needed; then you can progress to the next step.

Always work with a clean brush before applying any colour and at the end of your working day wash it out well with warm water and a mild soap. Brushes come with plastic covers and you should keep these and replace them after use; they will help retain the shapes of your brushes.

PAPER

My camera, watercolour paper blocks and sketchpads.

Watercolour paper is sold in single sheets or in pads or blocks. The blocks are more expensive and are formed of sheets compressed together; each sheet can be eased out with the blunt side of a knife via a little unstuck area. You will see the term ‘cold pressed’ used and this is the type of paper recommended for beginners, as it has a semi-rough surface. It is often known as ‘Not’ and this means that the paper has not gone through the process of hot pressing. It is suitable for washes and line work as it has a slight texture.

WATERCOLOUR PENCILS

SUSIE AT HER EASEL

Rambo, Susie’s cat, is a regular bystander when Susie is at work.

I have used Daler-Rowney Derwent watercolour pencils in this book and these come in presentation packs of 12, 24, 36 or 72 assorted colours. However, they are also sold singly and this is probably the best way to buy them because with a pack of pencils you usually find that there are many colours you do not wish to use. Make your selection with reference to a particular pet and buy more colours as you need them.

Make sure you have a good supply of lead pencils. Pencil grades range from hard, thin leads to soft, thick leads. The former are useful for fine work and the soft, thicker leads are ideal for covering wider areas and non-detail work. I prefer using an HB pencil for drawing for watercolour since it does not smudge into the paint mixture.

OTHER ESSENTIALS

You will also need a putty eraser and a good pencil sharpener.

I also find a camera an essential piece of equipment for capturing reference photos of all types.

Always work in good light, using a daylight bulb if you are not in a naturally lit studio space. A daylight bulb produces a true, natural colour as opposed to conventional yellow light bulbs.

Easels range enormously in size and price and as a start you can use a table easel.

Keep your working area orderly. Following this rule will help you work more easily and with greater concentration. A disorderly studio will not only slow you down, but will distract you in your creativity.

TIPS

Keep your working area clean, tidy and orderly, with watercolour pencils and paints in storage boxes.

Locate your work space away from distractions. If your attention is being taken up by something else get it done so that you can concentrate fully on your drawing and painting.