We get asked a lot about the best way to track your ‘Tombow Dual Brush Pen’ colours, and so we thought we’d make things easy for you by creating a Colour Selector and Colour Tracker. So read on to find out about our Tombow Dual Brush Pen Free Downloads.
Tombow’s dual brush pens are perfect for creating cards, producing motifs, sketching, drawing, illustrating and much more. The dual tips consist of a wide ‘brush like’ marker for extensive colouring and a fine marker for precise detailing.
The best news? They’re FREE!
The Colour Selector includes all ’96 Dual Brush Pen colours’ sorted by shade and shows you what each color looks like. Feel free to print this out as a reference, but please know that not all monitors or printers will show or print the colors the same way, so you may notice some discrepancies.
That’s why we’re also offering the Colour Tracker – which is a black and white version of the Color Selector that you can print out and use to keep track of the Dual Brush Pen colors you own.
The Tombow ABT Dual Brush Pen has a fine tip perfect for consistent lines and tight drawings. Complemented by a highly flexible brush tip which is soft yet durable.
Tombow Dual Brush ABT’s are water-based. They are odourless, non-toxic and acid free.
They work like watercolour paints and blend effortlessly. These pens are designed for rubber-stamping, card-making and as artists’ watercolour pens. The Dual Brush Pen is great for comic book designers and graphic artists.
Click on the links below to get your Tombow Dual Brush Pen Free Downloads.
Coloured pencils are a pigment held together with a binder and then encased in wood. The quality of the pencil all depends on the ratio of pigment to binder and the quality of the pigment used.
The top artist quality colouring pencils will create more vibrant colours. Most colour pencils are pigment bound in a wax binder. A wax bound pencil is typically softer and will apply a richer colour with less pressure whilst an oil based pencil are more hard wearing and last longer.
However, there are drawbacks to using a wax binder such as the potential for wax bloom and build up. These occur as the binder begins to evaporate and move to surface- creating a white residue.
We stock both Polychromos Artists Pencils and Caran d’Ache Luminance 6901 pencils.
We see many reviews comparing one as better than the other – but we believe in consultation with our artists that having access to both ranges gives artists a much better opportunity as they work well in collaboration, giving you access to an immense colour palette of professional grade pencils for your work.
The Caran d’Ache Luminance is a combination of oil and wax binder which creates a smooth creamy pencil. This vibrant pencil glides beautifully across paper with a soft and even blend. However, due to the creaminess of the pencil it does make it difficult to draw fine details in your work.
This is why many artists choose to combine the use of Polychromos to get the finer details and luminance for larger areas of the work.
When you read a colour chart it doesn’t just tell you the colours it tells you important information about the quality of the lightfastness of your chosen colours.
If you are interested in lightfastness of different brands you can read more here generally speaking though if you work with lighter shades and strong reds these are likely to have less resistance to light, so don’t display in strong sunlight.
You can also protect your work with a UV stabilised non solvent based varnish such as the Montana range . We would suggest a matt or semi gloss for a realistic finish.
Many thanks to Tamara Howarth for sending over her work for us to use in this article. Tamara is a portrait artist from Pembrokeshire, South West Wales, currently based in Liverpool. England. She specialises in bespoke commission work as well as her own inspired works. Explore her work through the links below:
These pens not only write very well, but their coverage when you use them for colouring is really impressive. Fineliners can sometimes be a bit scratchy when you use them for block colour and leave streaks in your designs.
These pens are smooth to use, with a durable nib, and the pen lines blend in really well together, giving the look of having used a thicker pen.
I really like the fact that you can use these for both small design elements and for bigger blocks of colour.
Spotlight on Gesso Primer – makes your paintings brighter and your paint go further. Acrylic primer is suitable for acrylic and oil painting.
Gesso, pronounced ‘jesso‘, was traditionally used to prepare or prime a surface so Oil paint would adhere to it. Gesso is the same as a primer, as in ‘pre-primed canvas’.
It is made from a combination of paint pigment, chalk and binder. It is recommended that you apply further layers of Gesso to pre primed canvas as often this is a single layer and still leaves canvas semi raw, so still absorbent.
