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2017 ISSUE 1 Learn to draw

and paint!


Grea ooks
on art b ners
for begin


Beginners guide to
How to paint with LANDSCAPES
water-soluble media

Sleepy River, water-

colour by Geoff Kersey

Your basic equipment SIX EASY STAGES
l HOW TO USE masking
fluid and Clingfilm l Hands and feet Tips and techniques
l PAINT simple snow l Moving figures for drawing a still life
Graphite Pencils



Smooth colour laydown Improved core strength Colour removes easily for detailed work with an eraser
Available in 20 consistent degrees

9B 8B 7B 6B 5B 4B 3B 2B B HB F H 2H 3H 4H 5H 6H 7H 8H 9H

Derwent Graphic Pencils contain only the finest graphite to create a smooth and graduated line, smooth and strong to the core
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Welcome to the first of three 24-page
Publisher instalments of StartArt in 2017, published
Dr Sally Bulgin
in association with Leisure Painter
Ingrid Lyon 4 Beginners watercolour
An introduction to the basic materials and
Advertising sales
Anna-Marie Brown colours you will need to begin painting in
Telephone 01778 392048 watercolour, with Claire Waite Brown

Leisure Painter subscriptions 7 Paint winter scenes

Telephone 01580 763315/763673 Follow Terry Harrison as he offers step-by- 12
step advice on how to paint snowy
Sarah Poole landscapes in watercolour

All material copyrighted: reproduction 10 Moving figures

forbidden without permission. Views
expressed are not necessarily those of
How to draw and paint a ballet dancer
the publisher. and a running man, by Susie Hodge

StartArt is published by TAPC

(The Artists Publishing Company Ltd),
12 Hands & feet
Caxton House, 63/65 High Street, Six easy steps to drawing hands and feet,
Tenterden, Kent TN30 6BD with Susie Hodge
Telephone 01580 763673/763315
Email 14
14 Beginners drawing in ink
Elena Parashko introduces simple drawing
the online home of Leisure Painter,
The Artist and StartArt magazines techniques for capturing a still life from a
Printed by Warners Group Publications
PLC, The Maltings, West Street, Bourne,
Lincolnshire PE10 9PH 18 Explore mixed media
Learn to paint a colourful landscape using
a variety of water-soluble media, with
Fiona Peart
23 Subscribe to
Leisure Painter
Develop your skills and SPECIAL
receive a free gift with OFFERS ON
an annual subscription practical art books
to our best-selling learn- (page 22)
Fiona Peart Tuscany Fields
Follow Fiona step by step and paint to-paint magazine Subscription to
a bright and lively mixed-media Leisure Painter
landscape on pages 18 to 21
(see page 23)

RT TUTORS Susie Hodge
Susie is an author, historian
and artist, who writes for
Leisure Painter, Elena offers
a variety of holidays and
online and live courses.
and offers workshops in
the UK and abroad.
The Artist. She offers talks,
Terry Harrison lectures and workshops. Claire Waite Brown
Terry writes and produces practical Fiona Peart Claire has written and
art books and DVDs, and offers An inspiring artist and tutor, edited several practical
online and live workshops. Visit Elena Parashko Fiona is well known for art and craft books. A regular contributor to working in mixed media MARCH 2017 StartArt 3

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Beginners guide to
Your introduction to using basic watercolour
equipment, by Claire Waite Brown
Useful mediums
Since water is the primary medium

he delicacy and translucency less pure pigment than Artists
of watercolour makes it an quality paints, which means that the
for watercolour work, you do not
ideal medium for painting. The colours are not as intense. They are
strictly need anything else. However,
paint itself can be bought as liquid, also usually less transparent, more
you may, on occasion, choose to
ready-to-use colour in tubes, or in grainy and not as reliably lightfast
use a few drops of ox gall (3) in
square pans of dry colour that as the more expensive Artists
the water to help the paint flow
needs mixing with water. It is also varieties. Therefore, it is advisable
smoothly, or mix gum arabic (2)
made in two different qualities, to buy the more expensive paints,
with watercolour on the palette
usually referred to as Artists or because for you do not want to
to give the paint extra body without
Student colours. The latter are the struggle with muddy or grainy
affecting its transparency. Masking
cheaper option, but they contain pigments.
fluid (1) is a medium that can be
painted onto the paper in order
to reserve fine highlights.

