A Beginner's Guide to Artistic Media

Content

Introduction

1. Generalities
1.1 Lessons in Using the Various Media
1.2 Purchasing Art Media
1.3 Storage

2 Paint – The Basic Aspects
2.1 Description – Artists, Students and Children’s
2.1.1 Artists
2.1.2 Students
2.1.3 Children’s
2.2 Series Classification
2.3 Permanence
2.4 Packaging - Boxed Sets and Individual Colours

3 Paper

4 Brushes
4.1 Hair
4.2 Shape
4.3 Size

Introduction
This essay has as its aim a ‘broad brush’ discussion as to beginning a study of painting aspects, with what I term as generalities of various media (paints, brushes, supports), and related aspects. However, this is not to say that this is in any way superficial, as it includes the basics to what I consider to an appropriate degree. More in-depth matters as to specifics are discussed in essays 2 and 3.

1. Generalities

1.1 Lessons in Using the Various Media
For the complete beginner, if possible, by far the best method of finding out how to use the various media, along with using appropriate paper and brushes is to have some lessons, and not simply by attempting to muddle through – much time and money can be saved by having an introduction as to their correct purposes and usage. Alternatively (or in addition) there is a cornucopia of ‘How to…’ type of books readily available.

1.2 Purchasing Art Media
As a rule, any artistic media purchased in a bona fide art store can be regarded as reliable. In contrast, although art media can also be found in ‘general stores’, the inherent quality will be noticeably lacking. Typically, media that bear the inscription ‘made in China’ will be found to be of this type. Although considerably cheaper, the material is of such poor quality that it cannot be recommended. In contrast, reputable manufacturers in the United Kingdom include Winsor & Newton and Daler Rowney, these being commonly available in any art store. Other, reputable foreign manufacturers, such as Old Holland, Lukas and Sennelier to name but few, are marketed (and if not available can be ordered by post by art stores specialising in mail order), and have products of equal value, but these are, for obvious reasons, slightly less common.

1.3 Storage
Although not of immediate concern to a beginner, the storage of finished works will eventually have to be addressed. As a rule, for reasons of which I discuss in the following essay, works on paper of a variety of mediums will be found to be favoured, generally of A4 or A3 size. For such sizes of paper, it is possible to obtain appropriate size art cases, with a protective hardcover, with plastic inserts to contain the drawings. Although these are relatively expensive, such storage is highly recommended. Certainly, placing finished work in, say, document wallets or similar will result in inevitable creasing and thus non-pristine appearance. For lesser works, of a ‘study’ nature, A3 and A4 ring binders are ideal, with the sheets placed inside punched pockets

2 Paint – The Basic Aspects
A discussion on paint can essentially be broken down into small subsections, of which various aspects can be addressed, such as description types, pigments, permanency, how they are packaged and classification.

2.1 Description - Artists, Students and Children’s
The description of paints, whether for oils or watercolour or of any other type for the utilisation of artists, can be divided into three distinct groupings as regards their inherent quality, with artists, students and children's qualities. (The first two are industry standard descriptions, the third of my own devising, for purposes of discussion below). Although the tyro may be forgiven for thinking that all paints would be described as of 'for the artist', this terminology is reserved for those paints of a higher intrinsic quality. As such, the main constituent of paint, pigment, has many variables, and so pigments of different colours are not to be regarded as ‘equal’. For example, an extensive manufacturing process may (but not necessarily) be involved, of which economic circumstances dictate that such paints will be not be available in a ‘cheap' range meant for children. In addition, some pigments can be (but not always) difficult to obtain (their source material having to be imported). Furthermore, pigments differ in suitability for artistic purposes. Consequently, the different prices reflect some or all of these aspects. Therefore, a paint costing say, three times as much as another is not necessarily intrinsically ‘better’, but simply reflects economic circumstances.

2.1.1 Artist
Those for the artist, the highest quality, utilise pigments that are produced to the highest standards. In general terms, more care and attention in the manufacturing process occurs, as well as utilising lightfast pigments, which can be, but not necessarily, more expensive. Consequently, economic circumstances thus dictate a relatively pricey product.

