Muse Art and Design
4220 SE Hawthorne Blvd, Portland, Oregon
www.museartanddesign.com 503.231.8704
“know your materials, inspire your world”
Guide to Water Media:
CONTENTS:
- Common Features Among All Water Media
pigments and binders
- Watercolors
binder, mediums, surfaces, variations
- Gouache
binder, surfaces, variations
- Ceracolors
- Acrylics
binder, mediums, surfaces, variations
- Inks
important considerations
- Water-soluble Drawing Media
- Using Different Water Media in Combination
- Brushes
- Varnishes and Fixatives
1
Muse Art and Design
4220 SE Hawthorne Blvd, Portland, Oregon
www.museartanddesign.com 503.231.8704
“know your materials, inspire your world”
COMMON FEATURES AMONG ALL WATER MEDIA:
All paints are made from:
PIGMENT (color)
and
BINDER (a substance that holds the pigment)
The PIGMENTS used in all kinds of artists' paints (watercolors, acrylics, oils, etc.) are for the most part the
same. Pigments determines whether paints are opaque, transparent, staining, granulating and how strong colors
are when mixed.
Specific pigments in paints can be identified by pigment codes printed on tubes and product literature. For
example, PB29 is the code for Ultramarine Blue, PR112 is Naphthol Red, and PY35 is Cadmium Yellow. Colors
that list multiple pigment codes contain mixtures of more than one pigment. Manufacturers may name colors
with fancy language and branded names, but pigment codes will indicate the true pigments used. (i.e. “Winsor
Blue” is simply PB15 or Phthalo Blue, a color available in any brand)
for more information about pigment codes, see http://www.museartanddesign.com/paints-pigment-codes/
Artist-grade, or professional-grade paints contain the highest quality pigments in the greatest concentrations.
These paints are priced according to series numbers since some pigments are more expensive than others.
Series numbers can be found on tubes and labels.
2
Muse Art and Design
4220 SE Hawthorne Blvd, Portland, Oregon
www.museartanddesign.com 503.231.8704
“know your materials, inspire your world”
for more information about paint series numbers, see http://www.museartanddesign.com/artists-paints-seriesnumbers/
Student-grade, or value-brand paints contain lower quality pigments and/or less pigment. The amount of
pigment in a line of student-grade paints is adjusted so that each color can be sold for the same price. Studentgrade paints may be fine for practice and are sometimes suitable for finished work, but they can represent false
savings if they do not perform satisfactorily or if weak colors require the use of greater amounts of paint.
BINDERS give different types of paint such as watercolors, acrylics, or oils the unique properties that make them
behave differently. Some of these properties are discussed below with different types of media.
WATERCOLORS:
BINDER IN WATERCOLORS:
Gum arabic (sap from acacia trees) is the traditional binder of watercolors. Gum arabic is a “weak” binder,
meaning it dissolves in water and does not form a “film” when it dries. These properties make watercolors easy
to re-wet and re-work even after paints have dried.
3
Muse Art and Design
4220 SE Hawthorne Blvd, Portland, Oregon
www.museartanddesign.com 503.231.8704
“know your materials, inspire your world”
Golden's QoR watercolors use Aquazol, a conservation adhesive that enables paints to hold up to five times as
much pigment.
MEDIUMS FOR WATERCOLORS:
Although not essential for painting with watercolors, painting mediums may be used to enhance techniques and
produce unique effects:
Gum arabic may be mixed with paints on the palette to extend colors and increase transparency, Extending
colors with gum arabic rather than water alone keeps the consistency of paints from getting too watery and
runny. This is especially helpful when painting on vertical surfaces! Gum arabic should be used sparingly or it
will produce glossy areas in paintings and may cause paints to crack or flake.
Several companies make products simply named “Watercolor Medium.” These products are usually made
from gum arabic with other substances added. These mediums can be very useful for greater control of
transparent washes and for building transparent layers (glazes) because they reduce the amount of water
needed and are therefore less likely to disturb lower layers of paint. (Hydrogel from Rublev is one such product
we have enjoyed using.)
A variety of products may be added to watercolors for thicker, textured applications. These are often called
“Impasto Mediums.” Artists should test such products before using them in paintings to be sure they will
adhere properly without cracking or flaking.
