This page does not aim to dictate rules on material usage for oil and water painting but to offer a suggestion of pigments, brushes, etc. that I use in my work and that I consider being satisfactory.

1. Material for oil over canvas painting

Paints > Basic Colors

I would not like to suggest a brand or other, there are good quality oil paints, owing nothing to the English, Dutch, German, Japanese, American, etc. paints.

It is important to mention that these manufacturers have, in general, two lines of products: one for amateurs and the other one for professionals.

Usually I alternate between the two lines, also why the so-called amateur line also presents a reasonable pigmentation (quality).

There is quite a price difference between one line and the other. It is really a matter of how much you are willing to invest.

Brushes and other materials:

A number of 6 or 8 brushes, of synthetic bristle and flat ended.

The ideal is to purchase brushes of alternate numbers, e.g. # 4,6,8,10, etc.

Some round brushes, 2 or 3, of synthetic bristle and of low number, preferably some brushes usually known as “fillets”.

In relation to brushes, what was mentioned above, proves also true, i.e. there are good national brands. But, if you decide to invest in a quantity of imported brushes, it is also OK.

The important thing is that they have firm bristles, in order to obtain precision in painting.

Other materials, also basic, would be:

• Double water pan for placing of kerosene (for brushes cleaning);
• A mixture of linseed oil and turpentine (to dilute some paints). The proportion of this mixture varies, but I use a proportion of 2 to 1, or for every two parts of oil, one of turpentine;
• A wooden palette for paints (ordered by colors);
• A piece of cloth for cleaning;
• Charcoal for sketching;
• At last, the canvas, that should be selected carefully, for it must be made of a good quality fabric, treated and waterproof, because if the canvas dries too fast, you run the risk of obtaining a final painting that is dull. The canvas, for sure, must be of good quality, and often, a cheaper price is not worth your efforts and the final result may not be what is expected.

2. Material for Watercolors

Paints > Basic Colors

The paints, as opposed to the previous list, must be all imported, as those suggested right above (English, German, Italian, etc. Unfortunately we do not have a domestic manufacturer of a good quality watercolor paints. In case a local industry is investing in this segment, please ignore the observation.

I only use the paints in tubes, for personal reasons, because I think I can get more fluidity in my work. But the same colors are available in tablets, of the same manufacturers and of equal quality.

A good quality watercolor paint requires a good pigmentation, fixing of the pigment as times goes by and transparency, once you do not use white paint.

Luminosity is due, among other things, to a greater or lesser use of the pigments, and also of the amount of water used for these pigment’s dilution.

The separation “amateur” and “professional” is also present at the main manufacturers, and at watercolor painting, it is important that you use predominantly the professional line.

Brushes and other materials:

The brushes must be soft, the ideal being the use of 4 to 6 units with flat, synthetic bristles. Some round brushes are needed, from 4 to 6 units also, keeping up with the suggestion of numbering (# 2,4,6, etc).

A low number brush and a “fillet” one is also needed.

Other basic material would be:

• A plastic or similar material palette, for placing the paints;
• Pencil for a fast sketch.
• A soft cloth for cleaning the brushes and drying out excess water, and
• A bowl for the water. The water to be used must rather be filtered or distilled, so that the paper is not subject to mold.
• Last, the paper, of extreme importance, because it must have a considerable weight, i.e. 280 or 300 grams, minimum, to be appropriate for watercolor use (solely) and, rather be constituted of cotton or mixed fibers. The texture of this paper can vary, being flat, wrinkled, punched, etc. Unfortunately due to its cost, I only recommend the imported ones. The domestic ones, I use only for tests.

I emphasize that the paints and materials described in the two lists are only suggestions. New colors, new brush formats, other materials that can cooperate with the elaboration of the final work, can be added.

The important thing is that the person that intends to paint is not lost among the enormous variety of material available in the market. It is nice to go on testing, little by little, colors, mixtures, canvases, papers, etc, qualitatively developing for the final work.

Should you have any doubts please contact Fabio Cembranelli