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. WATERCOLOR PAPER FOR TRADITIONAL WATERCOLOR TECHNIQUES
* My Favorites
LANAQUARELLE 140lb, 200lb, OR 300lb COLD PRESSED.
WATERFORD SAUNDERS by T.H. Saunders - 140lb, 200lb, OR 300lb COLD PRESSED.
JACK RICHESON 140lb, 200lb, OR 300lb COLD PRESSED.
These well sized papers allow beautiful washes, do not buckle or need stretching. They allow glazing and some lifting. (Arches papers and un-sized or soft papers are not as versatile for my
technique
B.
FOR TEXTURES, LIFTING AND EXPERIMENTAL TECHNIQUES ON SMOOTH SURFACES
| STRATHMORE 500 SERIES, HEAVYWEIGHT, 5
PLY ILLUSTRATION BOARD: |
20 x
30”5PK
|
| HIGH
PLATE FINISH: |
A smooth
surface that allows quite a bit of lifting and produces
interesting textures without additional gesso or gel medium.
|
| VELLUM
FINISH: |
A cold pressed surface that behaves more like watercolor paper and
allows lifting. |
| CRESCENT COLD PRESSED WATERCOLOR BOARD AND ILLUSTRATION BOARD: |
Allow
lifting and textures.
|
STRATHMORE
BRISTOL
BOARD (500 SERIES) HEAVY PLATE SURFACE;
4 PLY 23 X 29”: 5PK
A smooth surface, similar to illustration board. |
| YUPO:
20 x 26”; 5PK |
|
A
plastic sheet with a slick, smooth surface that allows nearly
total lifting back to
white. Some colors may leave a stain when lifted. This
usually removes with a
product like Simple Green cleaner.
|
| AQUARIUS II 90LB PAPER BY STRATHMORE
(FOR SURFACE COATING ONLY) |
|
This thin
paper is terrible for regular painting, but great for coating. It
remains
pliable and stays flat when coated.
Other papers work too, but heavy ones may
curl and produce cracked paint.
|
| TO
COAT PAPER SURFACES (STRATHMORE 90LB AQUARIUS II (SUGGESTED) |
|
Liquitex Acrylic Gesso /
Golden’s Fluid Matte, or Gloss Acrylic Medium
Foam brush applicators /
Paint Roller / Old 2-3” house painting brush
Plastic Sheeting to protect table
|
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. |
