Friday 23 January 2015

De Atramentis Document Ink Colours

I have posted a lot about mixing these inks, but thought it might be helpful to show the basic colours all together too. Here they are - the scan has made the Magenta (also called Fuchsia) look more pink than it is and they are all 'backlit'. Note the Cyan is also called Turquoise. The black is actually Black not dark brown...but you get an idea :-). You can see the bottles on Liz' Steel's colourful post here. We've both been very excited about these inks and are enjoying drawing with them.

You'll notice a new one - Document Fog Grey, though to my mind this is not a grey at all, but a navy blue. Liz has done some sketching with it - have a look at her Blog here.
Above I painted out the regular Fog Grey - this is in the normal non-document range of De Atramentis inks, of which there are over 100, and is a lovely colour but it is not waterproof.  Only the Document inks are waterproof, which is why they are so important to watercolour artists. Next to the Fog Grey I have painted 'Jane's Grey' - a custom mix of mostly Document Blue and Document Brown but with a little Document Red and Document Magenta. I usually just use the Blue and Brown mixed but wasn't being very careful and overdid the Blue - so I had to add the reds :-). This is the joy of these inks - you can make the colour you want! I use this colour in one of my Pilot Falcon pens for sketching and I love it. The third grey is taking the Document Fog Grey and adding an equal amount of Brown and then a little Magenta to warm it up a little. It's also a nice dark grey. All good fun to explore :-)

August 2015 update - in the De Atramentis website the 'fog grey' is now called 'Blue-Grey' and there is a Document Violet. I have also been informed that a new Fog Grey will be made using just the Document Blue and Document Brown. I don't know when but that would be terrific :-)

White and Dark Red have also been added.

More three colour mixes with De Atramentis Document Inks

I have explored a number of three-colour mixes to see how to make interesting neutrals with the De Atramentis Document Inks. Many can be found in previous Blog posts (search 'Mixing De Atramentis Document Inks). 

The first here are using the mixing triad Document Yellow, Document Magenta and Document Cyan and are mixed in the ratios shown. These charts were painted in a Stillman + Birn Alpha A4 sketchbook with a brush.

The following three colour mixes were created fairly randomly, but approximate ratios of each colour are given. Yellow:Magenta:Cyan. First I found some interesting earthy yellows, oranges and reds. The 5:2:1 is a possible burnt sienna option.
 These were interesting plum and purple hues
 And turquoise explorations
 I rather like these ones too.

In these mixes I was exploring what happens when you mix Document YellowBrown and Blue and its a lovely range of green-golds and olive greens and cool browns.

Here I was exploring Document Yellow with Green and Magenta.

And here I was looking at the mixes with Document Yellow, Red and Blue. These are some great yellow ochres and burnt sienna hues.

These are some other random three colour mixes using Document Cyan, Magenta and Brown.

 And these are created using Document Blue, Magenta and Brown.

Monday 19 January 2015

The professional touch

I scanned the colour charts for my new book myself on my Canon scanner. I didn't clean them up or adjust them and they look ok though not a perfect match...

But I also took them to my wonderful printer Fine Art Imaging and had them professionally scanned using a large format camera, then colour matched and cleaned up. What a difference the professional touch makes :-)

The new book, titled 'Ultimate mixing palette: a world of colours', has 49 charts and two colour wheels to show every possible two colour combination and the most useful three colour mixing combinations of my 15 colour 'Ultimate Mixing Palette'. Each chart has additional notation and cross referencing.

You can see many more colour charts done using a huge range of colours here. These are also available as a book, which has been updated with renewed images. The idea of my new book is that it is very easy to use the same paints or similar pigments to reproduce the same hues. This is a wonderful colour mixing reference :-)

Wednesday 7 January 2015

Watercolour Mixing Charts - updated

I have painted many watercolour mixing charts that are available to view on my website. There were painted over a number of years - perhaps ten years? - and I painted them to test hundreds of different mixing combinations.

In 2012 I made them into a book, 'Watercolour Mixing Charts', and published them on Later I also made the eBook available. The First edition is still available through the Apple Store.

In 2015 I spent may hours cleaning up the charts further on photoshop, and re-publishing the second edition. I have numbered all the charts for greater ease of use. This is now available as a hardcover book, a softcover book and an eBook on The eBook works on the Mac platform so will load into iBooks on your Mac computer, iPhone or iPad. If you have the Windows platform you can now but the book as a PDF.  Here is a link to all the second edition versions. You can see a preview of the whole book.