4
Muse Art and Design
4220 SE Hawthorne Blvd, Portland, Oregon
www.museartanddesign.com 503.231.8704
“know your materials, inspire your world”
Ox gall and synthetic ox gall increase the flow of paints when added to water, giving them slippery or soapy
feel. These are useful and fun to use for wet-into-wet effects.
Granulation mediums are intended to make colors “granulate” for mottled and variegated effects. We have
found, and other artists have told us, that such mediums generally do not produce very satisfying results. When
granulating effects are desired, it is best to choose colors made from pigments that granulate naturally.
SURFACES FOR PAINTING WITH WATERCOLORS:
WATERCOLOR PAPERS are the surface most artists prefer for painting with watercolors. The best
papers for watercolors are made from fibers that are strong enough to withstand water (cotton is ideal).
An important component of papers for painting is sizing, a starch or gelatin that coats the paper fibers. Sizing
makes paper stronger when wet and keeps paint from immediately absorbing into the paper. (It would be no fun
to paint on paper that acted like a paper towel!)
Hot-pressed papers have a smooth surface that is especially useful when incorporating pen or pencil drawing
with finer lines. Cold-pressed paper surfaces are textured and produce nice effects when pigments settle into
the valleys of the paper.
When choosing a sketchbook for painting, look for a heavy-weight paper and words on the cover like “wet
media,” “sized,” and “multimedia”.
5
Muse Art and Design
4220 SE Hawthorne Blvd, Portland, Oregon
www.museartanddesign.com 503.231.8704
“know your materials, inspire your world”
Illustration boards, “mixed-media” papers, and “wet-media” papers are other types of papers suitable for painting
with watercolors.
for more information about watercolor papers, see: http://www.museartanddesign.com/watercolor-papersurfaces/ and http://www.museartanddesign.com/watercolor-paper-weights/
NON-ABSORBENT SURFACES such as primed canvas and other nonporous surfaces are not ideal for
watercolors. Watercolors will not be absorbed into these surfaces and will not adhere well.
Non-absorbent surfaces can be prepared with absorbent grounds or watercolor grounds (popular brands are
Golden/QoR and Daniel Smith). These grounds permit the use of watercolors on wood, primed canvas, glass,
metal, plastic, and other non-traditional surfaces.
Yupo is promoted as “tree-free paper” but is truly a plastic sheet. This material does not absorb watercolors, but
provides a surface for the paint to sit on top, often beading and puddling. Useful if desired for special effects.
Some plastic films such as Wet-Media Duralar have been coated with a substance that will hold paint. These
coated films can be used for finished paintings, but must be protected by framing under glass or using a nonwaterbased varnish since colors will be easily disturbed with water. These transparent films are an excellent
tool for use as an overlay to test colors and compositions. The film can be wiped off and re-used numerous
times.
6
Muse Art and Design
4220 SE Hawthorne Blvd, Portland, Oregon
www.museartanddesign.com 503.231.8704
“know your materials, inspire your world”
VARIATIONS OF WATERCOLORS TO KNOW ABOUT:
Watercolors come in tubes and pans. Panned watercolors are for the most part the same as watercolors in
tubes. They've simply been allowed to dry to a hard or semi-soft state.
Chinese or Asian watercolors generally do not re-wet once they've dried on the painting surface. This property
is necessary so colors do not run when mounting rice papers.
Nicholson's Peerless Watercolors are durable paper sheets permeated with concentrated dried color. They
can be used like watercolor pans by touching a wet brush to the sheets to pick up the color. The small sheets
are useful for watercolor journaling and sketching while traveling.
GOUACHE (pronounced 'gwash')
Gouache is opaque watercolor that dries with a velvety matte finish. The opacity of gouache is the result of
high concentrations of pigment and sometimes from pigments ground to a larger particle size. White pigments
and other opacifiers are sometimes added to make gouache opaque, most often in lower quality brands.
Gouache is popular for illustration because the opaque colors and the even matte surface do not produce a
glossy sheen or glare that can interfere with photographing, scanning and reproducing artwork.
Brands of gouache that do not use whiteners or opacifiers can be used as a concentrated alternative to standard
7
Muse Art and Design
4220 SE Hawthorne Blvd, Portland, Oregon
www.museartanddesign.com 503.231.8704
“know your materials, inspire your world”
watercolors. Use more water to achieve transparency. (M. Graham gouache works especially well this way.)
