The Studio

Welcome! Every artist is different, and I think we all find our favorite tools and techniques but here are a few of mine. I am still learning so I will update this list periodically.

When an Idea Strikes!
It is not very often that I draw my initial ideas on canvas or board to begin. Usually I sketch out my concepts on paper first, refine them to exactly what I want and then transfer them to the canvas or board using transfer paper. This avoids excessive erasing marks or muddying the paint (especially light colors with lead/charcoal) or even creating a lovely sagging canvas. *note the sarcasm ;)

My favorite places I like to order from are www.dickblick.com for paint and hardboards as they have a huge selection and is usually in stock. However I am in Canada so I do make smaller orders from www.currys.com. My favorite Canadian canvas supplier for pre-stretched (custom) canvas, frames, shipping crates is www.ucsart.com. Their products are hand made and simply superior in quality. If you can't find really well made canvas's or need custom sizes you're welcome to check them out!

Pencils & Sketch Papers

An HB pencil, these are erasable and not to hard to gouge the paper. I totally prefer to sharpen my own as you can easily use it for shading on its side... However when I am transferring my image to canvas, I use a mehchanical pencil for very thin lines.
When it comes to erasers, I actually prefer the basic white plastic erasers. I use both a mechanical one as well as the rectangular shapes ones that I cut into cubes so I can utilize the points to get into the tight areas.
For drawing to transfer to a painting I actually like almost any run of the mill paper that is strong enough to take my pressure but thin enough that I can transfer the image easily. For drawings that I would like to keep or initial ideas I like the Strathmore Drawing pads, specifically the 400 series, 80 lb pads as the have a nice grip and are a slight off white color.

The zombie stuffy drawing I used in my 'The Walking Dog' painting...

The zombie stuffy transferred and painted...

Paints Paints Paints

My absolute favorite brand is the Gamblin Artist Series. Make sure to choose the paints with the highest amount of pigment (I use both the organic and inorganic colors). Also try to choose paint colors with a lightfast rating as close to 1 as possible. A rating of 1 is very stable when exposed to light, a rating of V on the other hand will turn color or fade when exposed. Certain pigments are more rare and this determines the price of the tube, however I prefer these paints as there are no fillers in them. If a paint contains anything other than linseed oil, pigment and a binder, I would skip it. If you're choosing paint for the first time I would recommend investing in artist grade paints to avoid the frustrations of poor quality paints with lots fillers in them. The experience after all is supposed to be enjoyable. *Make sure to read the labels carefully and be aware of the warnings for certain colors as they can contain heavy metals. (avoid contact with skin, use in a well ventilated area, especially when sanding them down, etc..)
To thin the paints out to the consistency of a fluffy sour cream, I use Linseed oil. I tend to purchase the Windsor & Newton brand.

Painted on an un-primed canvas, see the ghastly white spots...(click the image to see larger)

Prime the surface, even if it says it's already primed. Use two to three coates with a small roller, lightly sand smooth between and after coats (when dry of course).

This was painted on a gessoed/primed canvas, no white spots! (click the image to see larger)

Surface Preparation (Canvas/Linen or Board)
Have you ever looked at a painting and could see the canvas popping through? If the paint had dried and there were little speckles of white canvas showing you have learned the hard way, like me, lol. Surface preparation is sooo important. It will let your paints glide and slip across the surface. With proper surface preparation the paint will literally go further as it wont soak into the surface. Colors will be rich and it will have a more overall good quality appearance. My favorite brand is the neutral grey Liquitex gesso, however the white works just as well. I prefer the grey though as you can pop your highlights down and see them easier so you don't paint all your lighter colors to light, leaving no room for your highlights to "pop".

*If you're prepping birch panels, I like to sand them smooth before the gesso is applied. Surface Preparation (Canvas/Linen or Board)

My favorite discard-able palette pad. I like the grey as it (like the gesso) lets you see the bright whites and what it's really going to look like on the painting. Ok, I know some artists out there meticulously set up their palettes but I'm not one of them. Just make sure its getting the same lighting your painting is getting so the colors look exactly the same as they do on your palette.

A good set of pallete knives are a must. Mix paints or even move them around your palette and peel off any dried 'skin' to reveal still usable paint on your palette.

I highly recommend long handled brushes made for oil paints. I prefer synthetic style sable hair and am very happy with the Currys brand. Just remember to wash them after each session as dried oil paint is tough to get out and the brushes usually end up being pooched.

My favorite easel that I use for larger pieces. It is sturdy and holds the art pieces well.

My first mahl stick was made using a broom handle, lol. but hey it worked and they allow you to lean on them to balance and steady your hand.

I now own two of these! If you're travelling these are terrific! Presently this is the little portable easel that I have been carrying around for the past while. It expands to accommodate some decent sized art work. Can't say I use the storage but I guess its a nice option.. I really love leaving my work in them sort of on display while they dry. I can then sit back and look with fresh eyes to spot things I don't like while they are not occupying my main easel.

I recommend a light that shines at it least 5000K-5500K. This allows you to see the true colors you're painting. If you paint using a less vibrant light your paintings will loose their color depth/intensity and look flat when placed in a bright room. 5000K-5500K is the closest to natural daylight and usually what gallery's light the work on the walls with. Remember to shine it on the painting as well as the palette, so everything is consistent...