PAPER – Arches 140 lb. CP is essential for some techniques. 300 lb. is also acceptable. Bright White is NOT as receptive. You may work any size you prefer. I demonstrate on ½ sheets. Bring enough paper for 2 paintings per day. I prefer loose paper to blocks.
BRUSHES – I use a 2” Robert Simmons Skyflow, 1½” Simmons or Winsor Newton 680 One Stroke, 1” and ½” aquarelle and a #2 or #3 rigger or liner. I like Richeson 1 ½”& 2” flat brushes. My brushes are synthetic and of quality brands that hold an edge. If you prefer round brushes, Escoda are the best in my book.
PALETTE – John Pike (my choice) or any white surface such as a butcher’s tray or ceramic plate. I use Cheap Joe X-tra color palettes to test colors.
SUPPORT BOARD I work flat on a table and rarely clip the paper to a board. Masonite, tile board, plexi, foam core or gator board may be cut to paper size, slightly smaller or larger on all sides. With smaller boards the clips encroach more on the paper but water is less likely to puddle at the edge
PAINT – USE THE COLORS AND BRANDS YOU PREFER – I include transparent and opaque in warm and cool versions of the primary colors. FILL EACH COMPARTMENT of your palette a few days before using and leave it uncovered to let the paint skin over. Fresh paint doesn’t work well for some techniques. If you come with your palette filled you will not need to bring tubes. I like Winsor Newton, Dan Smith, Steve Quiller (Richeson) , Graham and Mjello Mission Gold (made in S. Korea): Naples Yellow (WN), New Gamboge, Quinacridone Gold and Burnt Orange (DS), Cadmium Orange, Cad Red, Winsor Red, Perm Aliz Crimson, Permanent Magenta, Winsor Violet (The generic is dioxazine and Carbazole is DS version.) Cerulean, Cobalt, Ultramarine, Winsor and Prussian Blue, Cobalt Turquoise, Perm Sap Green, Olive Green, Green Gold. Graham paints are made with honey and do not dry out. (I keep them separately in a Cheap Joe X-tra palette). I sometimes add white gouache and Holbein Jaune Brilliant #1 and #2.
An excellent blog by Olivier Jennes for information about all pigments is: http://wonderstreet.com/blog/which-brand-of-watercolour-should-you-choose
I can’t think of a single thing he may have left out in describing all of the brands of watercolor that most of us use.
OTHER: water jars, paper towels, hair dryer, mat for viewing work in progress. I sign my work with Sakura micron pigma archival ink pens.
If you read my book or view my DVD’s in advance it will save time in understanding my approach.
SUPPLY SOURCES – Most mail order catalogs and websites have great prices.
Cheap Joe’s Art Stuff, NC 800-227-2788 www.cheapjoes.com X-tra palettes, Simmons skyflow brushes, Richeson brushes series #9010, Winsor and Newton #680 one stroke 1 1/2″ and series #995 aquarelle 1″ and 1/2″. You can now purchase Daniel Smith watercolors at Cheap Joe
Stephen Quiller paints and Richeson brushes www.quillergallery.com
American Frame Corp, OH 800-537-0944 www.americanframe.com Source for frames and mats
Impact Images www.clearbags.com 1-800-233-2630 mats and clear storage bags for matted work in numerous standard sizes. I use 15 7/16″ x 22 1/4″ for unmatted half sheets.
OTHER SOURCES OF INTEREST
A great book on design is Composition for the Painter by Frank Webb.
iPad app, Art Authority, about $10. Amazing site includes everything you ever wanted to know about art history.
My digital photo program and slide show is Jasc Paint Shop Pro 8 (Corel) (comparable to Photoshop Elements). I also use Photoshop. My computer slide show is in Keynote.
I use white plastic mats in the studio. Paint wipes right off. I took a sample paper mat to a plastic supply store and they made one for me in plastic. I had L’s made as well. These frame shops may also be willing to make some up according to your specifications: Shakeeb at Way Up Art & Frame 925-443-3388 Livermore, CA www.wayupartandframe.com
Great source for inexpensive, quality business cards and signs www.vistaprint.com