Art materials I use

I get a lot of questions about various art materials I use, so I thought I would write a little post detailing the papers, paints, brushes, inks, pens and everything else I use when I create art -- whether as paintings, drawings or comics.

I'm not currently (though I am open to it) sponsored by any art material manufacturer, and these opinions are strictly my own. They are the materials I use every day when creating.

So here then is the list:

Paper:

I have tried several brands of paper over the years, and I keep coming back to the same ones over and over. Mostly because I know how they will perform under the conditions I work with. I'll break it down by the types of media used on it.

Watercolor paper:

Fabriano Artistico 100% cotton --140 lb. most of the time, but also 300 lb.-- My preferred press is the "soft pressed" that lies somewhere between hot and cold pressed. I have only found this in sheets, so I have to get them in sheets and cut them down. This is what I make my hand-made watercolor sketchbooks from. I love the hot and cold pressed block and use them quite often for other purposes, like plein air painting and creating comics - when I paint them. (See under the comics paper below for that.)

Arches 100% cotton -- 140 lb. most of the time, but also 300 lb. -- My second favorite paper to use for my hand-made sketchbooks, and I usually buy the smaller blocks or pads for plein air painting, or line and wash, but occasionally get the sheets to cut down. Both hot and cold pressed. I have had issues with their hit pressed paper recently with the sizing doing weird things, so currently only using their cold pressed.

Kilimanjaro 100% cotton bright white -- 140 lb. -- Kilimanjaro is the Cheap Joe's Art Stuff house brand, and I absolutely love it. I usually buy it in blocks or pads when available in both hot and cold pressed. Before Joe died earlier this year, I heard that Fabriano is the paper maker supplying Cheap Joe's their Kilimanjaro line, which would explain why I like it so much -- when it is in stock! It sells out fast sometimes, so I always stock up when I see it is in stock.

*Note here: I only use 100% cotton paper for my work. It may cost more than pulp paper, but the results are consistent and predictable. There are several papers I have tried over the years, and many I never have, for a variety of reasons. If you think I should try a particular brand, or would like me to do a review of it, feel free to send me a sample to try out.

Comic Book Paper:

Fabriano Artistico 100% cotton --140 lb. -- My preferred is the hot pressed for the smoothness as it most resembles Bristol board. I typically buy the larger blocks for when I am going to be painting any comics rather than pencil and ink with digital colors later. This is my preferred method of making comics, as I like the control all the way through the process.

Strathmore 200 series Bristol, lined for pages --100 lb. -- This, like the next entry, I use interchangeably with the next paper when I am turning in sequential pencil or pencil and ink work for comic book clients. But, if I was going in order it would score as my number 2 Bristol. The paper was made for what it does, and I've never had any issues with it. They even used to sell this in Hobby Lobby, before that store took out all the good paper and replaced it with the inferior store brand Master's Touch paper.

Blue Line Comic Book Pro Full Trim Art Boards -- they don't list a wight, but probably 100 or 110 lb. -- Like Strathmore, I use them interchangeably, but this one is slightly my favorite. It is sometimes a little more difficult to find, and can be a little more expensive, but I've never had a client who had an issue with work done on them. I will keep using for my pencil and ink work.

Client paper -- varies -- Some comic clients supply the art boards they want work done on, and I have worked on everything from Marvel to DC to Dark Horse and a few others. I'm pretty sure most of them are house branded Blueline paper, with specific printer blue lines for their books.

Watercolor Paint:

Roman Szmal: Roman Szmal is a small watercolor maker in Poland, and can be a little hard to find in the U.S. So, I tend to order all of my Roman Szmal paint from Jackson's Art Supply in the UK. When I say they are a small paint maker, I mean they only have a handful of people making the paint, including Roman himself, so they are almost a hand-made watercolor paint. What can I say? The next brand I list used to be my favorite, but when I discovered Roman Szmal a couple years ago, the paints stole my heart. I love everything about them -- except some of the packaging. I usually have to throw them in the freezer for a bit before unwrapping the paints when I get them.

Daniel Smith: I remember meeting Daniel Smith once a long time ago (mid-late 90s) when he was going around promoting his new line of watercolors. He told the story of how he had to sell almost everything to start his paint making business so they would be the quality of paint he expected them to be. They were great then, and they are still great now - even though Daniel Smith sold the company. But the new owner (who actually worked for and learned from Daniel Smith) seems to love the paints just as much. As I said they were my favorite brand until I tried Roman Szmal. I still love them. I still use them. In particular when I want granulation, I always reach for Daniel Smith.

