Watercolor Ingredients: Watercolor can be composed of natural or synthetic pigments. I use both, and I think most artists do.
- Natural Pigments: Historically derived from minerals, plants, or animals (e.g., ochres are made from iron oxide, ultramarine is made primarily from the semi-precious stone lapis lazuli, or carmine made from the corpses of cochineal insects).
- Synthetic Pigments: Many modern artists use synthetic pigments, manufactured through chemical processes, which are more consistent, vibrant, and available in a wider range of colors. Examples include phthalo blue, cadmium red, or quinacridone magenta.
- For the binder, the most common binder today is gum arabic, a natural resin obtained from the sap of the acacia tree. Gum arabic dissolves in water and holds pigment particles together, allowing them to spread evenly and adhere to paper.
Paint Production:
- Grinding Pigments: Pigments are ground into a fine powder to ensure smooth mixing and application.
- Mixing: The pigment powder is mixed with a liquid binder (i.e, gum arabic), water, and sometimes additives like wetting agents, preservatives, and even honey in some instances. This is done on a piece of glass or marble to make the next step seamless.
- Mulling: The mixture is mulled, or ground and mixed, with a glass muller on the glass or marble to achieve a uniform consistency.
Forms of Watercolor Paints:
- Pan Paints: Extruding the still-wet mixed paste into molds and then allowing it to dry completely creates solid cakes of paint. These pans can be purchased individually or in sets. Sets often come in a palette or you can purchase one separately. Pans come in full or half-pan sizes, depending on your preference and budget.
- Tube Paints: Made by packing the liquid mixture into metal tubes, these are usually a more expensive option than the pre-poured pans but are also of a higher quality. The wet paint mixture is scraped up and put in the tube through the bottom. The tube is tapped or mixed with a small instrument or toothpick to release any bubbles. Once the bubbles are gone, the bottom is folded up and crimped with a special tool to keep the paint inside.
Student-Grade vs. Professional-Grade
- Student-Grade: Contains more fillers like chalk, kaolin, or chalky earth pigments. These diluents are used to reduce cost, but they do decrease color vibrancy and transparency.
- Professional-Grade: Contains higher concentrations of pure, finely milled pigments with minimal fillers, resulting in vibrant, transparent colors with excellent lightfastness, or the ability to retain its color when exposed to light over time.
Unlocking the World of Watercolor: A Beginner's Guide to Choosing Your Supplies
Growing up, most of us had those little watercolor palettes filled with a row of different colored ovals and a plastic brush. While made of low-quality material, this setup isn’t far from the real thing. My basic palette is made of plastic with several wells around the edges and an area in the middle to mix colors and create puddles for washes. For beginners, stepping into this medium can feel overwhelming—many supplies, brands, and options exist. But understanding how these supplies are made and what materials they contain can help you make smarter choices and set a solid foundation for your artistic journey.
In this blog, we'll explore the essentials—paints, paper, brushes, sketching tools, and more—focusing on what they are, how they are made, and what makes one product different from another. We will also discuss how to prepare and care for your supplies.
- Color Order: The easiest way to set up any palette is to set up warm colors on one side and cool colors on the other. Purples, blues, and greens are on one side with yellows, oranges, and reds on the opposite side, all in rainbow order. This will place your complementary colors opposite each other. This BLOG will further help you with your colors and use.
- Loading the paints: Squeeze a blob of wet paint into the center of the desired well. It should be like an island with room around the paint where we add water once our pigments are totally dry.
- Drying: Do not cover your wet palette. Put the palette where it won’t be disturbed or get anything on it, and allow it to dry for at least one day or more until the paints are hard to the touch. Avoid putting it outside until the surface of the paint is no longer tacky. I’ve seen palettes that were left outside to dry and, unfortunately, captured little bugs and gnats
Paints: The Heart of Watercolor
Watercolors are transparent or semi-transparent paints made of pigments suspended in a binder. When mixed with water, they allow light to pass through the layers and reflect the color back to the eye, creating the luminous quality artists and viewers love. The key to good wate rcolor paint is its pigment content combined with the binder that holds it together.
