Watercolour papers which I use... Arches Aquarelle, Saunders Waterford and Bockingford

Although I do experiment with other papers (from the large range of Watercolour papers that's available today) when the opportunity arises, I return to the three detailed below, plus as I have little or no working knowledge of others I feel it's not right to pass comment on them.

As each brand of paper has its own character (response to the application of paint, spreading, texture, etc) this has a dramatic effect on the end result, so it’s worth doing some experiments to see how your style/technique of painting is affected by the paper being used.

Arches Aquarelle Paper

Arches Aquarelle is considered one of the finest watercolour papers made today. It is 100% cotton fibre (sometimes known as Rag Paper), acid free, and made for more than a hundred years on a cylinder mould machine by Arjomari of France.

The process, in which the pulp gradually settles and drains onto a slowly rotating screen-covered cylinder, results in a paper that has a uniquely hand-made look and feel. This thick, stable sheet is beautiful, durable and moderately resistant to scrubbing, lifting etc. The Rough and Cold Pressed sheet are gelatine sized, while the Hot Pressed sheets are internally and surface sized.

The sheets are then air dried. Have four deckled edges and before leaving the mill each is hand inspected for strict quality control. The Arches paper is watermarked and also stamped in the corner of each sheet. The paper costs (depending on source) about three times that of the Bockingford. Arches Aquarelle is available in three surface finishes.

Like the other papers suitability for technique etc is the same. HP (Hot Pressed) is better for highly detailed paintings. CP (NOT) is a good all round surface. The Rough is a fantastic surface for looser landscapes and seascapes where the surface really works with the painting.

Saunders Waterford Series Watercolour Paper

Saunders Waterford is the highest quality watercolour paper offered by St Cuthberts Mill. Mould made using 100% cotton and the only paper to be endorsed by the Royal Watercolour Society of England; this is a paper of pure luxury.

Although I have only used this paper for watercolour painting and drawing, other artists use it for Intaglio, Silkscreen and Hand Lithography. The paper (depending on source) is about twice the price of the Bockingford. The paper is a warm white and both internally and surface sized with gelatine and is buffered against atmospheric contamination giving very good archival permanence (neutral pH).

This size strengthens the paper allowing lifting, scrubbing and corrections to be made without damage to the surface. Full size sheets have four natural deckled edges and come with a watermark, plus an embossed mark in the left corner to prove authenticity.

Saunders Waterford is available in three surface finishes. HP (Hot Pressed) which is great for high detail paintings. CP (NOT) is a good intermediate surface, which is great for most types of paintings. The Rough is a fantastic surface for landscapes and seascapes where the surface really works with the painting.

Bockingford Watercolour Paper

Bockingford is one of the world’s most loved watercolour papers, which is only made at St Cuthberts Mill, near Wells, Somerset. It is cylinder mould made using the purest wood pulp to give an archival paper (internally sized with a neutral pH). Used by both professionals and amateur artists, for the papers excellent paint removal properties and for having quite a hard surface which resists scrubbing, scrapping and also takes masking fluid well.

The imperial sheets have straight edges. Within the Bockingford range the 535gm² (250lb) White or 425gm² (200lb) White are the papers that I use on a regular basis. I do prefer the extra weight of the 535gm² (250lb) paper even when compared to the 425gm² (200lb) but both are wonderful to paint on, both having the same slightly textured surface.

I stretch both these papers having cut it to the size required from full sheets.

Depending on your output of paintings art shops (or via the internet) now offer paper in large packs (10 to 100 sheets) at good discount. Don't forget to store the sheets flat and away from damp or temperature change.

The Bockingford Extra Rough surface has been developed in response to artists' demand for an alternative to the CP/Not surface in the Bockingford range. Like all the Bockingford range the Extra Rough is mould made from the purest cellulose fibre. It has an extremely forgiving paint surface allowing frequent changes to work e.g. lifting, scrubbing and masking fluid. It is acid-free and buffered to protect from atmospheric contamination, internally sized, highly light fast and colour stable. Bockingford Watercolour paper is available in 5 weights ranging from 150gm² (72lb) to 535gm² (250lb). In the most popular weight 300gm² (140lb), Bockingford is available in 5 tints (cream, grey, eggshell, blue and oatmeal).

Gesso panels for oil painting - plus how to make your own

Gesso covered hardboard - sometimes know as Masonite - smooth surface on one side rough on the other

By varying the application of the Gesso different surface textures can be used but use with a degree of caution as the texture can fight with the painting. The opposite is to sand it smooth therefore making it ideal for detailed work. 

Hardboard/Masonite is a manufactured product made from wood.  Wood chips are blasted with steam into long fibres and formed into boards, which are then pressed and heated to form a finished product. 

For oil painting hardboard/masonite can be primed with acrylic gesso or canvas can be glued on top of it. One thing to keep in mind however is that large boards have tendency to bend and therefore for larger paintings extra backing support would be well advised as well as painting the back of the board.

