Paper Thickness

All art papers, whether made for drawing, watercolor, colored pencil, or pastel, are classified by the thickness, or “weight,” of the paper. Below is a basic listing of how papers are categorized by weight and what they are best suited for.

Acid-Free

I recommend choosing, whenever possible, a paper that is listed as “acid-free” by the manufacturer. This kind of paper is made from cellulose pulp, which comes from wood, cotton, and other natural resources. Within the natural order of these plant-based materials, the pH level is on the acidic side. Acid breaks down paper over time, turning it yellow and disintegrating it. Acid-free papers have gone through a process that removes the acid. The paper is “neutralized” and is considered “archival,” which means it won’t yellow, disintegrate, or fade over time. This will protect your drawings for a very long time.

Tracing Papers

Tracing paper is an inexpensive, translucent paper. It yellows quickly, tears easily, and is usually not acid-free. Tracing vellum is a heavier-weight tracing paper that is often available acid-free. I prefer tracing vellum, but the cost may be prohibitive, since it is more expensive than tracing paper. I use tracing vellum to create my compositions, correct drawing errors, and protect paintings during and after the painting process. All my compositions are created and finalized in multiple “layers” on tracing vellum, and I save them in a folder as an archive of the elements of the painting. I can also reuse the drawings in future compositions.

Watercolor Papers

Watercolor paper is available in large sheets and blocks in different dimensions. There are three basic textures: hot-pressed, cold-pressed, and rough. Hot-pressed has the smoothest surface. Cold-pressed has a slightly bumpy texture. Rough, as the name implies, has the coarsest texture. The color of the paper can be white, off-white, or bright white. For beginners, I recommend cold-pressed, because it is easier to work on. Hot-pressed paper is more challenging, but the smooth surface allows for more details.

Specialty Papers

One of my favorite papers for use with colored pencil isn’t actually paper, but a type of plastic film called Mylar^®. I like to work with Grafix^® Dura-Lar^® double-frosted Mylar. Grafix makes a variety of plastic “drafting” films, but my favorite is the 5-mil double-frosted Mylar. It comes in pads and looks very much like tracing paper, but it is thicker and doesn’t tear, rip, or yellow. It’s also acid-free. The surface of the paper has a “frosted,” semi-opaque texture on both sides, which allows layering of colored pencil on both sides. I like the way the color lays down on the surface. The final appearance looks more like a painting than a colored pencil drawing. The microscopic tooth of the paper allows for fine details. You can also use decorative papers behind the drawings for decorative and collage purposes.

Graphite

Starting out is as easy as using a simple drawing pencil. What’s the difference between a drawing pencil and a regular writing pencil? The answer is in the hardness or softness of the lead. H pencils are hard, and B pencils are soft. The higher the number that accompanies the letter, the harder or softer the lead is. F and HB, which is the lead of a standard No. 2 pencil, are in the middle of the range. Look for manufacturers that create pencils using high-quality lead.

Pencil hardness scale

Pictured here are gradations of 8B, 4B, HB, and 4H leads over medium drawing paper, allowing you to see differences in stroke quality and darkness.

Types of Pencils

Many manufacturers offer a wide range of drawing pencils. Look for pencils that deliver consistent, even coverage. Not all pencils or manufacturers are the same, so it’s important to experiment with different brands to find what works best for you.

Paper Stumps or Tortillions

“Tortillion” is a fancy name for a paper stump. This cylindrical drawing tool, tapered at one or both ends, is made of rolled paper. You can use them to blend, smear, and apply graphite, pastel, and charcoal on paper. There are two kinds of paper stumps: hollow and solid. Hollow stumps are inexpensive and disposable. Solid stumps can be used over and over again—just sharpen with a piece of fine sandpaper. Paper stumps come in a variety of sizes.

Erasers

I recommend two types of erasers: kneaded and plastic. A kneaded eraser lifts tone without removing the entire drawing. To clean and keep it pliable, simply pull it apart and “knead.” Kneaded erasers can be used with graphite or colored pencil. I recommend having one designated for graphite and one for colored pencil.

Eraser Shield

This tiny flat piece of metal is a great asset in protecting areas adjacent to where you want to erase something. It’s available at office and art supply stores.

Pencil Sharpener

Maintaining a sharp point while working in graphite or colored pencil is essential for getting crisp details. Small handheld sharpeners typically don’t get the point quite sharp enough. Electric pencil sharpeners produce a great point, but they are more expensive and tend to “eat” the pencil. I prefer to use an affordable, handheld, desktop pencil sharpener.

Colored Pencils

Colored pencils are made from pigments that are mixed with fillers and wax or oil. There are many colored pencil manufacturers. I highly recommend beginning with a basic, minimal assortment of colors purchased individually. Experiment to find the brand you like best. Some are creamy, waxy, soft, and brilliantly colored, such as Premier^® Colored Pencils by Prismacolor^®. Others, such as Prismacolor’s Verithin^®, are not as vibrant, and the lead is harder and doesn’t break when pressed into the paper. Softer pencils are great for covering large areas evenly, and harder pencils work well for outlining and defining edges and details.