I a considering adding a Premium Lustre paper hardcover option as well.

Here is the eBook link.

March 2015 update: I have just published another book, 'The Ultimate Mixing Palette, a World of Colours', which covers the amazing range of mixes you can get with just 15 colours. It shows every possible two colour combination with the 15 colours that make up my 'Ultimate Mixing Set' and the most useful three colour mixes. You can see all versions of both books here, and link to the website page about this palette and book here.

Then I have a few other book ideas on the go :-)

Saturday 3 January 2015

A Question of Brushes

Working in watercolour requires only a few tools and materials, which, if carefully chosen, will last for a very long time. You need paper, paint and brushes. Water containers, spray bottles, sponges, pencils, pens, inks and other tools and equipment can be added of course but these are the basics.

Paper is actually one of the most important materials. Working with good quality paper is possible even with cheaper brushes and student quality paints, but cheap paper won't work even with the best paints and brushes. I'll talk more about paper later too - though my most used paper is Arches 300gsm medium for my work for exhibition. For sketching I like the Moleskine watercolour sketchbooks for more careful work and the Stillman & Birn Alpha sketchbooks for general purpose. (Click on the links to see these blog posts.)

There are so many brushes available that it is difficult to know where to start. I will add an extensive section to my website at some stage but thought I'd make some brush suggestions that you may find helpful depending on a) your budget and b) your needs.

Watercolour brushes are made from Sable (of various quality), Squirrel and Synthetic, by and large. Don't use hog or other harsh haired brushes for watercolour except for special effects and only use watercolour with your watercolour brushes. Keep your acrylics and oils away! I don't even use gouache or inks with my best brushes but only with synthetics but if you choose to, wash them out well.

Natural haired brushes are better for laying down paint, synthetic brushes can be useful for picking up or lifting out paint. I often use a squirrel with pure water and a sable with paint to be able to soften edges quickly.

Travel brushes - Isabey squirrel quill, Rosemary & Co squirrel quill and Rosemary red sable dagger,
If you are only working in a sketchbook, you will generally be working smaller and may want the portability of travel or pocket brushes. I have a more extensive section on travel brushes on my website here at the bottom of the page, but here are some interesting options to consider. The top one is an Isabey squirrel quill. Squirrel brushes are softer than sables and this is a lovely brush for 'drawing' with paint. I enjoy using it exclusively for smaller works (A6 size) and as a detail brush for larger works. It is called a size 2 but is larger than a sable size 2 might be. It is similar in size to a Raphael 3/0 squirrel quill series 803. Sizes vary by brand so I will try to show the brushes in the same scale for comparison.

The middle brush is a Rosemary & Co Squirrel Mop. This is a wonderful brush and probably my most used brush as I use it for teaching demonstrations and for plein air sketching. It is called an R9 on her website and is about the same size as many sable size 8 brushes, though the length of the brush head may vary between brands. This carries a lot of water if you want it to but has a very fine tip so can be your 'only' brush if you are able to restrain yourself and only get one brush ;-)

The bottom brush is one I asked Rosemary to add to her range. It is a sable/synthetic mix dagger brush. The dagger shape allows the brush to be used on its tip for fine detail, along its full dagger edge for wide strokes and twisted for interesting textural strokes. It can also be a stand alone brush, though it takes some getting used to. It is called an R12.

If you plan to be working from home or a studio you can use full size brushes. You can also put these in a protective case and travel with them of course.

Below is an excellent beginner set. These are Daniel Smith synthetic squirrel mix brushes in size 4 and 8, with a 1" flat brush for larger washes, wetting the paper and interesting flat brush effects. Many of my students begin with this set and later may add a fine sable pointed brush for finer details or a larger squirrel brush for larger washes of colour. The 1" flat brush is also available in the series 24-3 synthetic squirrel mix. It's a great brush. I quite like the clear acrylic handles on this wash brush - they can be used to 'scratch' details into a wash or other painted area.

Starter watercolour set - Daniel Smith #4 and #8 squirrel synthetic rounds and 1" flat.

