![]() I have found that paper is a highly subjective thing. I’ve gone through a wild array of brands manufacturers I keep returning to are Canson, Clairefontaine, and Bockingford. I dislike working on smooth or satinised paper. I like paper with some grain, either cold-pressed or torchon. I love the granulating colours from Daniel Smith and Schmincke, but tend to use them sparingly and in reduced areas of a piece.Especially in colours I often use in background washes (Ultramarine, Ochre, Violets) I look for maximum transparency. I prefer transparent colours to more opaque ones. ![]() If I can’t find information on light-fastness, I won’t buy them. They need to be light-fast and artists’ quality.(And far too many tubes, if truth be told.) When I choose watercolour paint, these are my criteria: The gold paints that I love working with most are by Finetec.Īs you can see from the long list above, I have a lot of brands that I work with. My most frequently used watercolour brands:ĭaniel Smith, Schmincke, Sennelier, with a bit of Lukas, Maimeri Blu, QR, Winsor/Newton and Van Gogh thrown in. Some of my favourites are from Drifter Studio, True Grit Texture Supplies, and Lisa Glanz, because they have ready-made templates that do all the work for you, and they’re awsome. The heavy lifting, I find, is NOT done by the brushes, but by the texture overlays. Some of my favourites are from MattyB, BeeJayDel, Tsvetka, MaxU (Liner Toothy), and Calvin Drews. I’ve bought dozens of brush sets and use one or two of each. The brushes I use are literally all over the place. I often work with Procreate these days, on an iPad Pro.
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