I’ve been using an Italian brand, MaimeriBlu. They are incredibly vibrant. I use the tubes that I let dry on my palette and reconstitute with water. There is less waste this way, but more on this when we talk about palettes. I teach with a basic set of MaimeriBlu paints that has red, yellow, and blue from which you can mix most colors. It also includes my 2 favorite pigments, Green Gold and Payne’s Grey, which is a deep inky blue. Check out my beginner’s kit list.
Palettes: A home of their own
Palettes hold your watercolors, whether they are tube or pan paints. They are most often available in plastic, metal, or ceramic. I have several different palettes and choose from them depending on where or what I’m working on. In the case of watercolor pans, they fit in specific palettes, and a set usually comes with its own filled or empty pans. If you use tubes of paint like I do, you will need some kind of palette to squeeze them into. We’ll get to that in a moment.
Palettes hold your watercolors, whether they are tube or pan paints. They are most often available in plastic, metal, or ceramic. I have several different palettes and choose from them depending on where or what I’m working on. In the case of watercolor pans, they fit in specific palettes, and a set usually comes with its own filled or empty pans. If you use tubes of paint like I do, you will need some kind of palette to squeeze them into. We’ll get to that in a moment.
- Plastic: I started with a plastic pallet that has wells around the sides and mixing areas in the middle. I recommend choosing one with a cover. The cover isn’t a lid; it’s to keep dust off it once the paint has dried. It’s a great lightweight option with a minimal financial investment. These are a good fit for someone just starting. I’ve been using mine for 30 years, and it still works great. I have another plastic palette I loaded with tube paints that is smaller and folds. It’s portable and ideal for plein air, or outdoor on-site painting.
- Ceramic: I also use a ceramic palette when I’m at home. It’s a little more expensive and fairly heavy. It works the same, but doesn’t have a dust cover, so I have to cover it with something I have around the house.
- Metal: I have not used a metal palette, but most of them are also folding for portability and are ideal for pan paints.
Thickness: Watercolor paper is a thick paper that holds the water and pigments, and is rated by its weight. The label will indicate its weight, either in pounds or grams per square meter.
Watercolor paper is usually available in weights like 90 lb (190 gsm), 140 lb (300 gsm), and 300 lb (638 gsm). The heavier the paper, the more water and pigment it can hold without buckling or warping. This is helpful when creating heavy washes or using multiple layers of paint. Here are some common uses for these examples.
- Pounds (lbs): In North America, the weight in pounds is the weight of a ream (500 sheets) in the “full-sheet” size, typically 22” x 30”.
- Grams per square meter (gsm): Weight using the metric system indicates a single sheet of paper that is one square meter.
- 90 lb: Light but suitable for beginner practice; often needs stretching to prevent warping.
- 140 lb: This weight is the minimum I use in creating paintings and for practice. It doesn’t usually need to be stretched
- 300 lb: Heavyweight, unwarping without stretching, excellent for wet washes and layered work.
Paintbrushes: My weapon of choice
I love to use Princeton brushes for the most part. They are synthetic sable. No little sable weasels were harmed in their making. Synthetic brushes have improved very much since I started painting in 1994. Now they hold water and pigment very well and snap back into shape beautifully. I prefer them to natural hair fibers.
Anatomy of a Brush:
1. Fibers:
Natural Hair Brushes: Traditionally made from animal hair — sable, squirrel, hog, etc.
Synthetic Brushes: Made from nylon, taklon, or polyester fibers designed to mimic natural hair.
2. Handles
3. Ferrules
I love to use Princeton brushes for the most part. They are synthetic sable. No little sable weasels were harmed in their making. Synthetic brushes have improved very much since I started painting in 1994. Now they hold water and pigment very well and snap back into shape beautifully. I prefer them to natural hair fibers.
Anatomy of a Brush:
1. Fibers:
Natural Hair Brushes: Traditionally made from animal hair — sable, squirrel, hog, etc.
- Sable: Comes from the Siberian sable; prized for its softness, excellent water retention, and ability to create fine details and smooth washes.Squirrel: Very soft, good for washes and gradients.