Here is another range of synthetic brushes. These are the Princeton Neptunes in rounds size 4, 8 and 12 with a Silver Cat's Tongue wash brush. You don't need a flat 1" AND a cat's tongue but this shape appeals to some people much as a dagger brush appeals for its versatility. You might choose the #4 and 12 and the 1" wash brush from above.
Starter watercolours set Princeton Neptune rounds #4, 8 and 12 with a Silver cat's tongue wash brush.
There is also a delightful 1" Mottler in the Princeton range that has a very small handle so is suitable for travel - you can see it in the photo below. These are soft brushes - softer than a sable - but I like the ones I have tried and have heard really positive reports about them from a number of watercolourists so they are well worth considering. I'll try the Mop at some stage...
The Princeton Neptune range of brushes from Dick Blick website
The 'best' brushes for watercolour are considered to be the Kolinsky sables, though many also love working with the softer squirrel quills. I tend to use the sables for smaller sizes and the squirrels for larger sizes due to their water holding capacity. These days there are better quality synthetic brushes available that may rival the natural hair brushes, though I haven't tried them all :-) Aim at all times to buy fewer higher quality brushes and get to know them and use them well rather than more lesser quality brushes. If you can only afford one sable, make it a smaller one at first as the point will be very useful for fine detail. Note that the cost of sables goes up exponentially as you go us in size, but the cost of synthetics does not - longer sable hairs are simply very rare. So for larger brushes a synthetic sable such as the Escoda Ultimo may be a far more affordable choice than a pure sable.

This set shows a #2 sable by Raphael series 8404. Raphael make another range with longer points with a slightly creamy tip instead of orange. Below are a Raphael series 803 squirrel mop in size 0 and 1. These will hold a lot of paint and though they have a point they take a little more practice to control than the sables or synthetics shown above. I haven't tried many other brands of squirrel mops as I love these ones. The only drawback is that you have to be careful not to catch your fingers on the wires that bind the brush together.
Natural hair brush watercolour set with Raphael sable #2 and Squirrels size 0 and 1.

And here is another set of synthetic brushes. These are also Daniel Smith with clear acrylic handles. They point well but are very affordable. A 1" or 1/2" flat or cat's tongue could be added to this set.
Synthetic starter set with Daniel Smith aquarelle brushes.

There are many other combinations of brushes you may wish to consider depending where you live and what is available to you. Your main 'workhorse' brush should do the bulk of your painting. the better quality brush you get for this purpose the more you will be able to do with it and the more you will enjoy it. I suggest a size 8 is a good 'workhorse' size for larger or smaller works, provided it has a good point. If you have the budget for a sable, consider Raphael, Escoda, Da Vinci maestro, Rosemary and others and you'll have a wonderful 'best friend'.

If you plan to travel, consider the Rosemary R9, Da Vinci #8 travel, Escoda #8 and others. The Da Vinci #8 (top below) is a gorgeous brush - a recent purchase - that screws into it's protective handle very securely. I have always avoided this model as it looks 'clunky' compared to the others, but the brush is wonderful and it is getting a lot of use. Below are the Rosemary R9 squirrel Quill, the Rosemary Sable Quill, The Isabey squrrel Quill, the Rosemary Dagger and the Rosemary sable flat 1/4" that I use for colour charts. These are the brushes I have with me all the time.

With any brush you use, take care with it and it will last well. Try not to put it deeper into your water container than you need to - water can seek into the handle and soak into the wood, split the paint and spoil your brush.

Wash only in water most of the time. Occasionally, wash with Masters Brush Cleaner and Conditioner or another gentle soap or shampoo and rinse. The Masters product can be used as a long term conditioner and left in the brush. To do this, wash and rinse the brush, gently squeeze out the water then brush over the soap again. Shape the brush with your fingers and allow to dry on its side.

Never leave a brush sitting in your water container. They don't like it for all sorts of reasons mentioned above, but it will also ruin the brush tip.

Try to treat your brushes with care when you are loading up with paint - wipe over the watercolour paint rather than digging into it. Good habits are worth getting into. (See also my post about only half filling the pans with paint for more on brush care here)

Store your brushes flat to dry so the water doesn't set in the ferule. Once dry they can be stored upright in a jar. If you are storing them for a long time keep them in an airtight box to keep moths out. They love brushes and will eat a hole right through them :-(

Finally, if you are using travel brushes, dry them off as much as you can before replacing their covers. If they dry completely they are difficult to get back into the covers so you can just dampen your fingers to reshape the bristles and put them away. Make sure, whether using travel brushes or using the little plastic sleeves that can protect the brush, that you don't catch any stray hairs as you are putting the 'lid' on.

Just like paints and pigments, there is no one perfect brush set for everyone but I hope this will help get you set up. If you want to know about specific brushes or see other comparisons let me know and I'll add more if I can.