Traditional Oil ‘glue gesso’ was made with an animal glue binder, usually rabbit-skin glue, chalk, and white pigment, usually Titanium white.
Gesso is usually white or off-white and is used after you have sealed the raw canvas with a coat of size.
It creates a surface that is both absorbent (particularly useful for ‘dead’ colouring with oils) and has a ‘tooth’ (texture) that allows paint to grab onto the surface.
So what is Acrylic Gesso?
Modern acrylic gesso is a combination of calcium carbonate (chalk) with an acrylic polymer medium (binder), a pigment (titanium white) and other chemicals that ensure flexibility, and ensure long archival life.
Why do I need to use a gesso primer for Acrylic painting?
Technically you don’t.
But in practice painting directly onto a raw canvas is not an enjoyable experience. Unless you are interested in deep staining effects like Morris Louis who became fascinated with using diluted acrylic paint to stain the raw canvas, rather than apply with a brush.
Can I use acrylic gesso under an oil painting?
Yes and no.
Yes for 90% of your paintings especially if your just beginning ‘acrylic gesso‘ will be fine if the raw canvas has been properly sized, thus protecting the canvas from the corrosive nature of oil.
However, if it was for a portrait or to produce a masterpiece for your painting legacy I would use an Oil based Primer purely for the fact it has been time-tested and the Oil will always adhere better to Oil than sitting on top of an Acrylic. We don’t stock oil primer but can order this in for you.
Tip: If you want the first layer of paint to dry quicker than it normally might, just add gesso. The gesso primer layer can soak up the oil from within the paint and leave a ‘dead’ flat underpainting that won’t have any sheen to it. Imagine the difference between painting onto glass and painting onto blotting paper. All the oil from the paint would be absorbed into the primer layer.
Homemade or ready-made?
Shop bought gesso comes pre-prepared in tubs or tubes and is pretty good, homemade gesso is cheaper to produce and can be adjusted to personal needs and tastes, however, it’s not needed when you are first starting painting.
Artist or Student quality?
As with paints, the difference between the two is dependent on price. The artist quality having a higher price, more pigment, and a higher opacity. The student quality will have a lower quantity of pigment and more filler. If you are painting onto a raw canvas the artist quality would be best due to the increased opacity. For adding a bit more absorbency to a pre-primed canvas student quality would be fine (you can always add extra white pigment to it).
Yes. If you are pushed for time you can mix some paint into the gesso to tint it. You can also buy premixed black gesso and clear gesso. For example, if you are painting a blue seascape the warm undertone of Yellow Ochre can balance perfectly to the cool blues in the scene, adding the feeling of the sun hitting parts of your painting.
Pre-primed canvas boards
“Pre-primed” means “pre-gesso” It already has a gesso layer applied in the factory. On cheaper ranges for some manufacturers often use a seal on top which creates a shiny surface which defeats the object of gesso.
If you are using watered down paint or student quality paints this shiny surface can repel the paint.
The more watery the paint the easier it will sit on the surface and not soak into the canvas as you would like. Winsor & Newton don’t do this, their boards are ready to paint on as ‘pre primed’ – although as previously discussed we would recommend an additional coat of Gesso primer.
If you apply a couple of coats of gesso it will form a more absorbent surface due to the chalk (calcium carbonate- known as ‘whiting’ in oil painting) found in the gesso.
You can sand gesso between coats to create a lovely smooth finish, especially handy for photo-realistic paintings, just sand each layer with a fine sandpaper. Say a 240 grit. 3M’s make a good sandpaper. Just make sure you do it outside, or in a well-ventilated area as it goes everywhere!
240 grit sandpaper if you want to sand the layers in between each other.
Buy a tub of premixed white gesso and give it a stir. You can work directly from the tub so you can control the amount of gesso on your brush for each stroke, but you can also buy it in tubes.
The first coat always needs to be diluted with a touch of water (sometimes people recommend adding a bit of acrylic medium to prevent cracking, but the layer is so thin and soaks straight in, it would never crack).
