After receiving numerous enquiries about the painting equipment I use, such as brushes or colours, it seemed sensible to make a note of it all. The list below will most likely always be a work in progress but hopefully, it’s sufficiently comprehensive for most people’s curiosity. If anyone does have any further thoughts, comments or queries, please do drop me a line in the comments section and I’ll reply as quickly as possible.
Sketching and Drawing
I always use a classic metal bodied Caran D’Ache 2mm clutch pencil for all of my sketching out and use a relatively soft 3b lead. I watched a video a long time ago of an extraordinarily skilled artist that worked mainly in pencil. He advocated these pencils for their flexibility, ie you can use the lead long or short to suit your requirements and, the weight of the pencil remains consistent so you really get used to it. I don’t know why but this recommendation really stuck with me. I also like that the sharpener is inside the cap so I never have to worry about keeping a pencil sharpener with me! For the inevitable errors, I’m rarely far away from a kneadable putty rubber of some description.
Over a number of years, I’ve tried a number of different papers, each of which I’ve been happy with until I move on to the next paper! One constant, however, is that I always paint on rough paper, which I find most sympathetic to my style of painting and the range of marks and textures that I try to employ in painting, from smooth graduated washes to broken dry brush marks. So far my paper journey has taken in Bockingford, Saunders Waterford and Arches. My current favourite paper is Saunders Waterford High White rough, 140lb/300 gsm. For size, I mainly paint on half imperial (dimensions) or quarter imperial (dimensions) sheets of paper.
I know from my own experience that there are many different brands of watercolour to choose from, each offering such a bewildering array of enticing colours that it can be hard to know where to start. Some early advice that I received was to start with a relatively modest choice of colours and, years on, that’s pretty much where I still am today.
My earliest mentors, the likes of Edward Seago and Edward Wesson both used a similar range of colours so that to me seemed like as good a starting point as any. I understand that both also favoured Winsor and Newton paints, and who am I to argue with such wonderful exponents of the art of watercolour painting. Based on this foundation then, my current palette features the following colours from the Winsor and Newton Professional Range
- Winsor Yellow
- Raw Sienna
- Burnt Sienna
- Light Red
- Alizarin Crimson
- Burnt Umber
- Cobalt Blue
- French Ultramarine Blue
- Winsor Blue
I’ve found this to be a great palette of colours – (and one that I think is especially suited to the more muted colours of the English landscape!). You can make just about everything that most people are ever likely to need from this palette. Another advantage is that because you have to do so much mixing – to get all your greens for instance – you get to know your palette and what it can do really well.
As I’ve developed, and moved on to some more urban scenes too, I’ve added the following colours to this basic palette:
Cerulean Blue (don’t know why but, mixed with neutral tint, I find it great for tarmac!)
Neutral tint (for a while I played around a lot with Payne’s grey but now I much prefer Neutral tint)
Winsor Red (traffic lights etc!)
White gouache (only ever used sparingly for the odd sunlit highlight)
Oh, and lamp black. I hardly ever use this but carry it partly because of Rowland Hilder’s influence. It’s especially handy in a reduced sketching palette to get a dark tone in quickly and for some dry brush work. It also produces a great green when mixed with yellow!
I do try out the odd other colour – I recently bought a Winsor Violet to play with – but the ones listed above are my staples.
Even though I’ve been painting for a good many years now, I still feel like I’m getting to know my palette, what the colours can do, how they work together, their individual and combined characteristics. So, I don’t suggest that this selection is in any way a definitive. It’s just the selection of paints that I currently use, and which may be helpful to be aware of when looking at any of my paintings.
If I do have a top tip, once you’ve settled on your essential list, buy the large 37ml tubes of paint when the major retailers are having their sales. Compared to buying smaller tubes they just represent much better value for money.
Well, I certainly don’t have enough time to cover the full gamut of brushes that I’ve tried, but here’s a selection of my current favourites. I won’t list sizes as this is personal from one person to the next. My general rule of thumb, which isn’t of my own making however but one I’ve adopted along the way, is to try to paint with a slightly larger brush than seems appropriate for the job in hand!
- Da Vinci Casaneo synthetic mop brushes
- Escoda Ultimo synthetic mop brushes
- Escoda Aquario Mop brushes
- Escoda Aquario Gold Joseph Zbukvic brushes
- Escoda sable watercolour brushes
- Escoda Versatil synthetic rigger brushes
- Escoda Reservour rigger brush
- Escoda Round Toray synthetic brushes
- Ocean-I Squirrel mop brush and tulip sable brush
- Prolene synthetic swordliner
Again, I’ve tried lots of different palettes. For a long time, my a long time, my favourites were from the Holbein range of enamelled palettes, the Holbein 1000 and the smaller Holbein 500 – both of which are simply laid out with ample space for being generous with mixes and washes.
In 2018 though, and after a tremendous amount of research, consideration and procrastination, I invested in a Binning Monro Palette from The Little Brass Box Company.
For small sketches and for travelling with, my favourite palette is my beloved Frazer Price Palette Box. This isn’t the best palette in the world by any means, but I love the history and heritage of these palettes – plus I’ve been able to customise it to better suit my style painting – and I do like a bit of personalisation!
I prefer to paint standing up so I use an easel for all of my painting (with the exception of just sketching). I use a basic camera tripod and have my painting boards fitted with camera tripod adaptors such as this one from Ken Bromley art supplies.
For quarter sheets, I have a homemade board and paper carrier and there’s a brief slideshow of this set up below.
For half sheets, I have a plain piece of 6mm MDF that’s been cut to size and then sealed with Danish Oil and mounted onto another tripod bracket.
- Bucket of water
- Water spray
- Kitchen towel
- Tool for scraping
I hope that this may be of some interest and maybe even of some assistance to others. Have I missed anything? What’s the one item of equipment, colour of paint or type of brush you simply couldn’t live without? Let me know in the comments section below, it’d be great to hear from you. As I say, this list is a work in progress so I’m always on the lookout for anything that will contribute to me being a better – or even just a happier painter!