Maimeri Blu: This Italian paint first made its way onto one of my watercolor palettes in the mid 90s. I have always had great experiences with the paints, though I have heard others complain of problems. These are fine artist grade paints, and I love using them for particular subjects. Again, I don't use them as much after discovering Roman Szmal, but I do like them.

Winsor & Newton: The old tried and true standby. If you want really smooth colors with little to no granulation, that are always dependable, and are consistent in what they offer, Winsor & Newton are it. I don't know if I could point out any one thing I don't like about Winsor & Newton, other than my personal taste leans more to granulation. If you use these, they will never let you down, and are dependable. I just only seem to reach for them in particular situations like the Maimeri Blu.

Handmade Watercolor Paint:

This is different than the above as it is usually made by only one person, sometimes with a helper. I have tried several hand-made watercolors over the years, and there are still some I want to try, but my list of what I use only consists of one.

31 Purple Fish: What to say about this paint? She has been making it only for about six years, but Kelsey has everything down pat. I love this hand-made watercolor paint. How much do I love it? I worked with 31 Purple Fish to create a specific color palette for using when painting Tugg: A Hero Among Us, and issue #4 is painted entirely using 31 Purple Fish paints. If you want to try some for yourself, go to her Instagram page, and get on the mailing list. 31 Purple Fish only offers paints for sale every couple of weeks, with the sale going live on Friday mornings. All of that offerings batch of paint is usually sold out in a half hour to an hour. That's how good, and in demand these paints are. If you paint watercolors, get some. You will love them too.

Brushes:

Like paint, brushes can be very specific, and what works for one person might just be so-so for others. But these are the ones I reach for again and again.

Winsor & Newton Series 7: Probably the gold standard in Kolinsky sable brushes. Simply the best time and again. They also last a long while, which is good, because they are pricey. But if you take care of them, they can last you several decades. I use them for ink as well as watercolors. Usually sizes 2-6 rounds.

Roman Szmal: Of course if I love their paint, I'm going to try the brushes. A good brush that is a kolinsky blend. I like the dagger best, followed by the liner and rounds.

DaVinci Maestro: Like W&N Series 7, and excellent Kolinsky brush. I use for watercolors and inks. Usually sizes 2-12 rounds.

Princeton Aqua Elite: A synthetic kolinsky brush that is one of my favorites. Sizes 2-12 rounds, flats, liner and ovals.

Princeton Neptune: A squirrel synthetic bush. Nice for laying in color. While I like the rounds, I really use the Neptune quill mops. I like them for larger areas and getting water down quickly.

Silver Brush: I only have two Silver Brush brushes, both in the Black series - which is a synthetic squirrel brush. I will probably try more to see if they work with what I do.

Pens:

I probably get more questions about pens and inks than anything else. I will also say my favorite dip pen is usually a stick I find and sharpen down.

Sakura: Sakura makes a variety of pens with archival inks and/or refills. Microns are the go to for liner pens, and Manga artists also tend to gravitate that way. They range in size from .005-brush pen, and I use most of them.

Kuritake ZIG: Kuritake makes a great brush pen that is refillable, but they also make three different sizes of disposable brush pens. They are all great, with true black ink.

Pentel: Their micro-brush pen is something I cannot do without when sketching at comic cons.

Blake's sharp stick: My favorite method of applying inks not in a brush pen or liner. I should probably package a couple together and market them as "primitive" drawing tools. Some woods are better than others, but pecan is probably my favorite.

Inks:

Kuritake Black Manga ink: In addition to being very dark, the Kuretake Black Manga Ink also had a beautiful gloss shine when it dried. It also resists water and smudges.

Speedball Super Black India Ink: Speedball Super Black India Ink has a deep black color with a beautiful matte finish, and is completely water- and Copic-proof. It also dries quickly and doesn't budge if erased over.

Dr. Ph. Martin's Black Star Matte India Ink: Dr. Ph. Martin's Black Star Matte India Ink dries to a flat black that’s fairly dark, but I usually have to layer it. It only lifts with thin application, and is resistant to both water-based and alcohol-based markers. BUT if you heavily layer this ink or overlap lines, you may see a glimmer of shine.

There you go!

If I think of other supplies that need to be added here, I will. Or, if you have something you think I should try, let me know!