DescriptionMateriel

ANN PEMBER WORKSHOPS

Water Edge Studio
14 Water Edge Rd. Keeseville, NY 12944
(518) 834-7440 pember@frontiernet.net
www.annpember.com

WORKSHOP MATERIAL LIST

YOU DON’T NEED EVERYTHING ON THE LIST! A FEW GOOD BRUSHES, JUST 3 PRIMARY TRANSPARENT COLORS AND GOOD QUALITY PAPER ARE THE ONLY ESSENTIALS.

WATERCOLOR PIGMENTS

Winsor Newton unless marked (DS) Daniel Smith, or (MB) Maimeri Blu

YELLOWS

AUREOLIN / BURNT UMBER / NEW GAMBOGE / RAW SIENNA / RAW UMBER / BURNT SIENNA / (SEPIA - for value sketches only)

REDS

CADMIUM RED PURPLE (Holbein) (for mixing darks only) / PERMANENT ALIZARIN CRIMSON / PERMANENT ROSE / QUINACRIDONE CORAL, (DS) / QUINACRIDONE MAGENTA, (DS) / QUINACRIDONE VIOLET, (DS) / WINSOR RED / WINSOR VIOLET

BLUES

BERLIN BLUE (MB) / CERULEAN BLUE / COBALT BLUE / FRENCH ULTRAMARINE BLUE / PRUSSIAN GREEN, (DS) / PTHALO BLUE, (DS) / COBALT TURQUOISE (DS) / PTHALO TURQUOISE, (DS) / WINDSOR GREEN

Other transparent, lightfast colors are fine. Try a limited palette of only 2-5 colors in one painting. Refer to the WILCOX GUIDE TO WATERCOLOR PAINT for light fastness ratings.

BRUSHES:

Any flat or round brushes you are comfortable with. I use the following:

FLATS: ¼”, ½”, ¾”, 1”, 1 ½” ROUNDS: #10, 12, 14 ADDITIONAL: 1½" Flat	Sable or Sabeline, such as Sable Essence by Grumbacher, Winsor Newton Sceptre Gold or series 995, Holbein series 500 Winsor Sceptre Gold, Grumbacher Beaux arts, Holbein Eldorado For Blending and large washes
PALETTE	John Pike, Robert E. Wood, or other palette with large wells.
OTHER	Standing, or table Easel Two water containers Pencil / kneaded eraser Drawing board, such as Gatorboard 4 clips Scrubbing tools, stiff brushes, toothbrush, Exacto knife Tissues / paper towels Spray bottle of water Sketchbook Working mat Your own photos or sketches for reference Golden’s Matte Fluid Gel Medium Liquitex acrylic gesso

PAPER

A. FOR TRADITIONAL WATERCOLOR TECHNIQUES

WATERFORD WATERCOLOR PAPER by T.H. Saunders in 140lb, 200lb, or 300lb COLD PRESSED. This paper allows beautiful washes and does not buckle or need stretching. It allows glazing and some lifting. This is my favorite watercolor paper. I paint on an easel with the paper at an angle to promote the mingling of colors.

B. FOR TEXTURES, LIFTING AND EXPERIMENTAL TECHNIQUES ON SMOOTH SURFACES

*My Favorite: STRATHMORE 500 SERIES 5 PLY ILLUSTRATION BOARD WITH A HIGH PLATE FINISH

Has a very smooth surface, allows quite a bit of lifting and produces interesting textures without additional gesso or gel medium.

C. CRESCENT COLD PRESSED WATERCOLOR BOARD

Allows lifting like the illustration board.

D. *YUPO: Plastic sheet

You must paint with these sheets flat, or almost flat, since paint runs very easily. This allows nearly total lifting back to white. Staining colors may leave color if removed. This usually lifts with a product like Simple Green cleaner on a tissue or soft paper towel.

E. AQUARIUS II PAPER BY STRATHMORE (FOR SURFACE COATING ONLY)

Other medium to light weight watercolor papers work too– stiff papers may produce cracking.
Cover evenly with either: LIQUITEX ACRYLIC GESSO OR GOLDEN’S FLUID MATTE GEL MEDIUM:

SURFACE COATINGS

1. GESSO produces a rough surface, which shows the marks of the applicator unless sanded smooth.

Method: When covering the surface, place the paper on plastic, board, or something it won't stick to. You may lift each edge up after covering to discourage sticking. The gesso will stick to paper. Pour Gesso full strength, about the size of a fried egg for a ½ sheet, onto the middle of the paper. Then spread evenly around all edges and in all different directions until the sheet is evenly covered, using a dampened 2 - 3" house painting brush, brayer, or sponge applicator. Let dry about ½ hour, or you can use a hair dryer. Two thin coats are better than one thick one. Let dry between coats.

2. MATTE FLUID GEL MEDIUM

Dilute 50/50 with water. Mix this in a small container and brush evenly over the surface with a dampened 2 - 3" house painting brush. This will dry in about 1/2 hour. A hair dryer can be used to speed drying time. Two thin coats are better than one heavy one. Let dry between coats and be sure the paper is totally covered.

Gel medium will give a smoother finish than gesso, but still leaves a slight texture. Both applications allow easy lifting, but produce slightly different textures.

ANN PEMBER WORKSHOPS

Water Edge Studio
14 Water Edge Rd. Keeseville, NY 12944
(518) 834-7440 pember@frontiernet.net
www.annpember.com

SIMPLIFIED

WORKSHOP MATERIALS LIST

For Beginners and Those Who Want to Simplify

WATERCOLOR PIGMENTS

Winsor Newton unless marked MB (Maimeri Bleu)

YELLOWS

AUREOLIN / New Gamboge

REDS

PERMANENT ROSE / WINSOR RED

BLUES

BERLIN BLUE (MB) / FRENCH ULTRAMARINE BLUE

You can mix a good variety of colors with these six pigments. Other transparent, lightfast colors are fine. Try a limited palette of only 2 - 5 colors in one painting.

BRUSHES:

Any flat or round brushes you are comfortable with. I like the following:

FLATS: ¼”, ½”, ¾”, 1”, 1 ½”	Sable or Sabeline, such as Sable Essence by Grumbacher, Winsor Newton Sceptre Gold or series 995, Holbein series 500
ROUNDS: #10, 12, 14	Winsor Sceptre Gold, Grumbacher Beaux arts, Holbein Eldorado
OTHER	Small Stiff Flats for scrubbing. Old oil brushes or fabric shaders, spotters, or dye flats
PALETTE	Robert E. Wood, or other covered palette with large wells.

PAPER For Traditional Watercolor Techniques

WATERFORD WATERCOLOR PAPER BY T.H. SAUNDERS - 140LB, 200LB, OR 300LB COLD PRESSED.

This paper allows beautiful washes and does not buckle or need stretching. It allows glazing and some lifting. This is my favorite watercolor paper. I paint on an easel with the paper at an angle to promote the mingling of colors.

BOARD to clip the paper to

CLIPS: 4 small hinged, such as “kitchen grips”

PAPER TOWELS & TISSUES

TWO WATER CONTAINERS

EASEL, OR SOMETHING TO PROP YOUR BOARD UP AT AN ANGLE.