- Hog Bristle: Coarser and stiffer, useful for impasto and bold strokes.
- Made of Natural Hair?: Natural hairs are harvested ethically in some cases, but often, synthetic options are preferable for sustainability considerations.
- Resistant to wear and chemicals, more affordable, and suitable for students and professionals alike.
- Synthetic fibers used to be of lower quality when compared to natural fibers. Over time, however, with improvements in technology, modern synthetic fibers are now engineered for excellent water retention and used for all watercolor techniques.
2. Handles
- Usually made of wood or plastic.
- Wooden handles are durable and favored by many artists.
- Quality handles are ergonomically shaped for comfort during long painting sessions.
- The metal band that connects the brush fibers to the handle.
- Usually made of nickel, aluminum, or brass.
- Must be rust-resistant and securely attached.
After choosing to quit, I found myself bombarded with feedback from friends and loved ones, sharing all the reasons they appreciate me. The very qualities I once perceived as burdensome — my sensitivity, intuition, and emotional openness — turned out to be the very reasons they value my presence. It’s as if I had walked around with blinders on, unaware of the genuine affection that surrounded me.
My Recommendations
My Recommendations
Drawing Materials
I love the Blackwing pencils. They have a cool backstory, are top-notch, and support artists. The erasers can be replaced, and the graphite comes in many different hardnesses and softnesses. Hands-down, my favorite pencils. I like to use a regular Pink Pearl eraser, a white eraser, or a kneaded eraser.
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Graphite Pencils:
I love the Blackwing pencils. They have a cool backstory, are top-notch, and support artists. The erasers can be replaced, and the graphite comes in many different hardnesses and softnesses. Hands-down, my favorite pencils. I like to use a regular Pink Pearl eraser, a white eraser, or a kneaded eraser.
Get Yours
Graphite Pencils:
- Made from a mixture of graphite and clay, extruded into rods, then baked or baked to produce different hardness levels.
- Mechanical pencils use thin graphite leads, often reinforced with extra materials but still made from similar compounds. They create consistent, fine lines and are great for sketching.
- Graphite pencils are rated by hardness. Softer pencils build up darker values and are marked by the letter B, standing for black. They come in variations like 2B, 4B, 6B, and so on, with the higher the number, the softer and blacker the mark is. Likewise, the harder graphite is described with the letter H. These look like 2H, 4H, 6H, etc. The higher number indicates a greater hardness, and the lighter mark made. These pencils can leave an indent in the paper that may be undesirable and are more difficult to erase. HB is right in the middle. HB is also called a No. 2 pencil.
- Use light grades like HB or 2B, which produce faint lines that won’t interfere once painted. If used lightly enough, you can erase the pencil lines after the piece has dried completely.
Additional Supplies
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Tips for Choosing Your Supplies
- 2 water jars: I like to recycle glass jars, and when I’m in my studio, I like to use beautiful, medium-sized glass vases. I prefer anything with a large top opening. The jar nearest to me is where I wash my brush first. I call it the dirty water jar. It washes out the majority of the pigment color, so it becomes dirty first. Then I will give the rinsed brush a swish in the jar farthest from me, the “clean water jar.” I also use this jar if I am doing a wash or any time I want really clean water. When the dirty jar needs replacing, I replace it with the clean jar that usually has a tint by now, and replace the clean jar with fresh water. Other people might use one for warm colors and one for cool colors. It’s a preference.
- Rags: Many people use paper towels or other disposable products. I like to reduce my waste, so anytime I can recycle something and use it many times, I choose that. I use old t-shirts, etc, that I cut into smaller towels. I use them for a pretty long time before I toss them in the washer. They come pretty clean and are ready to be used again and again. One t-shirt provides plenty of reusable towels. Alternately, you can use the blue shop rags in a box. They are disposable but can endure several washes and reuses before degrading.
- Masking Fluid: Made of latex or synthetic rubber, designed to resist watercolor pigments. This typically comes in a jar or pen. When using the jar, pour a little out in the lid and use an older brush to dip the tip only and “paint” the areas of the painting you want to preserve the color of. Once it is dry, you can paint over, near, and around without changing the color underneath it. When you have finished the painting and it’s completely dry, you can rub the masking fluid with a fingertip or eraser to remove it, much like rubber cement.
