In Reply to: The best supplies for watercolor posted by Lita Gerun on 05/31/01 at 11:40 PM:

I like rough watercolor papers because I do paint in a fairly abstract or non-realistic style. Rough paper also emphasizes the individual character of each pigment - for example, granulating colors like ultramarine and burnt umber take on a very grainy appearance I like.

It's important to know, tho', that the designations Rough, Cold Press and Hot Press are all relative - one maker's Rough feels equal to another's CP, and so on. You'll need to try, or at least touch, several papers to find what suits your style.

Also, sizing - the treatment that prevents paper from absorbing pigments and dyes like a sponge, resulting in a splotchy mess - varies greatly between brands and grades within each brand. Again, try several 'til you find what you like.

For whatever reason, paper maker's seem to include lesser quality paper in their blocks - those handy packets of paper glued on all four sides, except for a small slit to allow separating the paper after the painting is finished. An exception is Arches, which seems about as good in blocks and precut sheets as in full size sheets. Winsor & Newton blocks in Rough feel more like Arches CP and the W&N paper is indifferently sized, withstanding little reworking.

As for paints, sure, you could make your own. But why bother? Quality pigments are incredibly expensive to purchase unless you can locate a source that's willing to supply them in small containers, in which case they still won't be cost effective. Even then, using a muller to finish-grind the pigments will take ages compared with what the paint manufacturers can do with their very expensive, purpose-made calenders, mills and grinders. Then you'll experiment endlessly with gum arabic, dextrin, glycerin, honey, ox gall and the various additives needed to achieve the delicate balance between holding together in the tube and on the brush, and flowing as desired onto paper.

Instead, it's probably better to try the various artist's grade pigments from Winsor & Newton, Utrecht, Holbein, Sennelier, Schmincke, Daniel Smith and others, to find what suits you. No single brand is likely to produce every pigment in a way that's best - some folks prefer W&N artist's grade for everything. I haven't tried a single tube of W&N artist's grade (I found the W&N Cotman line pretty indifferent) and have perfectly happy with the Schmincke and Sennelier colors I've tried - Schmincke Vanadium Yellow, Ruby Red, Delft Blue, Brown Madder and Phthalo Green; and Sennelier Cadmium Yellow, Cadmium Red and Burnt Umber. But that's no guarantee I'd be happy with every one of their colors and I'm anxious to try some of the Utrecht paints from that almost disregarded American firm.


Follow Ups:
Re: The best supplies for watercolor Stephanie canto