1 3

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About paper
Watercolour paper loves water and will remain undamaged
from a soaking. It is also strong enough not to rip when
stretched, and delicate enough to produce the most
beautiful effects. Watercolour papers are available in varying
surface textures hot-pressed, cold-pressed and Rough
and thicknesses. The thicknesses are measured in weight,
expressed as grams per square metre (gsm) or pounds per
ream (lb), and range from 600gsm (300lb) almost like
board to about 120gsm (60Ib), which is very flimsy. It is a
good idea to try out various sorts of paper to discover which
best suits your style and expectations. You will find that the
texture and absorbency of different papers affect the way
the paint behaves, but once you have found a paper you
like, stick with it, because there can be considerable
variations from one manufacturer to another.

Stretching paper
Any paper lighter than 300gsm (150lb) needs to be
stretched before use, unless you are working on a very small
scale and using the paint quite dry, otherwise the water will
cause it to buckle. If you work with very wet paint, you may
Intensity of colour need to stretch 300gsm (150lb) paper. In order to stretch a
Watercolour dries much lighter than it
sheet of paper you will need gummed brown-paper tape
appears when wet, so it is a good idea to
and a drawing or plywood board that will not warp.
judge the intensity of the colours you
choose by testing them on spare paper.
1 Wet the paper on
both sides, either by
immersing it in a bath
1 Tubes of watercolour and shaking off the
Tubes of ready-to-use transparent watercolour surplus or using a
(left) are especially practical for large-scale sponge. Wet the
work. The paint in this format is often easier to wrong side of the
keep clean than paint in pans and, provided paper first, then turn
the tops are replaced after each use, will last the sheet over on the
a long time. board and wet the
right side.
2 Pans and half-pans of watercolour
Pans and half-pans of dry watercolour are
useful if you only use small amounts of paint 2 Cut a strip of
at a time. Many artists find pans more gummed brown
convenient than tubes because they fit within paper tape to the
a paintbox and can be carried around easily length of the long
for outdoor work. side of the paper and
dampen it by passing
3 Pans of watercolour in a paintbox it over a wet sponge.
Paintboxes for pans have central recesses to
hold the pans and a fold-out lid and mixing
tray that you can use to mix colours. 3 Stick the tape down
onto the paper and
4 Gouache the board and use
Gouache is an opaque version of watercolour the sponge to smooth
and the two paints can be used together in it out and ensure it
the same way. Artists often use a little white adheres properly.
gouache to reclaim highlights in a watercolour Repeat for the
painting, or use coloured gouache to vary the remaining three sides.
consistency of paint in the same picture, Leave the paper to
contrasting transparent and opaque areas. dry naturally. MARCH 2017 StartArt 5

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The effects of paper texture

Hot-pressed papers The smooth Brush care
Hot-pressed (HP) paper is made surface of hot- and maintenance
smooth by passing it through pressed paper l Always clean out your brush at
causes the paint the end of each painting session.
heated rollers after it is made. to puddle, because
It is often used for botanical there is not enough Keeping brushes scrupulously
painting, and less often by texture to keep it in clean will extend their lives.
beginners. place, a l To clean a sable brush, roll it
characteristic that
Cold-pressed papers gently between finger and
some artists like to
These papers are pressed exploit. thumb using soap, then rub
between unheated rollers lined gently on the palm of your hand,
with felt mats that impart a right to the ferrule, and rinse well.
texture, or tooth to the papers Cold-pressed l Make sure you rinse out the
surface. Also referred to as NOT paper has just colour in the bristles within the
surface, because it has not enough texture to ferrule.
drag the paint off
been hot pressed, this is the the brush to create l After washing, shape the bristles
most commonly used paper, a wide variety of back into shape before leaving
because it has sufficient texture effects. to dry.
to hold the paint but is smooth l Do not leave brushes standing