Allow to dry, then apply a second coat. This can be applied thinly and does not be watered down. If you want a more absorbent surface, add another layer.
When applying the gesso turn the canvas 90 degrees between coats to ensure an even coverage.
Apply a final coat using the pure, undiluted gesso.
Using a large flat brush, apply the gesso directly to the stretched canvas in even strokes. Work from the top to the bottom of the canvas, in parallel strokes from one edge to the other.
Wash your brush out immediately in running water then use a brush cleaner to thoroughly remove the gesso out. It’s worth cleaning it twice even if you think it’s clean.
Frequently Asked Questions
Is Gesso really necessary?
A common question regarding acrylic painting is if you need to use a gesso primer. Technically, you don’t. It provides you with a nice, slightly more absorbent surface to work on, especially if your working on board or raw canvas, but for a pre-primed canvas it’s unnecessary
What are the alternatives to Gesso?
What are the alternatives to gesso? You can prime a canvas with acrylic mediums, clear gesso, or rabbit skin glue. If you work with acrylics, you can also paint directly on raw canvas without priming it first. Oil paints require a primer to protect the canvas from the linseed oil found in oil paints.
What happens if I don’t use Gesso?
It dries hard, making the surface more stiff. Gesso prepares (or “primes”) the surface for painting, making the surface slightly textured and ready to accept acrylic paint. Without gesso, the paint would soak into the weave of the canvas.
Can I mix Gesso with Acrylic paint?
When you add gesso to your acrylic paint, you’ll achieve a matte or, depending on the ratio of acrylic paint to gesso, a satin finish. Often the first layers of my paintings, although painted with acrylic, are applied in a very fluid and thin manner, much like watercolor.
Is Gesso just another name for Liquid White?
Liquid white is not the same thing as gesso! Gesso has an acrylic base, so you don’t want to mix your oil paints into that. Gesso needs to be completely dry before adding any sort of oil paint or medium on top.
How long does it take for Gesso to dry?
If you want to apply an additional coat of gesso, you only have to wait until it’s dry to the touch. Allow it to dry for at least 24 hours before painting on it with oils. If you’re using acrylics, then you can start painting as soon as it’s dry to the touch.
Can I paint directly on canvas without preparing the surface?
The most popular surfaces for painting with acrylics are canvas, wood, or paper. But once primed with gesso, acrylics can be painted on almost any surface, such as fabric, clay, or even your old vinyl records! … When properly varnished, acrylic paintings do not need to be framed behind glass.
We were treated to a trip to St Cuthberts Mill in Wells, Somerset to understand more about the making of English watercolour paper. Situated just outside the beautiful town of Wells in Somerset St Cuthberts is one of the last mills in the UK still making English Watercolour paper, although it is currently owned by FILA there has been significant investment in the site securing the future of commercial paper manufacture in Somerset.
During our visit we were allowed to take photographs, some of these are below. This show the process which is (like most industrial processes) heavily monitored from start to finish ensuring you get consistent quality paper everytime.
Using naturally rising waters from the River Axe, the water is filtered to remove any impurities and tested to ensure it is acid free (naturally so, due to the limestone hills in that part of the country).
English Watercolour paper made from prime ingredients
Raw materials wether cellulose or cotton fibres (depending on the product being manufactured) are mixed with water and formed into a slurry. The slurry is then ‘cast’ into a web of paper which is pressed between woollen felts. The felts dictate paper surface (rough or not). A further process of heated rollers presses a not surface into a Hot pressed surface.
Quality is at the heart of the process
Quality control is at the heart of this process, and the machine is constantly monitored to ensure the web thickness, depth of indentation, or smoothness and moisture content meet stringent specifications.
English Watercolour paper made ready for you to use
The paper is then rolled onto huge master reels that then go through the finishing stages. Then every roll is manually inspected before being sent to finishing. St Cuthberts Mill produce a variety of paper finishes, either bound pads, blocks or spiral bound as well as cut flat sheets.
It was truly a privilege to see this amazing process in action, I hope you enjoy a brief insight into the making of English Watercolour Paper.