BINDER IN GOUACHE:
Gouache uses the same gum-arabic binder as traditional watercolors. Like watercolors, gouache will re-wet
when water or more paint is brushed over layers. This property can present challenges. Layered colors are
likely to blend together and re-working with a wet brush is likely to create uneven color saturation.
SURFACES FOR PAINTING WITH GOUACHE:
In addition to the surfaces discussed with watercolors, gouache is especially nice to use on colored papers
since the opaque colors will cover and contrast with the background.
Many artists prefer heavy-weight surfaces like illustration board or 300lb watercolor papers for gouache since
thicker, less diluted layers of paint may be prone to crack on papers that might flex.
VARIATIONS OF GOUACHE TO KNOW ABOUT:
Gouache, like watercolors are available in both tubes and pans.
Holbein Acryla Gouache contains acrylic polymer, resulting in layers that cannot be 'lifted” or reconstituted
when dry. The addition of acrylic prevents layers from blending together and helps the paint adhere to a wider
8
Muse Art and Design
4220 SE Hawthorne Blvd, Portland, Oregon
www.museartanddesign.com 503.231.8704
“know your materials, inspire your world”
variety of surfaces.
CERACOLORS:
Ceracolors are a new paint made by Natural Pigments, a California-based company that also makes Rublev
Watercolors and Oil Colors. Ceracolor are a water-soluble wax-based paint. They come in tubes and have a
consistency that is slightly stiffer than watercolors or gouache. Like gouache, Ceracolors dry with a matte finish.
Ceracolors are very versatile. They can be used very much like watercolors or gouache for painting on paper,
wooden panels, and even wax surfaces. Ceracolors will lift and blend on the painting surface with water, they
can be “heat set” with a household blow dryer to make layers tougher so they will not be disturbed with wet
glazes and additional layers of paint. Ceracolors can be applied in thick layers or thinned with water. Colors can
be opaque or transparent, depending on how much water is used. Ceracolors may be used in combination with
watercolors and gouache.
ACRYLICS:
BINDER IN ACRYLICS:
Acrylic paints are made from acrylic polymer emulsion. Acrylic dries quickly and forms a permanent “film.”
9
Muse Art and Design
4220 SE Hawthorne Blvd, Portland, Oregon
www.museartanddesign.com 503.231.8704
“know your materials, inspire your world”
Color shift:
Acrylic paints contain a small amount water, which evaporates as the paints dry. Evaporation makes layers
shrink slightly, causing pigment particles to settle in closer together. This is the reason that acrylic paints often
appear slightly darker when dry. Artists may wish to keep this “color shift” in mind when mixing colors, especially
when the goal is to match a color that is already dry.
Using water with acrylics:
Because acrylics can be diluted and cleaned up with water, many artists assume that using water is a good way
to extend and thin acrylic paints. However, using more than a small amount of water with acrylics is
generally not a good practice, except when painting on paper. When painting on paper, acrylics can be
used much like watercolors since the paper will absorb the paint, which will then dry and bind with the paper.
When painting on surfaces other than paper (including painting over substantial layers of acrylic paint on any
surface), using too much water will prevent acrylic paints from drying in strong layers that adhere well.
MEDIUMS FOR WATERCOLORS:
Acrylic mediums come in many varieties. They are basically the acrylic polymer emulsion that paints are made
from, but without pigments. Acrylic mediums help to make painting with acrylics more satisfying in a number of
ways:
Mediums create permanent and durable layers:
When painting on primed canvas, wooden panels, or when building acrylic layers on any surface, it is best to rely
10
Muse Art and Design
4220 SE Hawthorne Blvd, Portland, Oregon
www.museartanddesign.com 503.231.8704
“know your materials, inspire your world”
primarily on acrylic mediums to thin and extend colors, using only small amounts of water. Using mediums
rather than water to extend paints will create strong layers that stick together more permanently so they
will not lift up or peel off while creating a painting or after a painting is finished.
Acrylic mediums to alter properties of the paint:
Acrylic mediums are available in consistencies from thin and flowing like ink to stiff gels that create texture and
dimension. They are also available in varieties that dry with different degrees of shininess, from matte with no
reflection to very shiny. Mediums of any sheen and thickness can combined and mixed with paints according to
the artist's personal preferences.