The Untempered variety is used widely by artists and thought safer, than Tempered, for archival painting although it is less durable at the edges as it has loose fibre content. By preparing your own surfaces (canvas or hardboard) you can choose any dimensions or shapes you like and many artists do prepare of their own.

Primers really control the texture, absorbency of the support, while colour can also be considered. Priming hardboard for oil painting is inexpensive when compared to other supports, the boards can be purchased quite cheaply, although these will need a number of coats of acrylic gesso (3 to 5 coats) before painting (on the smooth side which has been lightly sanded), so takes more time but a number can be produced at one time.

As an alternative to making your own, a number of companies now make readymade versions but to set sizes usually the same sizes as for canvas boards.

Making Gesso covered boards:

I purchase full sheets of hardboard or masonite (depending on location and supplier) and then cut to the required sizes. Depending on the size needed - a division of the width and/or length results in little or no waste.

After cutting, sand the smooth surface and edges.

I use Winsor & Newton Artists Acrylic White Gesso. 

Each board will have five coats applied to them with a large household paint brush - used only for gesso. It's better to use one with long hair as the gesso does dry quickly. Therefore it's best to keep the gesso away from the ferrule and wash the brush as soon as you have finished. Allow each coat to dry before adding the next. Larger boards can warp, if this happens' paint the back with a coat and if very big a support frame will be needed.

If you want a smooth surface, sand the surface between each coat.

For slight uneven texture, use straight from the pot and retain some of the brush marks. Vary brush pattern for each layer.

For a fine canvas like texture, brush horizontal for one coat, then vertical for the next, repeat horizontal then vertical until all layers have been applied.

For more texture, add some texture paste to second or third layer but beware that the texture itself doesn't compete with the brush work of the finished painting.

Oil painting - canvas, panels, pads etc

An oil painting support is any surface that you can apply oil paint to or at least prepared it for. Choosing the right support is one of the most important decisions you can make for your oil paintings, in the end it's what you are going to be working on and the base for your painting.

As with most things, there are a number of different types of oil painting support on the market and each has different qualities, which may or may not suit your style or planned painting technique. I would therefore encourage anyone to at least look at them all and see which support you like the best and/or which may suit your painting style and budget.

Canvas:

Cotton duck canvas:

Cotton Duck canvas is a type of textile derived from cotton plant and cotton duck canvas is the most popular and also the least expensive on the market. It comes in a variety of surface textures and weights from 9 oz up to 18 oz with 12 oz being the classic weight.  You can buy it pre-stretched, made to order, in rolls, primed and un-primed. For both oil and acrylic painting, an acrylic gesso primer is generally used.

Many beginners buy ready to use pre-stretched canvas, which comes in a variety of sizes although usually to set ones like 8" x 10" or 12" x 16". These are very convenient being just unwrap and begin painting.

Pre-stretched canvas usually comes in two styles - regular style and gallery wrap. This refers to the depth of the bars (frame) supporting the canvas.

Regular style canvas is wrapped around thinner stretcher bars and due to the method of attaching the canvas, nails or staples these usually require a frame to hide this before hanging.

Gallery wrap: this type of canvas offers crisp, deep and clean edges and can be hung framed or unframed as the usual method is to attach the canvas at the back and not on the side. Due to the thicker wooden bars these are more expensive than the regular.

Lots of companies make readymade canvas from 4" x 4" to 48" x 60", just check what canvas weight and texture is being used before ordering or have them made to order.

Linen canvas:

Linen is a textile derived from a flax plant and labour intensive to manufacture. Linen (Belgium, French or Italian) is better quality due to its strength and resistance to decay over time. This results in a more expensive product but it's more durable, more natural weave and doesn't slack like cotton etc.

Just like cotton canvas, linen canvas comes pre-stretched, in rolls, primed or un-primed. It also comes in variety of textures, weights and smooth or rough finish.

For the DIY fan, there is however a downside to using a pre-primed canvas is that it is much more difficult to get good tension in the fabric in comparison to stretching untreated canvas, and then sizing and priming it. Needless to say the correct tools are required whichever route is taken.

If doing your own priming, Acrylic primer is the less expensive option and can be used for both oil and acrylic painting.

Oil primer is the standard classic method (use only for oil painting) but needs more methods to prepare and therefore costs more plus time. Linen is both difficult to prime and stretch and if an oil primer is to be used the linen canvas must first be sized with PVA or rabbit skin glue, which serves to seal the fabric and act as a barrier.

Like cotton canvas, Linen canvas is available from a number of companies and comes in different weights, surface texture etc.

For larger canvas requirements I have them custom made or made to order. The beauty of this is that you can select the size required (not conform, if so required, to the standard readymade sizes), plus you can select from a range of canvas (cotton or linen) and finally the stretchers with different profiles and depth.

See the Russell & Chapple website for more details and prices. Other companies like Jackson's Art produce handmade canvas to your requirements.