Watercolor Pencils

Watercolor pencils offer the control of colored pencils with the look of fluid watercolor paint. The application is the same as wax- or oil-based colored pencils, but you can add water any time, which intensifies and spreads the pigment. Once dry, subsequent layers of watercolor pencil can be added, either dry or wet. You can also add wax- or oil-based colored pencils on top as a final layer.

Watercolors

Watercolor is known for its transparent characteristics. Like watercolor pencils, there are many manufacturers, and it’s best to buy the colors separately, rather than in sets. Watercolor paints are available in individual tubes or pans. I prefer to work with tube paints, as they are already fluid and easier to work with. If you’re not sure where to start with watercolors, I recommend you explore these brands: Daniel Smith^®, Winsor & Newton^™, DaVinci^™, and Holbein^®.

Gouache

Gouache (“gwash”—rhymes with squash!) is very similar to watercolor. The pigments tend to be more saturated than watercolor, making them less transparent and more opaque. You can add white gouache to any watercolor to make it opaque and less vibrant. Gouache can also be watered down to make it more transparent. The inherent quality of a pigment will determine how transparent or opaque the color will be.

Pastels

Pastels are typically in stick form, similar to chalk, and are usually applied with your fingers. Pastels have a higher pigment concentration than any other medium, and they can be either hard or soft. Soft pastels contain more pigment and less binder, so they are easier to smudge and are brighter. Hard pastels contain less pigment and more binder than soft pastels. It’s a good idea to wear a mask when working with pastels, as the pigment dust can go airborne and be inhaled. You can also find pastels in pans.

Brushes

When I first started studying botanical and natural science illustration, I received a recommendation to work with Kolinsky pure sable brushes. These brushes are made from the fur of a specific type of weasel and come in a variety of shapes and sizes. They are relatively expensive. Personally, I didn’t like these brushes; I prefer my brushes, no matter the size or shape, to have a flexible but stiff bristle. I prefer to work with synthetic brushes. Not only are they much less expensive, but also they afford better control. I love to draw, and I feel the most in “control” with this type of brush.

Watercolor Rounds When starting with watercolor and gouache, I recommend using a variety of round brushes. As the numbers on the brush get larger, the size of the brush increases. When covering a big area, I usually use a #10 or #12 round brush. For details, I work with a “spotter” brush, which is shorter and fatter and comes to a fine point. I usually work with a #0 or #2.

Chisel Brush A chisel brush looks very much like a square flat brush when looking at the brush head-on. When viewed from the side, the brush is wider at the base or “ferrule” of the brush, and tapers at the edge. This type of brush is great for cleaning up edges or lifting small lines when painting feathers or leaf veins. I prefer a #4.

Watercolor Palettes

If working with tube paints, you’ll need a palette to place your watercolor or gouache paints in. A palette can be as simple as a disposable plastic plate, a white china dish, or one of many options available in art & craft stores. I prefer to work with white porcelain palettes with six to twelve wells to give me areas in which to mix colors. I almost never completely clean my palette; this would be pouring money down the drain. Simply add a few drops of water to your dried paints to reconstitute them. White porcelain doesn’t stain and accurately shows you the colors when mixing. Keep gouache and watercolor in separate palettes.

Studio Lighting

Working in a room with natural light is the best way to work. To add more light, I recommend a lamp specially formulated to replicate natural daylight. There are desktop models, standing lamps, battery-operated lights, and lamps with magnifiers built in. OttLite^® is a reputable brand in the United States that can be found in art & craft stores and online retailers, as well as fabric stores.

Helping Hands

This little tool can be a great asset in the studio for holding flower tubes, as well as branches for drawing. It has several clips that can hold the tubes or branches, which can pivot to different angles. This allows for natural positioning, and all hands-free, for easier drawing. The base is weighted for balance to keep plants from falling over.

Sketching on the Go

Having a sketchbook with you all the time is a great idea. Some artists create amazing sketchbooks, with each page artfully done. For me, this kind of “sketching” is an art form unto itself and can take just as much time as a “finished” work of art. You can certainly work this way if you like. I believe sketchbooks can be used at five- to ten-minute intervals on the go. Keeping a small sketching kit with you can help you record bits of information and keep the momentum of your passion for nature going.

Cameras

Working from photographs has its challenges. One of the key considerations when working from photos is how much of your subject is in focus. Trying to understand and work from photos with soft or out-of-focus details can be frustrating. The term “depth of field” refers to how much of the subject is in focus. Greater depth of field means that more of the subject is in focus as the image recedes back. Price is always a consideration when considering a new camera. It’s up to you to decide what you will be using your camera for and how much you want to spend.

iPad^® & Tablets

I fell in love with the iPad when it first hit the market. It completely changed the way I worked. When I first started a photo reference library, I used physical images cut out of magazines. Today, I use the iPad as a filing system for my digital pictures. Not only is this less expensive than printing all my photos, it takes up less space and I can easily zoom in on details. With the combination of Pinterest^® and my own photo library, I have access to my reference images from anywhere.