Mediums make paint go farther:
Using mediums with acrylic paints is more economical than using paints on their own. Artist-grade acrylic
paints contain enough pigment that a mixture of up to one part paint and one part medium will produce almost
the same opacity and color intensity as paint alone.
note: Acrylic mediums appear milky when wet, but will dry clear.
SURFACES FOR PAINTING WITH ACRYLICS:
As discussed under “Using water with acrylics” and “Acrylic Mediums,” acrylic paints can be used on many
surfaces including paper, primed canvas, wooden panels, and fabrics. Acrylics will behave differently on
different surfaces, but are very durable on surfaces with some degree of “tooth” or absorbency.
11
Muse Art and Design
4220 SE Hawthorne Blvd, Portland, Oregon
www.museartanddesign.com 503.231.8704
“know your materials, inspire your world”
Acrylic gesso (pronounced 'JESS-oh') is the most commonly used primer to prepare surfaces for painting.
Using gesso is not essential, but will provide the most satisfactory results when painting on canvas or wood.
Without gesso, the first layer of paint will absorb into the surface, using up an excessive amount of paint and
making paint difficult to spread. White gesso helps colors look brighter, but gessoes may be tinted with paints for
colored, or “toned” backgrounds.
To use acrylic paints on smooth surfaces like glass or metal, additives such as Golden's GAC 200 must be used
to help paints adhere and dry to a tougher, harder film.
Acrylics may be used as underpainting for oil colors, but acrylics will not adhere reliably to oil paints or oilbased grounds.
VARIATIONS OF ACRYLIC PAINTS TO KNOW ABOUT:
Acrylic paints are available in many forms. Most brands are available in “heavy body” (thicker paste-like
consistency) and “fluids” (flowing consistency). “Acrylic inks” are actually acrylic paint in a very thin
consistency. Thinner varieties of paint like fluids and acrylic inks are made from modifications of acrylic polymer.
They are fully pigmented and are not simply watered down versions of thicker paint.
Golden OPEN is a line of slow-drying acrylic paints and mediums that allow reworking and blending for
extended periods of time (hours to days, depending on amounts used.)
12
Muse Art and Design
4220 SE Hawthorne Blvd, Portland, Oregon
www.museartanddesign.com 503.231.8704
“know your materials, inspire your world”
INKS
Inks provide a great deal of versatility since they may be applied with brushes, dip pens, fountain pens, and
other tools such as markers and spray bottles.
Important considerations when using inks:
Dyes or pigments?
The colors in many inks come from dyes that are not lightfast. These colors will fade, often in short periods
of time. If the label on a box or bottle of ink does not specifically say “lightfast” or “pigmented” do not count on
the colors being permanent. The word “permanent” does not guarantee that colors will not fade! The word
“permanent” is used inconsistently with inks, sometimes meaning that inks are waterproof or suitable for nonporous surfaces. “Pigmented” inks use tiny pigment particles and produce colors that are permanent or very
resistant to fading.
Waterproof or non-waterproof?
Waterproof inks can be used for permanent lines and colors that do not blend or bleed with other media. Nonwaterproof inks will reactivate like watercolors when wet. Inks are usually labeled as waterproof or nonwaterproof, but should still be tested before use.
Shellac-based inks:
Inks containing shellac will dry with a lovely satiny sheen, jewel-like colors, and a slightly raised surface.
However, these inks are usually dye-based colors and will fade in time. Shellac-based inks are not suitable
13
Muse Art and Design
4220 SE Hawthorne Blvd, Portland, Oregon
www.museartanddesign.com 503.231.8704
“know your materials, inspire your world”
for pens with cartridges since they will dry and harden inside the pen.
Alcohol Inks:
Alcohol-based inks produce extremely vivid colors and adhere to many surfaces, including glass and plastic.
These inks are usually not lightfast. Expect colors to fade
Acrylic Inks:
Acrylic inks (also discussed under acrylic paints) like FW Inks from Daler Rowney or High Flow Acrylics made
by Golden are acrylic paint that is formulated with the consistency of ink. They provide the advantage of
permanent, non-fading pigments. They may be used like standard inks or watercolors, but are waterproof
when dry and cannot be reworked or altered after they dry on a surface.