2.1.2 Student
So-called student paints are of a slightly lower standard, with the more expensive pigments replaced (or omitted) by lesser, cheaper alternatives made to resemble the colour in question. Where this occurs, such paints are described as hues e.g. Cadmium Red (Hue). For the beginner this may be slightly confusing, as although a tube of paint is described as ‘Cadmium Red Hue' it will not in actuality contain any cadmium red but a near substitute. Also, but not necessarily, cheaper, fugitive pigments are utilised in this range. However, despite drawbacks, paints for a beginner in such a range is still more than appropriate.

2.1.3 Children
The children's description refers to paints that are sold in a 'general store' that essentially sells the paints (generally as a boxed set) with other, non-related products. Such materials are of a noticeably lower quality, generally of a very limited range, with the more expensive pigments omitted, replaced with the cheaper, lesser quality pigments. Furthermore, paints in this range are extended with considerable amounts of ‘filler' material (such as chalk, which is considerably cheaper than most pigments), resulting in the paints possessing a noticeably duller colour. Such types can be recognised by their low price that thus reflects this inferior quality.
Consequently, paints from this range should not be utilised, even for work of a ‘study’ nature. Although the beginner maybe tempted by the relatively low price, these should be considered as wholly unsuitable for artistic matters.

2.2 Series Classification
Paints are also classified into distinct series, using numbers or letters, such as 1, 2, 3 or A, B, C, depending on the manufacturer, of which the significance of these concerns the price band. Quite simply, the process of obtaining and subsequent processing of the pigment differs considerably. Some of the factors to take into account include the necessity of importing, along with the ‘preparation', as some pigments require extensive chemical processes, for example the cadmium colours. In contrast, others, such as the ‘earths', such as yellow ochre can almost be utilised in their natural state. Consequently, economic circumstances dictate that the price must reflect such differences, hence the differentiation into discrete series (price bands). Therefore, it should be noted that price is not a guide as to inherent quality or attributes – one paint costing, say, two times as much as another is not necessarily ‘better'.

2.3 Permanence of Paints
Although not really a consideration of the complete beginner, all paints, no matter whether they are of artists, students or of the children's range, have different degrees of permanency. As the pigment of paint is obtained from a variety of both inorganic and organic substances, these can naturally vary in their permanence when the finished painting is exposed to light in normal, everyday situations, such as when displayed in a frame. Furthermore, the various media have different consequences in this matter; as for example, a watercolour has a relatively thin film of paint, whereas an oil painting is noticeably more substantial. Therefore, for any arbitrary pigment, there is obviously more risk of fading to occur in the watercolour with this particular comparison. Furthermore, some pigments, no matter their media, are more prone to fading than with others, on occasions alarmingly quickly, sometimes in a matter of days or weeks, a typical (and all too frequently available) example being Alizarin Crimson (pigment red 88). Therefore, although permanency of the paint should eventually be a factor to take into account, such matters should not immediately concern the beginner. More in-depth information on this aspect is available in a variety of books and leaflets from the manufacturers themselves freely (literally) available, of which pleasingly in recent years such questions of permanency has been addressed, with the omission of fugitive pigments in favour of more lightfast ones.

2.4 Packaging - Boxed Sets and Individual Colours
When paints are purchased, there will be found to be two ways in which they are packaged, either individually or as boxed sets. Generally, the latter will contain a small range of diverse colours, typically of six or twelve tubes. The boxed set can be, but not necessarily, cheaper than purchasing the same colours individually. Essentially, such sets are marketed for the beginner, with a variety of colours, of which there is nothing detrimental about such sets. Indeed, utilising such a restricted range has its advantages, as one is not ‘distracted’ by a full range as a full colour range can, depending on the manufacturer and media, run into approximately one hundred colours. For the beginner, this is no bad thing, as attempts in trying out the intricacies of a ‘full range' would be overwhelming. Certainly, one can always progress more gradually to different colours.

3. Paper
As such, although the tyro may think that any convenient paper will be suitable, the choice of paper for the selected medium is most important. Furthermore, some media, for example oil paints are simply inappropriate no matter what the paper. Quite simply it is not sufficient or advisable to utilise any arbitrary paper that is to hand. Available in various sizes, formats and surfaces are specially produced papers for the express purpose of each individual media, for example pencil, pastel, chalk and watercolour to name but few (more specific details of paper as regards specific media are discussed on following pages). All have different qualities due to their manufacturing process, of which the appropriate choice can then be selected upon the relevant media.