You can look at the papers we sell by following the link below:
In watercolour painting, unlike other media, the whites are not added as paint but are reserved areas of the paper that are not painted on, so the white is the colour of the paper. Working with Masking Fluid is intended to give you some confidence in using masking fluid to develop your practice.
Masking fluid is a liquid latex-based product (non latex versions are available)
Masking fluid is a liquid latex-based product that is very effective at keeping small areas and thin lines white when painting on watercolour paper. The rubber prevents the paint from reaching the paper and is peeled off to expose the white paper left untouched. Masking fluids come in different tints so you can see where you have painted it.
The places that masking are most useful are small white areas or lines within a large even wash of colour, like sailboat rigging against the sky, where you don’t want to paint around areas and interrupt a smooth wash.
When working with masking fluid it can be applied in many ways, almost any tool will work. You may use a brush, a ruling pen, a dental pick, a Colourshaper applicator or a special fine needle point applicator which is a needle that gives extremely fine lines. If you need splattered white dots you can flick the masking fluid from an old toothbrush.
If using a brush you might want to keep one inexpensive brush to use exclusively for masking fluid. The latex might not come out completely when you are finished.
One trick (if using a brush) is to wet the brush thoroughly and wipe the hairs over a bar of soap or dip it into washing up liquid, making sure that the hairs are thoroughly coated right up to the ferrule and then use it to apply the masking fluid. Wash the brush thoroughly immediately after use.
The paper must be dry when you apply the masking fluid. If it is wet the masking fluid will soak deeply into the paper rather than sitting on the surface. The paper will usually tear off with the masking fluid when you attempt to remove it when you are finished. The same problem occurs if you dilute the masking fluid when you use it.
Do Not shake the bottle. Shaking the bottle will introduce air bubbles and if applied the bubbles will pop during drying and leave unprotected spotty areas.
If your masking fluid is too thick you can thin with a few drops of distilled water.
Paint your watercolour (over the masking fluid)
Wait until the masking fluid is completely dry, at least five minutes, before you paint the watercolour. After you have finished your painting and it is completely dry you can then remove the masking fluid.
Remove the masking fluid
Remove the masking fluid as soon as possible after the painting is dry. The longer the mask is left on the paper the more likely it will be to adhere and be harder to remove. Also, the colouring in the tinted fluids can stain the paper if left on for a long time.
Some artists rub with their finger or a putty rubber to get it started, or use a specially designed eraser such as Maskaway.
Get a corner to pull away and then lift this away from the paper. It should pull away in thin stretchy strips or sheets. If you find it hard to get a grip, try easing the dried fluid with the edge of a scalpel. Be careful not to rip the paper.
After you have mastered working with masking fluid you will be rewarded with those lovely sparkling whites in your watercolour paintings. To enhance those whites (or add more) then a tube of White Gouache (an opaque watercolour paint) will be your friend.
Wet on wet painting technique with Oils is becoming immensely popular due to regular TV programmes during the 2020/1 lockdown. The wet-on-wet oil painting technique is exactly how it sounds, painting directly on top of wet paint without allowing the lower layer to dry. For this reason, the wet-on-wet method is also referred to as ‘direct painting’. However, these are not the only names for the technique, you may also hear it called ‘wet-in-wet’, ‘wet-into wet’, or ‘alla prima’, which means first attempt in Italian. It is with this method that Bob Ross creates his inspiring and relaxing paintings.
The Italian’s have got the name spot on here, because the wet-on-wet painting technique allows you to complete a painting in one sitting. With traditional methods of painting, referred to as ‘indirect painting’, it can take months to complete a painting (unless you are using a quick drying paint). This is because each layer can dry before moving on to the next.
Of course, the wet-on-wet oil painting technique varies depending on the type of surface that you are painting onto, but the approach is still the same. You can just plan the painting in your mind but doing a sketch or drawing before starting the work can be immensely helpful.
Tips for getting started with Wet-on-wet painting technique
To start with the canvas is first wetted with a painting medium, either clear or coloured – most often with white or black depending on your subject, you can use any colour! To make this liquid base use Zest It Painting medium or Liquin Original, or of course you can paint it straight onto your surface without any colour added.