The grain of
enough to enable you to paint on their heads, because this will
fine detail. cause them to go out of shape.
Rough paper breaks
Rough papers up brushmarks,
Rough papers are not pressed creating broken
at all, and each brand has a lines and areas of
colour. Used fairly
characteristic rough surface.
This rough surface acts as a
dry, pigment can be Equipment
draggedacross this Kitchen towel is useful for
moderating influence and helps surface to produce
general cleaning up, and can
to control the flow of pigment. many textures.
also be used for various lifting-
out techniques.
A small natural sponge
Brushes forms part of most
watercolourists kits. This can
Apart from the paints themselves, the most vital pieces of equipment are your
be used for washing off paint
brushes, and you should choose wisely and look after them well. Round brushes
when a mistake has been
are made in a range of sizes, from No. 0 (tiny) to 12 or 14. You will not need a huge
made, or for softening edges,
selection because a good brush that comes to a fine point can be used for both
laying washes, and lifting-out
detailed and broad work.
You will also need water pots, and may find that extra palettes come in useful.
Any other additional items you can probably find around the home. Water pots can take the form
of a recycled jam jar or yogurt
pot, or, for those working
Round brushes outdoors, a non-spill pot.
Round brushes are extremely Watercolour paintboxes
versatile, enabling you to make containing pans of colour
a variety of different brushmarks incorporate their own palettes,
and to paint linear detail. The but these do not always
best brushes are Kolinsky sable, provide enough space for
which are expensive, but last a mixing, so you may need an
lifetime if looked after. The less auxiliary palette. If you use
expensive alternatives range tubes of paint, you will need
from sable and synthetic mixes a palette with recesses to
to wholly synthetic varieties. squeeze the colours into and
When buying brushes, make shallow wells to keep the
sure that the bristles come to a mixed colours separate. There
fine point without the hairs is a wide choice of such
splaying out. palettes, made in china and

This article was adapted from The Watercolour

Flower Artists Bible by Claire Waite Brown
(Search Press, 2016, 12.99). Turn to page 22
for special offers on practical art books from
our bookshop at
SA1 7-9 TH.qxp_StartArt 3 16/11/2016 15:25 Page 2


Paint winter scenes

in watercolour
Heres how to paint seasonal landscapes using masking fluid and
a limited palette, by Terry Harrison

Painting snow on white paper is obviously going to create a

challenge; I rely heavily on masking fluid to help me achieve BRUSHES USED
the effects I want.
Terry used his own range of brushes for the
following paintings and demonstration.
Purchase these from
or use the equivalent brushes, detailed
Terry Harrison General equivalents
Half-rigger Short-handled Rigger
Golden leaf 1in. flat
Fan gogh Fan
Medium detail No. 6 Round
Small detail No. 3 Round

Adding texture to snow

An interesting effect can be achieved by
sprinkling grains of salt on to wet paint. The salt
absorbs the paint, leaving a starburst shape,
which is ideal for suggesting snowflakes and
frost. To get the best results from this technique,
allow the paint to dry completely and in its
own time (do not use a hairdryer), then dust
off the salt particles.

Masking fluid snow on trees

Masking fluid can be used to great effect when painting
snow. Here I applied the masking fluid with a sponge for
the treetops, and with a small brush for the snow that had
settled on the branches and trunks. I used a ruling pen to
apply the masking fluid to the fence and the grasses in the
foreground. Some of the ruts and texture in the foreground
were painted with masking fluid. After removing the
masking fluid, a light wash of cobalt blue was applied
to create some shadows, the rest was then left as white. MARCH 2017 StartArt 7

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Demonstration Paint a snow scene Colours used

l Ultramarine
l Raw sienna
l Cobalt blue
l Burnt sienna
l Burnt umber

Stage 1 Stage 2
Draw the scene. Use kitchen paper to Wet the background
dab masking fluid onto the trees, then down to the ground with
an old clogged up masking fluid brush the golden leaf brush, Stage 3
to mask the tops of the fence, stile and then paint on Use the fan gogh to paint the trees
signpost. Finally use a Colour Shaper to ultramarine. and the dark area behind the stile,
mask grasses in the foreground. then drop in raw sienna.

Stage 4 Stage 5 Stage 6

Use the medium detail and cobalt Change to the half-rigger and paint Paint the stile, signpost and fence
blue to paint snow shadows over tree trunks among the mass of trees with the medium detail brush or
the foreground masking fluid, then with a mix of ultramarine and burnt Round brush and a mix of
drop in burnt sienna wet into wet to umber. ultramarine and burnt umber.
suggest undergrowth. Allow to dry. Allow to dry.

Stage 7 Stage 8 Stage 9

Use the small detail brush and a Paint grasses in the foreground with Rub off the masking fluid to reveal
darker mix of the same colours to the half-rigger and burnt umber. the snow, then add shadow with the
paint the shaded parts of the Allow to dry. small detail brush and cobalt blue.