4. Brushes
Although the tyro may be forgiven for thinking that any brush is as good as any other for whatever medium, in practise this will not be found to be so. Quite simply, paint can vary considerably in its intensity, with, for example, at opposite ends of the artistic spectrum, a heavy impasto as with oil paint, to an ‘inconsequential' liquid medium, as with watercolour. Also the choice of support influences matters, again, using the above comparison, a canvas needs a stiff-haired brush, to withstand the coarse texture, whilst if a brush designed for watercolour was utilised would wear out in a very short period of time. Consequently, the brush must be suitable for specific circumstances – an ‘all-purpose’ brush is not to be found. Furthermore, in any one type of brush, e.g. watercolour, it will be found different types of hair (sable, squirrel or camel) are utilised, as the hairs posses different characteristics.. Again, each of these is for specific purposes. Experience will quickly show that depending on purpose some are more suitable than others. Consequently, brushes are made available as appropriate for an intended medium. Brushes for discussion purposes can seen to be of three distinct aspects:

4.1. Hair
In general, brushes are available made of two distinct types of hair, namely natural, from an animal, such as sable, squirrel or hog, or synthetic, this being manufactured, a derivative of nylon. Furthermore, brushes are thus designed for specific purposes, of which it will be found that, utilising the above for comparison purposes; a brush designed for watercolour (containing sable hair) will not be suitable for oil (containing bristles from a hog), and vice versa.

4.2 Shapes
Brushes come in a varied shapes (and sizes), some designed for specific purposes, such as fan brushes (for blending) or ‘riggers', which as the name suggests as specially designed for portraying rigging, being of a long and pointed type. By far the most popular are those known as round (named after their cross-section), which will be utilised in everyday circumstances.

4.3. Sizes
Brushes are denoted in their sizes by a series of numbers, the smallest beginning with 0, followed by 1, 2, 3…with larger increments at about a 10 size, with 12, 14… up to 24. (A ‘minus scale' is sometimes given for the smaller brushes, with brushes such as 0, 00 and 000, these being used for miniature paintings).