The upper layers of paint must be thinner than the lower layers. Dilute your paint with thinner so when you apply the paint it does not disturb the lower layers and the paint will lay on top. If you apply the paint and it mixes with the paint that is already on your oil painting, there is a high chance that you didn’t thin the new paint enough. To thin your paint, simply dip your brush into thinner before mixing the colour. For an effective wet-on-wet painting, the paint will need to have an ink like consistency. Thin your paint slowly using your best judgement to determine when the paint has reached this stage. You will get to know how much with each colour as you get more experienced, each colour will vary – but let us not get into density and viscosity here!
Painting with a light touch
It is important to only touch the painting very lightly when adding additional layers using the wet-on-wet technique. Too much pressure on your brush can either push the new colour into the existing and create a muddy colour or lift the paint instead of laying it down. Try to only touch the surface of the painting with the paint itself and not the whole paint brush. If you watch tutorials note that additional layers are always applied softly and gently – this is why.
Oil paints don’t tend to dry quickly
Regular oil paints can stay touch wet for up to a week, giving you plenty of time to take a break if you need to. This means that you can continue using the wet-on-wet oil painting technique.
If you don’t get around to an area before the paint has dried, you can scrape off the dry paint with a palette knife. Apply a medium like Zest it Painting Medium, Liquin Original or Linseed oil, and then add more wet paint. This is called “oiling out”. It is often used to make oil colours appear more vibrant on a painting when they have dried to a matt finish. Liquin dries faster than Linseed oil and may be preferable for this purpose.
Equipment for Wet on Wet Oil Painting
As with any art project the value of your materials does reflect the quality of your finished piece. More importantly the better the materials you can afford the more enjoyable the process will be. If you look after your brushes and painting knives, they will last you for many years. Oil paint does not dry out (unless kept badly). Do not throw old thinners / brush cleaner out, decant into a jar and allow the solids to sink top the bottom, then reuse the solvent. Oily rags can be a fire risk. It is best to keep these in an old biscuit tin, do not just throw in the bin!
Brushes are such a personal choice. But for starters we would suggest you consider the following:
Liquitex 1”, 2”, 3” brushes either flat or angled
Liquitex Fan Brush (for blending) #2, #4, #6, #8
Proarte Script liner (rigger) #2
To achieve the flowing lines and gentle blending we would suggest that you experiment with different palette knives. Personal taste will dictate what you are comfortable with. We stock Winsor & Newton Palette Knives and RGM palette knives.
As you develop experience with oil painting, you may find that routine becomes your best friend. Always lay your palette out in the same way from left to right as follows. Unused colours may be saved either on the palette or scraped off into small plastic containers. If you want to retain your palette for a few days, then wrap gently with cling film. You can even place it in the freezer overnight! For starters we suggest you use Winton Oil Paint made by Winsor & Newton.
Dark (Burnt) Sienna
Midnight (lamp) Black
Phthalo Deep Green
Titanium White (200ml tube is better value, and you will use a lot of white)
Soft Mixing White (We would add a soft mixing white to this palette for mixing lighter colours rather than mixing pastel shades (which is what you achieve with Titanium White)).
Palette for wet on wet oil painting
Choose the largest palette you feel comfortable working with. After all this is where you will mix your colours, and more space means more mixes, and avoids creating mud!
Cleaning your brushes – you can use high street DIY store white spirit to clean your brushes. Beware – as this is an unrefined spirit and over time will damage your brushes. If you are not scrupulous in your brush cleaning may also damage your paintings causing damage to the way that your paint blends due to its unrefined nature. We recommend Zest It Dilutant and cleaner for oil paint, or Sansodor. Both are virtually odour free too as an added benefit.
Surfaces for wet on wet oil painting
You can paint on virtually any prepared surface. If you want to use MDF, plywood, hardboard then simply treat the surface with an acrylic gesso. This will prime the surface (to stop paint sinking in) and give you a well prepared ‘tooth’ for painting on. Tooth is what we call a slightly roughened surface to help paint grab a hold. Gesso can be simply applied with a large brush, and we would suggest a minimum of 2 coats to ensure even coverage.