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The finished painting

Terry Harrisons article was adapted from

Terry Harrisons Watercolour Secrets (Search Press, 2017,
12.99). Save 2 when you buy from our bookshop at and follow the links to
books. Turn to page 22 for the special code and offers
on other top-selling practical art books. MARCH 2017 StartArt 9

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Figures in movement
How to draw and paint figures in movement with Susie Hodge

he aim of these pages is to fairly soft, such as a B or 2B as the After the coloured sequence, the
demystify the drawing process and coloured pencil method here is just so figure is also drawn in pencil to show
to encourage aspiring artists to you can see each step clearly. In the you what yours might look like. Use a
view a figure as a collection of simple first stage, the drawings are in blue, light touch, dont draw every eyelash,
shapes and lines which is what it is. marking the basic elements of the but include only general, overall
When an image is broken down like body. In the next stage, those first lines indications, such as a few creases as a
this, the process becomes easier than become orange and all new lines are person turns or bends, or some stray
it might seem at first. Before you begin, in blue this time the general outline of strands of hair. Often the small, almost
try not to think about the finished the person. In the next step, contours of unfinished areas seem to breathe life
image but draw each stage carefully, clothing and some details of folds are into a drawing or illustration.
concentrating on proportion, ratios marked. Finally, in blue, facial features, The final image is to show you
and angles how far does that spine hair, clothing details and tones, or another option of what you can do,
tilt, how long is the arm from shoulder shading, are added. With your pencil, this time with watercolour. Again, less
to elbow, what size is the head in draw the steps lightly and erase any is often more, particularly on moving
proportion to the calf? previous guidelines after each one is figures. Use whatever materials you like,
Two colours are used in the stages to finished. Take your time and make sure but if you are using watercolour, keep
make the sequences easier for you to you have drawn the correct proportions your water clean and your brushes
follow. You can use a pencil make it before you move on to the next step. damp, not too wet.

10 StartArt MARCH 2017

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This was adapted from How to Draw

People in Action by Susie Hodge
(Search Press, 2016, 4.99). See page
22 for special offers on practical art
books from our bookshop. MARCH 2017 StartArt 11

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Hands & feet

How to draw and paint elements of the human body
in six easy stages by Susie Hodge

he simple sequences here are method. Dont worry about mistakes, they
intended to make your drawings happen to everyone. Either erase them or
more accurate and the process less work through them dont give up!
daunting, so I hope you try drawing If you follow the visual instructions here,
them. Once you are used to the process, you will soon feel more confident about
try drawing some of your own, from life or your drawing skills and you will develop
from photographs, using the same your own natural style.

12 StartArt MARCH 2017

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This was adapted from How to Draw Hands

& Feet by Susie Hodge (Search Press, 2016,
4.99). See page 22 for special offers on
other practical art books from our
bookshop. MARCH 2017 StartArt 13

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Beginners guide to
drawing with ink
Practise with simple materials and a photographic subject
to build your drawing skills, with Elena Parashko

or centuries ink has been used as
a medium for writing, drawing and
painting so we tend immediately
to think of black ink being applied with
a nib. This traditional method is not the
only option as these days there is a
large selection of ink colours and
implements available.
Here is an easy-to-follow explanation
of the materials and techniques
involved in drawing with ink, followed
by a still-life demonstration. Still life just
means your subject matter involves
inanimate objects in this case, a
ceramic pot with a cork stopper. The
cylindrical shape of this pot provides
a great opportunity also to draw
ellipses, a shape commonly found in

