The correct paper
Good drawing results depend on the paper being used. For an optimal result we recommend watercolour paper from Canson Montval (300g/sqm – fine grained) and Hahnemühle Fine Art Britannia (300g/qm hot pressed). These watercolour papers consist of cellulose paper and support good water solubility of the ink. Watercolour pads have glued edges which allows the paper to be smoothed out. Individual sheets should be fixed onto an underlay before painting with watercolours. The higher the grammage of a piece of paper, the better the flatness for painting with watercolours. The Albrecht Dürer artists’ watercolour marker does not bleed through the paper, so both sides of the paper of a sketchbook are usable.
Mixing colours
Layering colours dry on each other
produces colour blends with sharp edges
and shapes. The transparency of the ink
lets layered colour surfaces shine through
and thus allows for extravagantly mixed
colour tones. Depending on the order in
which the colours are overlapped, various
mixed colours can be produced. Thus,
yellow over blue produces something different than blue over yellow.
With brush and water layered colours can
run into each other and mix. The edges
and lines of the drawing blend when get
watercoloured and leave picturesque
surfaces with a typical watercolour
appearance.
When doing watercolouring it is possible
that a colour does not have quite the
intensity or depth that one would wish for.
No problem, because extra colour is
quickly dissolved on a separate piece of
paper and can easily be worked in while
still on the moist surface.
Tip
If the nib is dirty and shows residues of
other colours, it can be easily cleaned with
a paper towel.
Hatching
The light intensity of objects are artistically defined when hatchings are used. Line strength, gaps and dynamic determine the appearance. The closer the lines are to each other, the darker and more intense the colour effect is
For cross hatching, hatchings are overlapped at different angles. Various mixed tones and shadings define the thickness, colour and cromacity of the cross hatchings.
Formative hatchings take on the individual
contour of the object; i.e. the lines run
parallel to it.
Watercolour techniques
The Albrecht Dürer watercolour markers give the artist the freedom to use any current watercolour techniques. The ink pigments dissolve and distribute themselves perfectly in the water film and change surfaces and lines in no time into impressive watercolour pictures.
Applying two colours on areas adjacent to each other and then blending the two areas with a wet brush in the middle will produce flowing bleed patterns and brilliant mixed colours.
Extravagant effects as well as interesting
mixed tones are created when spraying a
drawing with water from a spray bottle.
The selectively dissolving colours provide
immediate spontaneity and vitality in the
picture.
Lovely watercolour effects can also be
produced by using a wet brush to redissolve
colours that have dried slightly.
Here, several thin colour layers are laid on
top of eachother. Each layer of colour
applied must dry before overlapping with
the next colour. As watercolours are
transparent, the overlapping colours mix
visually to create new colours. Painting
with glazes gives a picture layer-for-layer
depth.
Wet in wet
Every watercolour painter knows and loves
this painting technique. First the paper is
well dampened with clear water.
The colour pigments are dissolved on the
paper when the drawing starts and immediately
they spread out across the wet
surface.
The salt technique provides wonderful
textures. Sprinkled on a wet picture,
coarse salt intensely absorbs water and
colour and is easily removed after
complete drying.
Special techniques with the water brush
The Faber-Castell water brush is the perfect companion for the artists’ watercolour marker to realise all the techniques described when on the go. Additionally pictures can become lively and individual with further techniques.
An exciting appearance occurs together with undissolved and dissolved ink. Partially liquidized colour can be blurred with the water brush and lends the picture a special dynamic.
Dry-brush-technique (Granulation)
The paint is applied superficially using an
almost dry brush, the pigments remain on
the top layer of the paper grain.
A structured paper surface is an advantage
for this technique.
With the v-shaped side of the cap, the
dissolved paint can be moved easily
over the paper to create unusual
structures like with a paint knife.
The integrated grooves on the cap are
perfect for creative effects: The damp
paper can be scored to add strong
highlights to the picture with line
patterns in various forms.
Masking
The masking fluid protects areas which should stay the same colour as the paper. Using a brush, it is applied at the very start to parts of the picture which should be protected and must then be left to dry. After drawing and painting, carefully remove the masking fluid with a finger once the picture is dry.
Art supply shops offer white and blue masking liquid. The difference lies only in the better visibility of masked surfaces. It is thus a matter of pure taste as to which masking colour the artist prefers.
Pitt Artist Pen
Mixed media
By combining the Albrecht Dürer artists’ watercolour marker and other painting and drawing media, amazing picture compositions develop.
The lightfast India ink pen Pitt Artist Pen is perfect for setting clear lines and accents on dried watercolours. Since the ink is waterproof, sketches prepared with Pitt Artist Pen remain clear upon subsequent watercolour painting. The Pitt Artist Pen fineliner in different nib sizes and the Pitt Artist Pen brush with its flexible brush nib enrich the drawing style of any Artist.
Watercolour pictures combined with
graphite pencils impress with a classy
appearance. The drawing lends the
watercolour picture “elegance and subtle
vibrancy” when set on a dried watercolour.