Of course, there are pre prepared surfaces such as Winsor & Newton Canvas boards or Cotton Canvas. Whilst these are primed, we would suggest that you experiment with applying a coat of Gesso first. This reduces the tendency for your first layer of paint to sink into the surface and Gesso is much cheaper than paint!
Easels for painting
You do not need an easel to start with, but some people find it easier to work on a canvas that is supported – and you do get a better perspective painting with a supported surface. We have two options for you:
If you are wanting to work in a more ‘studio’ way and have space then you might consider a studio easel such as the Lea – these are quite large and don’t really fold down for storage – ask for details and availability.
Finally – do not panic
When painting alla prima, there will always be an element of unpredictability, no matter how much control you paint with. It might be the way colours mix on the canvas, edges getting lost or some areas drying faster than other areas.
Whatever the case, do not let this unpredictable element discourage you. Instead, embrace it because it is what often results in those pleasant surprises in your painting.
Nobody is so skilled that they can predict the exact outcome of their strokes.
If something does not turn out as planned in your painting, like two colours accidentally mixing. Then see if you can pivot and make it work instead of trying to backtrack.
Brusho is a unique, transparent, highly pigmented water-colour ink powder giving wonderful bursts of colour when used, exclusively manufactured by Colourcraft at their factory in Sheffield.
Brusho Crystal Colour offers a very good degree of light fastness. Totally intermixable, Brusho can be used for everything from painting scrap box models. The burst of colour achieved when using our simple sprinkle techniques is perfect for background colours on paper, card and fabric, to water colour design work and wood staining.
Brusho is a versatile medium. It can be used in many ways. Here are some ideas:
Brusho Crystal Colour comes in small white containers with a pull tab. You can open the pot (not recommended as when it falls over it goes everywhere) or you can make some holes in the top. This allows you to control the sprinkle. Personally I use a map push pin to make a single hole.
If you are a beginner then I suggest that you either buy a set or choose some complimentary colours and then experiment.
To start of with just experiment with what the pigment contains. When you sprinkle the pigment onto a piece of dry paper and then spritz with water you will see how a single colour is made up out of many individual crystals.
Now try the same but combine more colours. Brusho Crystal Colour isn’t just for abstract work
You can work with Brusho as a watercolour paint, simply mix the crystals with water in a palette, and paint directly. As a result you will be amazed at the intensity and depth of colour.
Using a clear wax crayon you can create a resist design. Just draw your design onto the paper and sprinkle Brusho Crystal Colour over the design – as if by magic the wax repels the watercolour.
Use Brusho Crystal colour with a stencil and sponge. To add texture mix brusho with an acrylic texture medium and use a palette knife to spread over the stencil.
Mix Brusho Crystal Colour with acrylic matte or gloss medium.
Useful Links to Brusho Techniques and projects
Colourcraft and the manufacturers based in Sheffield, UK. They have an excellent Blog Site where real artists share their tricks knowledge and expertise. Here is a link to a blog post by one of our local artists Rebecca Yoxall
Over to you! Brusho is an amazing medium … what can you make today?
It is especially suited to beginning artists being loose and expressive. Thus making it easier and quicker to learn than traditional watercolour painting.
When applied to a damp surface Brusho explodes into a burst of colour adding a unique effect to any art project. Mix it with acrylic mediums to create even more different effects. Even after many years of use by artists, new possibilities are being found for this amazing product.
Brusho is ideal for use in educational establishments , from primary school children to teachers, lecturers and professional artists.
The Zest It Acrylic Brush Cleaner is a much safer solvent for use in the studio. It is easy to use and has a slight orange/citrus smell.
It is water soluble, non-flammable, non-toxic and contains no Aromatics or CFC’s, has low VOC’s and is kinder to the environment. It can be diluted with water if you find it too powerful or just use a small amount.
It is re-usable, which makes it economical and a little goes a long way. The citrus oil element helps to stop the hair/bristles from becoming brittle and dry, so your brushes last longer.