still-life compositions.
Basic materials for drawing with ink: felt-tip marker (Micron), dip pen
with nib, a bottle of Indian ink and a sketchbook
Ink comes in small bottles, sometimes sizes of nibs that can be interchanged usually not lightfast so completed work
with an eye dropper in the screw lid. into the tip of a dip pen depending on should be kept out of direct light or it
Black Indian ink is the most common the type of line or dot required. The may fade over time. If you want to
but an extensive range of colours is quality and thickness of marks made apply a watercolour wash over the top
now available. If you find the colour too by nibs can also be varied by of the ink drawing when it is dry, just
intense straight from the bottle, ink can changing the pressure applied. Dip use a waterproof marker.
be diluted with distilled water. Over pens take some practise to master
time, ink in bottles can thicken slightly and results can be unpredictable as Paper
due to evaporation of moisture content. sometimes more ink than intended Ink drawings are usually made on
To regain a smooth flow, add a small can be released. Because of this paper. Normal cartridge paper or
amount of distilled water to the ink. randomness in nature and the varied sketch paper is sufficient, however, if
Ink is available in waterproof or non- quality of line, they can produce you will be adding a wash of ink or
waterproof formulae. Non-waterproof interesting effects in drawings. watercolour, heavier watercolour paper
ink can be diluted with water and will be required to avoid buckling. If a
applied with a brush as a wash over Pens and markers preliminary sketch will be done in
drawings rendered with waterproof ink. Using ink from a bottle can be messy pencil first, do not apply too much
If a mistake is made, non-waterproof so there are many modern no-mess pressure on the pencil or this will cause
ink can be re-wet then blotted off with ink alternatives you can try. These indents in the paper where ink may
a paper towel. Waterproof ink, on the include ballpoint pens, art pens, later pool. When erasing pencil marks,
other hand, is impossible to erase so fountain pens, technical pens, and be careful not to damage the surface
when using this type it is wise first to fibretip or felt-tip markers. The of the paper.
draw your composition with pencil drawback with these pens is that they
then apply the ink. When it has produce standard uniform marks so Brushes
thoroughly dried, pencil marks can drawings created with them can lack Ink can also be applied with a brush.
be erased carefully. character if interest is not developed Ordinary watercolour brushes can be
in other ways. used, however oriental brushes usually
Dip pen with nib Tips of markers can be chisel-shaped, produce the best results, as they are
Bottled ink is applied with the nib of a wedge-shaped or pointed and come designed to carry lots of ink for long
dip pen. There are many shapes and in a range of thicknesses. The ink is flowing strokes.

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Stippling simply means applying tiny dots to build up tone and contours. Where
a darker tone is required, such as in a shadow area, more dots are placed close
together. In areas where a lighter tone is needed, there are fewer dots placed
further apart. For the brightest areas, do not stipple at all but leave the white of
the paper to act as the highlight. When stippling, take time and care, as a
hurried application will leave a small ink tail instead of a crisp, clean dot. In the
illustrations of basic 3D objects (below), you can see how stippling effectively Light source
creates form through light, dark and medium tones all achieved through the
close or sparse placement of dots.

Light source Stippling a sphere

Light source

Stippling a cylinder

Stippling a
rectangular prism

Hatching Ink line marks

Hatching produces the same result as stippling, but through the use of lines.
Simple hatching involves drawing one layer of lines close together in one
direction. Cross-hatching is drawing two layers of lines close together in two
different directions. Multi-hatching means drawing three or more layers of lines
close together in multiple directions. The more layers of hatching that are applied,
the darker the tone. Again, leave the white of the paper to act as the highlight.




Crab Apples, pen & ink,

38x58.5in. (15x23cm). An
illustration of crab apples drawn
in ink with a dip pen and nib,
using stippling and hatching. MARCH 2017 StartArt 15

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Drawing ellipses
An ellipse is the shape a circle takes
when it is seen from an angle. If you
have ever struggled with drawing a
three-dimensional object that is
basically cylindrical in shape, such Looking at the top of the
as a vase, pot, a glass or bowl, it was can from three different
probably the ellipses in these objects angles of eye level
that were the challenge.
If you hold a can low in front of you
and look straight down on it, the top of
the can will be a perfect circle. As you
raise the can higher in front of you and
the angle of your eye level changes, the
top of the can will no longer be a circle
but will become an ellipse. The higher
you move the can, the narrower the
ellipse will become. When the top of the
can is at your eye level, the ellipse will Incorrectly drawn
actually appear to be a horizontal line. ellipse with corners
Check ellipses in
a clear glass of water
A common mistake made when drawing
ellipses is to draw a top arc, a bottom arc
and have them join at the corners with a
point (right). There are no points or corners
on ellipses. They are continuous curves
with no straight lines or angles.

It is great practice to draw ellipses in transparent objects, such as

a clear glass of water. Here you can see the ellipse that makes the
top rim of the glass, the ellipse of the water level and the ellipse at
the base of the glass. All three ellipses in this glass are roughly the
same proportion as the eye level is similar for each.
To check that your ellipses have the correct shape and symmetry,
draw a straight line vertically down their centre. The left side of each
ellipse should be a mirror image of the right side. Also draw a
horizontal line through the middle of each ellipse. The top half
should be a mirror image of the bottom half. The diagonal quarters
should also be mirror images of each other.