Canvas Covered Panels or Boards, Oil Pads and Blocks:

Canvas Covered Panels or Boards:

Canvas boards/panels have traditionally been used for sketching outdoors. Basically they are made from primed canvas stretched and adhered to a rigid cardboard backing . Boards take up less room and are less easily damaged than stretched canvases. These usually have a medium grain, which isn't always the best surface texture if you are after one for fine detail but ideal for beginner or those wanting to experiment with different techniques.

Like other things, there are other ranges and quality of Canvas Mounted Boards from different companies should you wish to experiment.

Belle Arti
Cotton Art Boards or Gesso Panels

Daler Rowney
Oil Primed Board - being oil primed only use with oil paint

Pebeo
Natural Linen Canvas Board

Jackson's Art produce a range of Canvas or Handmade Linen Boards with a variety of linens to choice from depending on the surface texture required.

Pads and Blocks:

Following the same lines as a watercolour block or pad there's also a range of products aimed at the oil painter.

Arches Oil:
A French made 300 gsm (140 lb) paper specially formulated for oil painting but has the look and feel of traditional Arches papers. In sheets or as a roll.

Canson Figueras Canvas Paper

Fredrix Canvas Pad:
sheets of acrylic primed cotton duck in range of sizes

Hahnemühle Oil and Acrylic Blocks

A bit about Oil Paints and which one's I use

Oil Paint - what is it?

Basically it is pigment dispersed in oil, usually linseed, and added to this could be a number of other ingredients such as fillers, binders and thinners.

More expensive colours will contain only high quality pigments and oil, while cheaper paints will have inferior pigments, lower quality oil and cheap fillers (of varying amounts). As with many things, you get what you pay for.

The great things about oil paint are its versatility, durability, light fastness and rich colour. Its slow drying time (unless something is added) allows you to re-work until correct.

If there is a downside to painting in oils, it's the need to be thinned or when cleaning brushes with detergents or thinners the smell which results puts many people off. There are now many solvents that don't have much smell or are pleasant smelling. Look at ranges from Zest It, which I use daily, Daler Rowney and Winsor & Newton plus others provide low odour thinners.

Titanium white is the most popular white because it is reasonably opaque and inexpensive. Zinc white is a useful tinting white, being semi transparent while Flake white is very opaque but contains lead.

Oil Paint Brands

I have only used two ranges of Oil Paint. The first and the one I've used for many years and use mostly is Winsor & Newton Artists' Oil Colour and the second is Rowney Artists' Oil Colour range. Both are very good products and I have yet to find fault with either and would recommend.

There are ranges of oil colour available from other manufacturers (listed below), many of which as I haven't used it, or used only when given samples so therefore it would be unfair to pass comment.

These are Old Holland Artists Oil Colour, Vasari, Blockx Oil Colour, Schmincke Mussini Artists Oil Colour, Sennelier Artists Oil Colour, Rembrandt Oils, Lukas Studio Oil Colour, Michael Harding's Artists Oil Colour, Williamsburg Handmade Oil Colour, Shin Han Artists Oil Colour, Royal Talens Van Gogh Oil Colour, Maimeri Classico Fine Oil Colour. A search on the internet will provide more information on each brand.

Depending on what your local art shop stocks, some of these brands may be available or alternatively they can be purchased via the internet.

Winsor & Newton also do Griffin Alkyd Fast Drying oil paint plus some companies do ranges of less quality aimed at students.

As the above companies have been around for years, many are of equal standard/quality and the difference between them will be the consistency of the paint or the range of colours on offer.

The colours used:

The colours I've listed below and use daily are all from the Winsor & Newton Artists Oil Colour range but Daler Rowney have the same and unless ordering from the internet it will depend on which brand your local art shop supplies.

Depending on colour and the available tube sizes I buy either 37ml or 200ml size tubes. Of the 120 colours in the Winsor & Newton range, 119 are now classed as 'permanent for artists' use' [rated AA or A by Winsor & Newton] which aids in the longevity of paintings.

Some of these colours are expensive and alternatives can be found (if cost is an issue) for example, replacing the Cadmium and Lemon Yellows for Winsor Yellows which are close but not the same. Having said that, there are colours, like Cobalt Violet, that I wouldn't be without. 

The main colours I use are:
Titanium White,
Cadmium Red,
Cobalt Blue,
Indian Yellow,
Raw Sienna,
Burnt Sienna,
Cadmium Yellow,
Cobalt Violet,
Lemon Yellow,
Yellow Ochre,
Cerulean Blue,
French Ultramarine,
Alizarin Crimson,
Naples Yellow.

There are other colours that I have available but are used much less, being used for the odd colour that cannot be mixed from the standard range.

Drying times for the colours I use:

All colours will become touch dry in 2 to 14 days.

Each colour has its drying rate and this is why some sections remain wet to the touch while others are dry.

Fast - up to two days:
Cobalt Blues, Raw Sienna, Umbers.

Medium - up to five days:
Burnt Sienna, Cobalt Violet, Ultramarine Blue, Sap Green, Permanent Alizarin Crimson, Ochres, Cadmiums, Titanium White.

Slow - over five days:
Winsor Yellows, Quinacridones, Alizarin Crimson.