It will remove old dried Acrylic paint from brushes that would normally only be good for throwing in the bin. Brushes ‘crusted’ with dried Acrylic from constant use can now be brought back to supple usefulness!
The product will also remove Acrylic based products from hard surfaces (wipe the handle of your brush!) and from paper and canvas. If used in this way, wipe the cleaned surface with a water damp cloth.
Wear Nitrile gloves if skin is sensitive and eye protection if splashes are likely.
How to use Zest It Acrylic Brush Cleaner
Time needed: 30 minutes.
Decant a small amount of the liquid into a separate container. Only have it deep enough to cover the hair/filaments of the brush. Swirl the brush head in the liquid gently, wipe onto kitchen towel.
Repeat the swirling in the liquid. Then wipe the brush head between folded kitchen towel to remove softened paint.
Repeat, as the dried paint softens then the brush can be pressed against the side of the container to help release the product.
Repeat until all the Acrylic paint has been removed. Different acrylic paint products take different lengths of time for removal, if you wish to ‘soak’ the brush in the fluid, then about 5 minute would be a good starting point.
When you have finished wash the brush or brushes and your hands with soap and water.
Allow the brushes to air dry.
Label and store the container of used fluid for future use because the Zest-it Acrylic Brush Cleaner can be re-used.
St Cuthberts Mill are experts in manufacturing high quality artists papers. Their master papermakers carefully make beautiful mould made papers, using one of the few remaining cylinder mould machines left in the world.
They have been making paper on the same site since the 1700’s. Surrounded by green fields and quiet country lanes of the English countryside, in the beautiful county of Somerset. We are located by the ancient Cathedral City of Wells, which is close to the mystic town of Glastonbury (the legendary resting place of King Arthur).
Hot Pressed paper tends to be favoured by artists that like to work delicately and with a lot of subtle detail, for example botanical artists. It is the least textured surface, and is completely smooth as it is pressed between 2 hot metal rollers. It is also favoured by artists who will want to reproduce their watercolour on smooth paper.
NOT (Cold Pressed)
Not and Cold Pressed paper amount to the same textured surface – this is the name given to paper with has a slight tooth to it. It is the most popular surface for watercolour painters as it allows for a little texture in your work, as the paint will sink a little into the dimples on the surface of the paper, but it will also be sympathetic to some detailed work.
Rough surface paper is pressed between sheets of textured felt during the drying process, which is why it has a felt like texture. The heavier ingrain of texture means that granulating (irregular colour application) effects are enhanced. This paper surface is not recommended for those interested in detailed work and is more suited to bolder, more expressive painting techniques.
Papers to meet all budgets and styles
Bockingford® Watercolour Paper
Wood & Acid Free
Bockingford® is a beautiful English watercolour paper, traditionally made on a cylinder mould machine at St Cuthberts Mill. This is a high quality paper made using pure materials to archival standards.
The attractive surface is created using natural woollen felts that give it a distinctive random texture. Appreciated for its excellent colour lifting abilities. This is an extremely forgiving watercolour paper valued by professional and amateur artists around the world.
In addition to watercolour the paper accepts pastel, gouache, acrylic, pencil, charcoal and pen & ink. The paper can also be used for certain print techniques and bespoke cartons.
Saunders Waterford® Watercolour Paper
Archival, Wood & Acid Free
External Gelatine Sizing
Saunders Waterford® is an exquisite watercolour paper, traditionally made on a cylinder mould machine. This is the superior quality watercolour paper made by St Cuthberts Mill and comes with the Royal Watercolour Society’s endorsement. Made using 100% cotton, the highest quality papermaking material, to high archival standards. Each sheet is buffered with calcium carbonate to help defend finished pieces of work from discolouration caused by acids present in atmospheric pollution.
Its attractive surface is created using natural woollen felts that give it a distinctive random texture great for watercolourists. The surface is sized in gelatine making it strong and resilient to scrubbing, and other rough treatments.
Enjoy Local Delivery free over £10, or National Delivery (excluding Northern Ireland) over £25 More detail Here
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If you are not able to find what you are looking for we are here to help just ask us a question