Demonstration Ceramic pot with cork stopper

For this still-life drawing I used a felt-tip marker,
but you could also use a dip pen with nib and
Indian ink if you prefer.

You will need

l HB graphite pencil

l Sketch paper

l Eraser

l Felt-tip marker or dip pen

with nib and Indian ink

Ceramic pot reference photograph

16 StartArt MARCH 2017

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Step 1
Since ink is difficult to remove from paper once applied,
first lightly draw the outline of the pot and its cast
shadow with an HB pencil. My sketch is darker than Step 2
necessary just so you can see it in print. Imagine the With a graphite pencil, draw the outline of the cork with
pot and cork stopper are transparent and draw the its top surface as another ellipse.
complete ellipse at the top of the pot even though you
cant see the far side in the reference photo. This will
ensure you draw the curves of the ellipse correctly.

Step 3
Use the
technique of
stippling with
ink to create
the tones and
contours of the
pot. That means
placing many
small dots side
by side. Look
carefully at the
reference photo
and note where
the darkest areas Step 4
are and place more dots close together here. Where The cork stopper is shaded with the technique of
a lighter tone is required, apply fewer dots and place hatching. Where a light tone is needed, one layer of
them further apart. Leave the bright highlight free of hatching is sufficient; where a darker tone is needed,
any dots. While the ink is drying, be careful not to cross-hatching produces a stronger colour. The deepest
smudge it with your drawing hand. shadows are multi-hatched.

Step 5
To finish the drawing, use stippling
to suggest a shadow cast by the
pot. This grounds the still life so it
doesnt look like the pot is floating.
Note that the darkest part of the
cast shadow is at the base of the
pot. When the ink is dry, erase any
visible pencil marks.

The finished drawing

6x8in. (15x20cm)
Ceramic Pot, pen & ink,

Turn back to page 3 for information

about Elena and how to contact her. MARCH 2017 StartArt 17

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Mix your media

Take up any water-soluble media you have to produce a colourful
and textured landscape, with Fiona Peart
The following four pages explore just some of the fantastic water-soluble media
you can use in your artwork. The quality of the materials you use for your artwork
will affect the results you achieve, so I always recommend buying the best you can,
even if it means having less.

Graphitint pencils are made from graphite with
just a hint of colour. These feel firm when applied
and are most like a graphite pencil to use. Despite
having a base of graphite, the pigment used is
Watercolour pencils can be opaque and have
subtle hues, in contrast with Inktense, which are
stronger in colour and both more vibrant and more
Inktense pencils are designed to be wetted and
are different from ordinary colouring pencils. The
pigment used becomes lightfast once water has
been added, making these truly materials for artists.
Both watercolour and Inktense pencils are pigment

based, which means the colour you see at the tip Colour sticks: top Inktense blocks
of the pencil is the colour you put on to the paper. and below Artbars
They have a relatively soft feel on the paper
compared with using a graphite or Graphitint pencil.
Once you wet Inktense pencils, they will dry almost COLOUR STICKS
permanent and stain the surface, whereas Inktense blocks are made from the
watercolour and Graphitint applications can be same material as the core of Inktense
agitated and rehydrated. If used on a NOT surface pencils; simply without the outer
paper, a lovely texture can be achieved with the wooden casing. Like the pencils, they
Inktense range, while if a smooth surface is used have a slightly crumbly texture when
these pencils can be blended and shaded to give applied directly to the paper, but once
very subtle colour mixing. A huge range of tonal wetted the colour is vivid and
values can be achieved by varying the pressure. translucent, which allows rich deep
colours to be created. They are
Colour pencils from top to bottom: permanent once dry, which enables
Graphitint pencils, watercolour pencils you to apply layers on top of another
and Inktense pencils without disturbing previous colours.
Colour can be lifted directly from
Inktense blocks with a wet brush and
used on many surfaces, including
canvas and other fabrics.
WATERCOLOUR PAPER Artbars are sumptuously soft sticks of
Watercolour paper is available in different weights suitable for a variety of rich opaque colour. When used on their
painting applications. A heavier paper is needed when using a very wet sides and applied directly on to the
approach in which you flood the surface with liquid while a lighter paper may paper, Artbars create bold swathes of
be used for light washes. The surface of watercolour paper also varies. You can colour. Alternatively, the edges of the
use either smooth or textured depending on the results required. bars can be used to apply finer, more
Watercolour paper is available in a number of finishes. Smooth paper is detailed sections of colour. Being
flattened with a hot press to give a silky smooth surface, ideal for fine detailed opaque and very soft ensures that they
work. It is sometimes known as hot pressed (or HP) paper as a result. In contrast, can be used on top of other water-
NOT surface paper is flattened with a cold press that leaves a slight texture to soluble colour, which means light
the paper. This creates the opportunity for textural effects and enhances the use colours can be placed on top of darks
of any granulating pigments. Rough surface paper is also cold pressed and is as well as vice versa. Being opaque,
rougher still than a NOT surface. These qualities make it ideal for creating more Artbars can be used to adjust areas
dramatic textural work and further enhancing the effect of granulating media. and add bold rich pigment where