WATER-SOLUBLE DRAWING MEDIA:
Colored pencils, graphite drawing pencils, graphite sticks, wax pastels, dry pastels, and markers are all
available in water-soluble varieties. These materials can be used without water like standard drawing
materials, applied to wet surfaces, or brushed with water for watercolor effects. These tools give the artist a wide
range of options for drawing, mark-making, and fine details. They are also very handy for preliminary studies in
the studio or on location.
14
Muse Art and Design
4220 SE Hawthorne Blvd, Portland, Oregon
www.museartanddesign.com 503.231.8704
“know your materials, inspire your world”
USING DIFFERENT WATER MEDIA IN COMBINATION:
Different water media can be mixed together and combined in layers quite freely. When layering different media,
keep in mind that paints and inks that re-wet will be easily disturbed by additional layers. Also keep in mind that
media will behave differently depending upon how absorbent the painting surface is. Experiment with some
practice pieces to discover techniques and effects that will work in your paintings.
Ideas for creating mixed-media works using water media:
•
Contrast transparent watercolors and opaque gouache in a painting to create striking compositions.
•
Use a combination of standard drawing materials along with water-soluble drawing materials for drawing,
shading, and patterns. Plan your painting to take advantage of drawing materials that will and will not
dissolve with water.
•
For works on paper, use acrylic paints and mediums as a resist for watercolors. Watercolors, especially
when used with plenty of water, are more likely to flow off acrylic surfaces, but will saturate uncoated areas
of the paper.
•
Mix small amounts of acrylic medium into watercolors, inks, and gouache on the palette to help paints and
inks adhere to more surfaces and to “lock” layers so they cannot be re-wet. (Use a disposable palette or a
different palette than you use for your watercolors)
•
Use acrylic mediums as an adhesive for collage.
15
Muse Art and Design
4220 SE Hawthorne Blvd, Portland, Oregon
www.museartanddesign.com 503.231.8704
“know your materials, inspire your world”
•
Use textured acrylic grounds such as modeling paste, pumice gel, fiber paste made by Golden to create
interesting textured surfaces to paint on.
BRUSHES FOR WATER MEDIA:
For use with any type of paint, desirable qualities in brushes include:
• ability to hold plenty of paint
• ability to retain brush shape
•
durable over time
For watercolors, gouache, and inks:
Many varieties of synthetic filaments and natural hairs can provide satisfying results. In general, softer brushes
allow more even distribution of color and more control over brush strokes.
Kolinsky sable brushes are prized for their ability to keep a fine point, spring back to shape, and hold a great
deal of paint.
For acrylics:
Synthetic bristles provide the most satisfying experience for painting with acrylics since they allow paint to flow
from the brush more evenly and smoothly. Synthetic bristles can also be more durable and easier to clean.
16
Muse Art and Design
4220 SE Hawthorne Blvd, Portland, Oregon
www.museartanddesign.com 503.231.8704
“know your materials, inspire your world”
Softer bristles work better for thinner paints. Stiffer bristles work better for thicker and more textured paints.
for more information about brushes, see: http://www.museartanddesign.com/choosing-brushes/
VARNISHES AND FIXATIVES FOR WATER MEDIA:
Although traditionalists may resist the idea of using varnishes for watercolors, properly applied varnishes can
enhance the look of paintings and prolong their life.
VARNISHES permanently seal and protect finished paintings from water damage, dirt, and scratches. They
also allow careful cleaning and dusting to maintain paintings over time.
UV-resistant varnishes provide protection from ultra-violet rays, which can cause colors to fade and papers to
yellow. UV resistant varnishes are essential when using paints or inks with questionable lightfastness
Especially with acrylics, different paints and colors may dry with varying degrees of gloss. Matte, satin, and
gloss varnishes will give completed paintings an attractive even, uniform sheen.
To prevent re-wetting and possible disturbance of paints and colors, non-waterbased varnishes and
fixatives are generally safest to use with watercolors, gouache, and non-waterproof inks. In general, quality
varnishes in aerosol spray form are easiest to apply and provide the best protection. Look for terms like
“archival,” and “non-yellowing” on labels.
17
Muse Art and Design
4220 SE Hawthorne Blvd, Portland, Oregon
www.museartanddesign.com 503.231.8704
“know your materials, inspire your world”
FIXATIVES may be used to help lessen re-wetting and running when building layers, especially in mixed
media pieces. Use fixatives sparingly so they do not block surfaces from receiving additional layers of paint.
18