	A Beginner's Guide to Artistic Media 1/3 Generalities
Content Introduction 1. Generalities 1.1 Lessons in Using the Various Media 1.2 Purchasing Art Media 1.3 Storage 2 Paint – The Basic Aspects 2.1 Description – Artists, Students and Children’s 2.1.1 Artists 2.1.2 Students 2.1.3 Children’s 2.2 Series Classification 2.3 Permanence 2.4 Packaging - Boxed Sets and Individual Colours 3 Paper 4 Brushes 4.1 Hair 4.2 Shape 4.3 Size Introduction This essay has as its aim a ‘broad brush’ discussion as to beginning a study of painting aspects, with what I term as generalities of various media (paints, brushes, supports), and related aspects. However, this is not to say that this is in any way superficial, as it includes the basics to what I consider to an appropriate degree. More in-depth matters as to specifics are discussed in essays 2 and 3. 1. Generalities 1.1 Lessons in Using the Various Media For the complete beginner, if possible, by far the best method of finding out how to use the various media, along with using appropriate paper and brushes is to have some lessons, and not simply by attempting to muddle through – much time and money can be saved by having an introduction as to their correct purposes and usage. Alternatively (or in addition) there is a cornucopia of ‘How to…’ type of books readily available. 1.2 Purchasing Art Media As a rule, any artistic media purchased in a bona fide art store can be regarded as reliable. In contrast, although art media can also be found in ‘general stores’, the inherent quality will be noticeably lacking. Typically, media that bear the inscription ‘made in China’ will be found to be of this type. Although considerably cheaper, the material is of such poor quality that it cannot be recommended. In contrast, reputable manufacturers in the United Kingdom include Winsor & Newton and Daler Rowney, these being commonly available in any art store. Other, reputable foreign manufacturers, such as Old Holland, Lukas and Sennelier to name but few, are marketed (and if not available can be ordered by post by art stores specialising in mail order), and have products of equal value, but these are, for obvious reasons, slightly less common. 1.3 Storage Although not of immediate concern to a beginner, the storage of finished works will eventually have to be addressed. As a rule, for reasons of which I discuss in the following essay, works on paper of a variety of mediums will be found to be favoured, generally of A4 or A3 size. For such sizes of paper, it is possible to obtain appropriate size art cases, with a protective hardcover, with plastic inserts to contain the drawings. Although these are relatively expensive, such storage is highly recommended. Certainly, placing finished work in, say, document wallets or similar will result in inevitable creasing and thus non-pristine appearance. For lesser works, of a ‘study’ nature, A3 and A4 ring binders are ideal, with the sheets placed inside punched pockets 2 Paint – The Basic Aspects A discussion on paint can essentially be broken down into small subsections, of which various aspects can be addressed, such as description types, pigments, permanency, how they are packaged and classification. 2.1 Description - Artists, Students and Children’s The description of paints, whether for oils or watercolour or of any other type for the utilisation of artists, can be divided into three distinct groupings as regards their inherent quality, with artists, students and children's qualities. (The first two are industry standard descriptions, the third of my own devising, for purposes of discussion below). Although the tyro may be forgiven for thinking that all paints would be described as of 'for the artist', this terminology is reserved for those paints of a higher intrinsic quality. As such, the main constituent of paint, pigment, has many variables, and so pigments of different colours are not to be regarded as ‘equal’. For example, an extensive manufacturing process may (but not necessarily) be involved, of which economic circumstances dictate that such paints will be not be available in a ‘cheap' range meant for children. In addition, some pigments can be (but not always) difficult to obtain (their source material having to be imported). Furthermore, pigments differ in suitability for artistic purposes. Consequently, the different prices reflect some or all of these aspects. Therefore, a paint costing say, three times as much as another is not necessarily intrinsically ‘better’, but simply reflects economic circumstances. 2.1.1 Artist Those for the artist, the highest quality, utilise pigments that are produced to the highest standards. In general terms, more care and attention in the manufacturing process occurs, as well as utilising lightfast pigments, which can be, but not necessarily, more expensive. Consequently, economic circumstances thus dictate a relatively pricey product. 2.1.2 Student So-called student paints are of a slightly lower standard, with the more expensive pigments replaced (or omitted) by lesser, cheaper alternatives made to resemble the colour in question. Where this occurs, such paints are described as hues e.g. Cadmium Red (Hue). For the beginner this may be slightly confusing, as although a tube of paint is described as ‘Cadmium Red Hue' it will not in actuality contain any cadmium red but a near substitute. Also, but not necessarily, cheaper, fugitive pigments are utilised in this range. However, despite drawbacks, paints for a beginner in such a range is still more than appropriate. 2.1.3 Children The children's description refers to paints that are sold in a 'general store' that essentially sells the paints (generally as a boxed set) with other, non-related products. Such materials are of a noticeably lower quality, generally of a very limited range, with the more expensive pigments omitted, replaced with the cheaper, lesser quality pigments. Furthermore, paints in this range are extended with considerable amounts of ‘filler' material (such as chalk, which is considerably cheaper than most pigments), resulting in the paints possessing a noticeably duller colour. Such types can be recognised by their low price that thus reflects this inferior quality. Consequently, paints from this range should not be utilised, even for work of a ‘study’ nature. Although the beginner maybe tempted by the relatively low price, these should be considered as wholly unsuitable for artistic matters. 