18 StartArt MARCH 2017

SA1 FP 18-21v2.qxp_StartArt 1 16/11/2016 15:16 Page 2

Demonstration Just add water
Get out all of your water-soluble
materials it does not matter if they
your work in the future.
This exercise will involve using one
You will need
are pencils, sticks or paint then layer of your water-soluble medium l Watercolour pencils raw umber (56),
think of the colours that you like. to suggest a simple landscape. cobalt blue (31), light violet (26)
l Inktense pencils cadmium yellow (0210),
They can be any combination: this is While I have provided a list of the
your creative time, so use colours materials I used (see right), the
you particularly like. purpose of this exercise is for you to cadmium orange (0250),
The main reason for experimenting work with what you already have, so iron green (1310)
in this way is to gain an you should simply use the materials l Artbars Iris (A10), kiwi (A18), blush (A23),
understanding of how various media listed as very rough guidelines. opaque white (A72), lilac (A27)
l Inktense blocks cadmium orange (0250),
work together: some flow more than If something does not work as you
others, some are opaque and cover had hoped, think about what
iron green (1310), poppy red (0400)
any colour placed underneath, and happened and how you could use
some react with others to create that idea for something else; do not l NOT surface watercolour paper, 300gsm
various effects. Watch what happens think of it as a failure, but as another (140lb), 13x19in. (23x33cm)
on the wet paper and you will soon discovery to use in the future. Most l Large Round brush
l Masking tape and board
find colour and medium importantly, enjoy the whole process.
combinations that you enjoy using Get your water-soluble materials to
most and these will feature more in hand, and you are ready to begin! l Spray bottle

Stage 1 Stage 2
Secure your paper to the top of the board using Loosely block in the shapes using any of the different
masking tape, then suggest the basic shapes of a media you have. I have used cobalt blue and light violet
landscape on the paper using whatever water- watercolour pencils on the sky and distant hills, cadmium
soluble medium you have chosen. I am using a raw yellow and cadmium orange Inktense pencils along with
umber watercolour pencil for this example. contrasting iris, kiwi and blush Artbars on the mid- and
Alternatively, you can skip this stage and go straight foreground fields, and white Artbars
in with colour by starting at stage 2. on the buildings on the horizon.

Stage 4
As the colour
develops, add the
roofs and trees
using cadmium
orange and iron
green Inktense
respectively, and
some odd
Stage 3 contrasting dark
Use a spray bottle to spray the spots across the
picture. Let the water mingle field using the
and cover the colour naturally. Inktense blocks.
SA1 FP 18-21v2.qxp_StartArt 1 16/11/2016 15:16 Page 3

Stage 5
Strengthen the wet
colours by picking
up colour from the
poppy red Inktense
block with a wet
large Round brush
and touching it lightly
to the surface; and
suggest detail in the
background with iron
green and cadmium
orange Inktense

Stage 6
Continue developing
the picture by
playing with the
media you have.
Experiment with what
each does while the
paper is wet, and
when it is merely
damp. If the wet
sheen disappears
from the paper, you
can re-spritz it, or just
individual areas.

Stage 7
Continue to play
and develop the
picture. Here I am
softening the
texture on the top
right with a wet
brush loaded with
opaque lilac Artbar.
SA1 FP 18-21v2.qxp_StartArt 1 16/11/2016 15:16 Page 4


The finished painting

Tuscany Fields, water-soluble media, 13x19in. (23x33cm). You have now
created the most wonderful textural study. It might be so good that you want
to keep it as it stands. It may also be ideal to work on further at a later date.

This exercise was adapted from Drawing and Painting

with Water Soluble Media by Fiona Peart (Search Press,
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