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Tips for Choosing Your Supplies
- Start Simple: A basic set of good-quality student-grade paints, a few brushes (round and flat), and decent paper are perfect for beginning.
- Pay Attention to Composition: Look for products labeled with high cotton content in paper and transparent, lightfast pigments in paints.
- Test Before You Commit: Many art stores or brands offer sample packs—use these to see how materials behave with your style.
- Invest Gradually: As your skills grow, consider upgrading to professional-grade supplies for richer colors and better results.
Final Thoughts
Watercolor supplies are more than just tools—they are the foundation of your artistic expression. Each material’s manufacturing process and composition influence how your colors look, how your paints behave, and the longevity of your artwork.
By understanding what supplies are made of and how they are produced, you gain the knowledge to select quality materials that suit your style and budget, and that help your artistry flourish. Remember, the most important ingredient is your passion—your supplies are here to support your creative journey, not define it.
Watercolor supplies are more than just tools—they are the foundation of your artistic expression. Each material’s manufacturing process and composition influence how your colors look, how your paints behave, and the longevity of your artwork.
By understanding what supplies are made of and how they are produced, you gain the knowledge to select quality materials that suit your style and budget, and that help your artistry flourish. Remember, the most important ingredient is your passion—your supplies are here to support your creative journey, not define it.
Use and Care: With dried paint dollups, I prepare and care for my palette the same way every time I paint.
The Canvas of Your Art: Paper and Its Composition
No matter what kind of watercolor paints you choose, the biggest deciding factor in the result you achieve is the paper. I like to use different kinds of paper for different things. For more than a year now, I’ve been using the St. Cuthberts Mill, Saunders Waterford block with a rough texture, 140lb. I like to use the blocks in small spaces as they are bound most of the way around. This means there is no need for stretching the paper first, and it won’t buckle. For larger sizes, my go-to is Arches. It is my favorite paper to work on and is superior all around.
What Is Watercolor Paper and How Is It Made?
Watercolor paper isn’t just plain paper—it's specially crafted to hold and manage water and pigment so your paintings can develop without warping or tearing. The key to its durability and texture lies in its fibers and manufacturing process.
Composition:
Manufacturing Processes: Originally, paper was made by hand, and in a few rare cases, it still is. Watercolor paper is now usually made on a mesh cylinder, but the process is fundamentally the same.
Paper Texture: Choosing the paper texture is a matter of preference. I prefer cold-pressed or rough, myself. When we speak of the texture, we are talking about how bumpy or smooth it is. This is referred to as the “tooth” of the paper.
- Add Water: For my full-size palette, I use a recycled water bottle that has the little pop-up top to drink from. Alternatively, I use a pipette. I squirt water into each well of paint, but do not fill it completely. The water should not cover the dried paint, but sit around it, making it into a little island like we talked about before. Down the line, when you have used up much of this paint, the water may cover the dollop of paint, and that’s fine. Let the water sit for 5-10 minutes while you prepare the rest of your workspace and supplies.
- Mixture: Once you’re ready to paint, use a brush to swirl around in a well until you get the desired thickness or ratio of pigment to water. Remember more water, thinner paint, and more of the white of the paper showing through, causing a lighter value. If you want less white showing through a pigment, either reduce the amount of water you put in your well or mix with your brush for longer until the paint becomes thicker and has more pigment in the water.
- Changing Colors: I like to keep my pigments pure so my mixtures are predictable. The way to do this is to rinse your brush completely prior to dipping it into a different color well. If I want to mix 2 or more colors, I mix them in the empty mixing area, or I may end up with dirty colors that are less true and vibrant.
- Mixing Wells: There are usually larger areas in the middle or on the side of the regular-sized wells for mixing colors. When making a larger painting or wash, I use the mixing wells to create a larger puddle of a color or mixture so that I don’t have to keep mixing up new puddles and risk the color or consistency being different or letting the wash’s edge dry up. If you don’t have mixing wells on your palette, use a separate plastic, glass, or ceramic plate. If your palette has a dust cover, mix what you need on that.
