Bob's Better Tips
Use a ColourShaper to apply masking fluid. You can get lovely fine lines and broader strokes, and it wipes clean very easily afterwards.
Store Pastels in rice or ground rice to keep the pastels clean.
Pastel wrappers get torn and lost easily, especially when the pastel is used on its side for broad strokes. To prevent losing track of which pastel is which, make a colour swatch when the pastel is new, and using the same paper that you use most frequently. This makes replacing colours easier and reduces the risk of duplication.
Try priming pastel paper with Acrylic mediums for interesting textures.
Mix Acrylic colour with the mediums for coloured backgrounds.
Acrylic fluid matt medium can be used to fix experimental work with heavy layers or large particles of charcoal or pastel. The medium can be diluted by up to 10% of water to reduce the thickness of the applied film. But remember, the more water you add, the more the paper can cockle. Use a fine pump spray to keep the work flat whilst the Acrylic drys.
Cleaning Brushes
Brushes will last many years if cared for well; wipe excess oil colour from brushes with a rag (and dispose of the rags carefully if they have a heavy paint load- they can catch fire spontaneously)
Rinse brushes
Solvent for oil brushes
Water for water soluble oils, Acrylics and watercolours
Wash brushes with warm water and household soap until there is no trace of colour Shake out excess water Shape brush, dry handle and stand upright in a jar to dry.
Colours come in Artists or Student Quality
Artists colours are almost entirely pigment, and traditional 'time served' pigments are used; eg Cadmium Red and Cadmium Yellow will contain Cadmium and Cobalt Blue will contain Cobalt. This is the reason that Artist Quality colours vary in price according to colour. Student quality paints use synthetic substitute pigments where possible, so that all colours are the same price. Very cheap or children's quality paints use low quality pigments, and have a restricted colour range. They tend to be bulked out with extenders.
Student quality colours are generally not as bright or as dark as Artist quality colours, but will mix much more consistently. Some of the Artist's pigments will granulate or act in an unpredictable manner when mixed. Experienced artists use these effects in their paintings. However when starting the Student quality colours are more economical and predictable and perfectly adequate for getting to grips with colour theory, hue and tone.
Watercolour papers come in three surfaces:
HP; hot pressed. The wet paper from the mill was passed through hot rollers under pressure to give a very smooth surface, a process also known as calendaring. These papers are good for pen and ink studies, botanical illustration and fine detail work. They do not produce broken washes.
NOT; or Cold Pressed. These papers are passed through cold rollers impressed with a felt blanket. This creates the ideal surface for students as it has a textured surface suitable for use in architectural drawing, abstract patterning and townscapes where a straight edge is needed.
ROUGH; the paper is impressed with a woollen blanket as it comes from the mill. This finish is ideal for landscapes and broken brushwork where edges are less well defined.
Final tip; don't believe everything which you read as a 'helpful hint'. We have read many, many books and the willingness to repeat doubtful information without trying it out is a serious problem. So, be sceptical and if you feel uncomfortable with the advice, try for yourself. That way you will find your own painterly effects to enhance your work.
If you want to add your own insights to this page to help and inform other readers, send us an email.