Painting Surfaces
Boards
For smaller sizes, I prefer smooth boards to paint on—my favorite is the Inner Glow panel. Inner Glow prepares both sides of the board with a polymer primer that is virtually indestructible and gives you two boards in one. They double the number of surfaces on which you can paint and make experimentation that much more tempting. You can preserve one attempt while turning it over to experiment on the other side.
For smaller sizes, I prefer smooth boards to paint on—my favorite is the Inner Glow panel. Inner Glow prepares both sides of the board with a polymer primer that is virtually indestructible and gives you two boards in one. They double the number of surfaces on which you can paint and make experimentation that much more tempting. You can preserve one attempt while turning it over to experiment on the other side.
I prefer having some ‘spring’ off the surface when I’m working anything larger than 14 x 18“, so I generally use canvas for that. I work on Utrecht raw linen #74D (www.utrechtart.com) that I prime myself.
Painting Mediums
brushes
I am now using Trekkel brushes. I particularly like the long filbert bristle brushes. They are similar to Silver Grand Prix brushes, only the hairs don’t seem to separate, front to back, in a way that I have encountered with the SGP brushes. They also have a tutorial on their site with William Whitaker showing the proper way to wash a brush, which is definitely worth watching. (When ordering, use “mcgraw” for the discount code to receive a 10% discount.)
I am now using Trekkel brushes. I particularly like the long filbert bristle brushes. They are similar to Silver Grand Prix brushes, only the hairs don’t seem to separate, front to back, in a way that I have encountered with the SGP brushes. They also have a tutorial on their site with William Whitaker showing the proper way to wash a brush, which is definitely worth watching. (When ordering, use “mcgraw” for the discount code to receive a 10% discount.)
paints
I use Vasari paints www.shopvasaricolors.com/ because I believe that they are possibly the best paints being made today. Steve Salek makes the paint in very small batches, hand-filling each tube, refusing to use any fillers that would dilute the intensity of the colors to make it suitable for a paint-filling machine. The labor involved is evident when you see Steve in person—he is a study in anatomy. And his knowledge of pigments is astounding! He talks about mulling a color as only an artist could (Steve is a painter as well)—how many times a color is mulled determines its intensity and one drop more or less of oil makes a dramatic difference in the consistency. Large companies dumb down this process with the use of fillers, eliminating the sensitivity and ancient knowledge of the art of grinding artists’ colors. His knowledge of the way the Old Masters used to prepare their pigments for painting is an extraordinary gift to those artists wanting to use the best paints available today. When corporations buy smaller paint companies, the quality of the paints usually deteriorates rapidly as the priority of making excellent paints is replaced by profit margins. I feel lucky to live at a time when two people, Steve Salek and Gail Spiegel, have the dedication to making the best paint possible at whatever cost of time, money and hard work.
I use Vasari paints www.shopvasaricolors.com/ because I believe that they are possibly the best paints being made today. Steve Salek makes the paint in very small batches, hand-filling each tube, refusing to use any fillers that would dilute the intensity of the colors to make it suitable for a paint-filling machine. The labor involved is evident when you see Steve in person—he is a study in anatomy. And his knowledge of pigments is astounding! He talks about mulling a color as only an artist could (Steve is a painter as well)—how many times a color is mulled determines its intensity and one drop more or less of oil makes a dramatic difference in the consistency. Large companies dumb down this process with the use of fillers, eliminating the sensitivity and ancient knowledge of the art of grinding artists’ colors. His knowledge of the way the Old Masters used to prepare their pigments for painting is an extraordinary gift to those artists wanting to use the best paints available today. When corporations buy smaller paint companies, the quality of the paints usually deteriorates rapidly as the priority of making excellent paints is replaced by profit margins. I feel lucky to live at a time when two people, Steve Salek and Gail Spiegel, have the dedication to making the best paint possible at whatever cost of time, money and hard work.
Gail Spiegel, Vasari’s personal representative, is available to answer any questions you may have about paint. She gives freely of her time and is more than happy to educate one and all about the intricacies of pigment. Both Steve and Gail are, for me, treasures from another age in our time.
Drawing Surfaces
Rives BFK
This paper is actually a printmaking paper, but works beautifully for drawing. I buy the color Tan and Cream. www.canson-us.com
This paper is actually a printmaking paper, but works beautifully for drawing. I buy the color Tan and Cream. www.canson-us.com
Pastel Card
Sennelier makes a wonderful pastel card in some lovely colors—a range of warm browns and ivory. I use vine charcoal initially and add contè—both white and red—to capture the illusion of the subject. The surface is relatively delicate and cannot have any liquid applied to the surface. But you can use an eraser to take off some of the color of the paper to create a highlight, without actually using white contè. It takes the charcoal gently and therefore is easier to control value and build to darker passages www.in2art.com
Sennelier makes a wonderful pastel card in some lovely colors—a range of warm browns and ivory. I use vine charcoal initially and add contè—both white and red—to capture the illusion of the subject. The surface is relatively delicate and cannot have any liquid applied to the surface. But you can use an eraser to take off some of the color of the paper to create a highlight, without actually using white contè. It takes the charcoal gently and therefore is easier to control value and build to darker passages www.in2art.com
UArt Pastel Paper
This is another pastel card that gives a range of possibilities. I am still experimenting with it, but I know that it can take washes of color—so far I have only tried water mediums, but it takes oil as well—without the surface deteriorating. I am anxious to see what can be done with it. It takes the charcoal or contè aggressively, so it seems to require a delicate touch. (www.uartpastelpaper.com).
