I do not use a single brand of paint exclusively,
because even the same color can vary in properties and handling from
brand to brand. I do, however, select only those colors
with the highest lightfastness ratings. I use a fairly limited
pallet, and avoid using new, off-beat, or limited-edition types of
colors. I prefer to use those colors that have withstood the
test of time. Watercolor paints that I use include Winsor and
Newton Artist's colors, and Daniel Smith.
Paper and Board
I use Arches or Fabriano watercolor
papers, 140 Lb or higher. I generally use hot press for botanical
illustrations in watercolor or colored pencil. I use Bainbridge
illustration board, and occasionally will use a high-quality plate or
vellum Bristol for colored pencil work. Working on a very smooth
surface can be slower because of the care needed to prevent lifting of
underlayers, but the results are very satisfying.
Ink
All ink work is done using
Higgins Brand permanent India ink and a croquille pen point. Ink
wash work is done by successively diluting the ink with water to
achieve a gradation of shades of gray. Using very dilute
ink in as many as 10 to 15 thin washes provides the ability to
achieve a careful rendering of the value structure of the
subject.
Natural Vellum
Natural vellum has been used for
hundreds of years as a ground for transparent watercolor.
It provides an archival quality that is unsurpassed by any other
media. Vellum is manufactured from animal hides, and is
processed to give the smoothest and most translucent quality to
the final work. Because the vellum is impervious to
moisture, and can buckle if it becomes too moist, this medium
requires the use of dry-brush watercolor techniques. I use
very small brushes, and many, many successive washes to slowly
build up the color. While this is time-consuming, the
resulting work has a glowing translucency unachievable by
painting on paper.