2.2 Series Classification Paints are also classified into distinct series, using numbers or letters, such as 1, 2, 3 or A, B, C, depending on the manufacturer, of which the significance of these concerns the price band. Quite simply, the process of obtaining and subsequent processing of the pigment differs considerably. Some of the factors to take into account include the necessity of importing, along with the ‘preparation', as some pigments require extensive chemical processes, for example the cadmium colours. In contrast, others, such as the ‘earths', such as yellow ochre can almost be utilised in their natural state. Consequently, economic circumstances dictate that the price must reflect such differences, hence the differentiation into discrete series (price bands). Therefore, it should be noted that price is not a guide as to inherent quality or attributes – one paint costing, say, two times as much as another is not necessarily ‘better'. 2.3 Permanence of Paints Although not really a consideration of the complete beginner, all paints, no matter whether they are of artists, students or of the children's range, have different degrees of permanency. As the pigment of paint is obtained from a variety of both inorganic and organic substances, these can naturally vary in their permanence when the finished painting is exposed to light in normal, everyday situations, such as when displayed in a frame. Furthermore, the various media have different consequences in this matter; as for example, a watercolour has a relatively thin film of paint, whereas an oil painting is noticeably more substantial. Therefore, for any arbitrary pigment, there is obviously more risk of fading to occur in the watercolour with this particular comparison. Furthermore, some pigments, no matter their media, are more prone to fading than with others, on occasions alarmingly quickly, sometimes in a matter of days or weeks, a typical (and all too frequently available) example being Alizarin Crimson (pigment red 88). Therefore, although permanency of the paint should eventually be a factor to take into account, such matters should not immediately concern the beginner. More in-depth information on this aspect is available in a variety of books and leaflets from the manufacturers themselves freely (literally) available, of which pleasingly in recent years such questions of permanency has been addressed, with the omission of fugitive pigments in favour of more lightfast ones. 2.4 Packaging - Boxed Sets and Individual Colours When paints are purchased, there will be found to be two ways in which they are packaged, either individually or as boxed sets. Generally, the latter will contain a small range of diverse colours, typically of six or twelve tubes. The boxed set can be, but not necessarily, cheaper than purchasing the same colours individually. Essentially, such sets are marketed for the beginner, with a variety of colours, of which there is nothing detrimental about such sets. Indeed, utilising such a restricted range has its advantages, as one is not ‘distracted’ by a full range as a full colour range can, depending on the manufacturer and media, run into approximately one hundred colours. For the beginner, this is no bad thing, as attempts in trying out the intricacies of a ‘full range' would be overwhelming. Certainly, one can always progress more gradually to different colours. 3. Paper As such, although the tyro may think that any convenient paper will be suitable, the choice of paper for the selected medium is most important. Furthermore, some media, for example oil paints are simply inappropriate no matter what the paper. Quite simply it is not sufficient or advisable to utilise any arbitrary paper that is to hand. Available in various sizes, formats and surfaces are specially produced papers for the express purpose of each individual media, for example pencil, pastel, chalk and watercolour to name but few (more specific details of paper as regards specific media are discussed on following pages). All have different qualities due to their manufacturing process, of which the appropriate choice can then be selected upon the relevant media. 4. Brushes Although the tyro may be forgiven for thinking that any brush is as good as any other for whatever medium, in practise this will not be found to be so. Quite simply, paint can vary considerably in its intensity, with, for example, at opposite ends of the artistic spectrum, a heavy impasto as with oil paint, to an ‘inconsequential' liquid medium, as with watercolour. Also the choice of support influences matters, again, using the above comparison, a canvas needs a stiff-haired brush, to withstand the coarse texture, whilst if a brush designed for watercolour was utilised would wear out in a very short period of time. Consequently, the brush must be suitable for specific circumstances – an ‘all-purpose’ brush is not to be found. Furthermore, in any one type of brush, e.g. watercolour, it will be found different types of hair (sable, squirrel or camel) are utilised, as the hairs posses different characteristics.. Again, each of these is for specific purposes. Experience will quickly show that depending on purpose some are more suitable than others. Consequently, brushes are made available as appropriate for an intended medium. Brushes for discussion purposes can seen to be of three distinct aspects: 4.1. Hair In general, brushes are available made of two distinct types of hair, namely natural, from an animal, such as sable, squirrel or hog, or synthetic, this being manufactured, a derivative of nylon. Furthermore, brushes are thus designed for specific purposes, of which it will be found that, utilising the above for comparison purposes; a brush designed for watercolour (containing sable hair) will not be suitable for oil (containing bristles from a hog), and vice versa. 4.2 Shapes Brushes come in a varied shapes (and sizes), some designed for specific purposes, such as fan brushes (for blending) or ‘riggers', which as the name suggests as specially designed for portraying rigging, being of a long and pointed type. By far the most popular are those known as round (named after their cross-section), which will be utilised in everyday circumstances. 4.3. Sizes Brushes are denoted in their sizes by a series of numbers, the smallest beginning with 0, followed by 1, 2, 3…with larger increments at about a 10 size, with 12, 14… up to 24. (A ‘minus scale' is sometimes given for the smaller brushes, with brushes such as 0, 00 and 000, these being used for miniature paintings).
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