This is another pastel card that gives a range of possibilities. I am still experimenting with it, but I know that it can take washes of color—so far I have only tried water mediums, but it takes oil as well—without the surface deteriorating. I am anxious to see what can be done with it. It takes the charcoal or contè aggressively, so it seems to require a delicate touch. (www.uartpastelpaper.com).
Stonehenge Kraft Paper
The president of Legion Paper, Michael Ginsburg, is the self-appointed liaison between artists and the finest paper makers worldwide. Michael listens to what artists want and then asks his paper mills to make it. One of his newest papers, Stonehenge Kraft, is the perfect paper for charcoal and white conté drawings. The surface is smooth but with enough texture to grab the charcoal. The color is the perfect contrast to white conté, which gives a feeling of light in drawing. Stonehenge Kraft is the paper I have been waiting for! (www.legionpaper.com).
The president of Legion Paper, Michael Ginsburg, is the self-appointed liaison between artists and the finest paper makers worldwide. Michael listens to what artists want and then asks his paper mills to make it. One of his newest papers, Stonehenge Kraft, is the perfect paper for charcoal and white conté drawings. The surface is smooth but with enough texture to grab the charcoal. The color is the perfect contrast to white conté, which gives a feeling of light in drawing. Stonehenge Kraft is the paper I have been waiting for! (www.legionpaper.com).
Speckletone
This paper is of good quality, yet it is much less expensive than any of the above papers. It comes in many colors and is acid-free. Some colors I like are Cream, Natural, Kraft, Madero Beach and Oatmeal. www.frenchpaper.com/results.asp?image=3037
This paper is of good quality, yet it is much less expensive than any of the above papers. It comes in many colors and is acid-free. Some colors I like are Cream, Natural, Kraft, Madero Beach and Oatmeal. www.frenchpaper.com/results.asp?image=3037
Oil-Primed Board
Sometimes I like to use a primed piece of linen toned with oil and Maroger first. I then do a drawing of the subject adding pastel over that. The result has the feel of oil and yet is executed more like a drawing www.newtraditionsartpanels.com
Sometimes I like to use a primed piece of linen toned with oil and Maroger first. I then do a drawing of the subject adding pastel over that. The result has the feel of oil and yet is executed more like a drawing www.newtraditionsartpanels.com
Sketch Pads
Kunst and Papier has the best sketchpads that I have used. The paper is acid-free, a soft off-white, has a smooth texture, and comes in a variety of sizes and shapes. I particularly like the Wire-O sketchbooks because they open flat. The binderboard sketchbooks are also great. I couldn’t do without these for gesture drawing. (www.kunst-papier.com).
Kunst and Papier has the best sketchpads that I have used. The paper is acid-free, a soft off-white, has a smooth texture, and comes in a variety of sizes and shapes. I particularly like the Wire-O sketchbooks because they open flat. The binderboard sketchbooks are also great. I couldn’t do without these for gesture drawing. (www.kunst-papier.com).
Drawing Mediums
Charcoal
Vine charcoal is so forgiving…it is my first choice in drawing larger drawings.
Vine charcoal is so forgiving…it is my first choice in drawing larger drawings.
Contè
For small gesture drawings, I generally use contè pencils in sanguine, sepia and black. I also like to use it in conjunction with charcoal to give the quality of the model’s coloration or to warm up the black charcoal, giving it a more real quality.
For small gesture drawings, I generally use contè pencils in sanguine, sepia and black. I also like to use it in conjunction with charcoal to give the quality of the model’s coloration or to warm up the black charcoal, giving it a more real quality.
Bistre, Iron-Gall and Sepia Ink
I enjoy using ink on smooth papers, usually the Speckletone. I apply it with either a small watercolor brush, a reed pen or a goose quill pen. Bistre ink is warm brown, but a bit darker than Sepia ink, whereas the iron-gall ink has a slight purplish tone. All three are quite beautiful, and resurrected by Kremer Pigments in New York. (www.kremer-pigmente.com).
I enjoy using ink on smooth papers, usually the Speckletone. I apply it with either a small watercolor brush, a reed pen or a goose quill pen. Bistre ink is warm brown, but a bit darker than Sepia ink, whereas the iron-gall ink has a slight purplish tone. All three are quite beautiful, and resurrected by Kremer Pigments in New York. (www.kremer-pigmente.com).