- Aftercare: Once I am finished using my palette, I set it in a place where it won’t be disturbed to dry completely, then cover it with a dust cover.
The Canvas of Your Art: Paper and Its Composition
No matter what kind of watercolor paints you choose, the biggest deciding factor in the result you achieve is the paper. I like to use different kinds of paper for different things. For more than a year now, I’ve been using the St. Cuthberts Mill, Saunders Waterford block with a rough texture, 140lb. I like to use the blocks in small spaces as they are bound most of the way around. This means there is no need for stretching the paper first, and it won’t buckle. For larger sizes, my go-to is Arches. It is my favorite paper to work on and is superior all around.
What Is Watercolor Paper and How Is It Made?
Watercolor paper isn’t just plain paper—it's specially crafted to hold and manage water and pigment so your paintings can develop without warping or tearing. The key to its durability and texture lies in its fibers and manufacturing process.
Composition:
- 100% Cotton: The best quality papers are made from pure cotton fibers that are long and elastic, allowing for superior consistency, flexibility, and durability. I’ve used paper made of different fibers, but cotton is the only way to get the desired effects in watercolor.
- Wood Pulp: Cheaper papers are often made from shorter wood pulp fibers, which are less durable and inconsistently absorb water and pigment. These papers are referred to as cellulose paper. I don’t recommend them.
- Pulp Preparation: Whether made by hand or on a cylinder, cotton or wood pulp is mixed with water and processed into a slurry, or soup-like mixture.
- Original Paper-Making Process: This method involves creating paper sheets using a wire mesh screen attached to a wooden frame, which is known as a "mould and deckle." The mould is dipped into a vat of pulp slurry (a mixture of water and cotton or wood pulp) to capture the fibers onto the screen as excess water drains away. The sheet formed on the screen is a mat of pulp that can then be air-dried or pressed with a cold or hot surface. This pressing influences the texture of the paper, resulting in rough, semi-rough, or smooth surfaces (known as rough, cold-pressed, and hot-pressed, respectively). The deckle of the paper is the edge of the paper that was pressed between the wooden parts of the frame and has a different texture and thickness. In this process, all four edges of the paper have a deckle. This is a desirable presence in paintings and gives the paper an authentic look.
- Cylinder Mould Process: Invented in the early 19th century, this method uses a rotating mesh cylinder, often called a cylinder mould, to form the paper sheet. The slurry is evenly distributed over the surface of the rotating cylinder, allowing water to drain and the fibers to form a continuous sheet. As the cylinder rotates, the formed sheet is transferred to felt rollers, which help to de-water and remove excess moisture before further drying. Like the original process, the sheets can be air-dried or further processed with hot or cold rolls to achieve the desired surface texture. The cylinder mould method is valued for its ability to produce continuous rolls of paper, rather than individual sheets, but can only have two natural, deckle outside edges, as the result is a continuous roll of paper. The rolls of paper are cut to the desired size with waterjets.
- Sizing: Once the paper is created and dried, sizing is added to the surface to help keep the paper from becoming too absorbent, which leads to the paper buckling or becoming stained with the pigment.
Paper Texture: Choosing the paper texture is a matter of preference. I prefer cold-pressed or rough, myself. When we speak of the texture, we are talking about how bumpy or smooth it is. This is referred to as the “tooth” of the paper.
- Hot-Pressed (HP): Hot-pressed paper is made by passing the sheet through heated rollers while drying, resulting in a smooth surface. Think of it as being smoothed by a hot iron- no more wrinkles.This is ideal for detailed work, fine lines, and precise washes.
- Cold-Pressed (CF or NOT): Cold-pressed paper is the most common texture. It's pressed gently with a cool surface, which preserves a slight tooth. It is versatile, as it is suitable for both washes and detailed work.
- Rough: You might guess that rough paper is created by minimal or no pressing or by intentionally texturing the wire mesh. It has a rugged surface that enhances granulation, making textured effects and bold strokes stand out, popular with artists who want expressive, textured effects.
