Materials

There’s nothing more fun than a trip through the art store. Just strolling the aisles and looking at the brightly colored papers, stamps, markers and embellishments can help me figure out new ways to paint my stories. If you love creating with mixed media, I imagine you already have quite a collection of materials, but every artist has her favorites, and I’m excited to share mine with you.

BRAINSTORMING, DRAWING AND JOURNALING

Sketchbooks: Most of my work begins in a sketchbook that also doubles as a journal. While any sketchbook will do, my favorite is the Strathmore spiral-bound book. It comes in many sizes, and it’s perforated for easy page removal. However, any good 50–60-lb. (105–126gsm) grade of smooth, fine-toothed, acid-free paper will work. A 9" × 12" (23cm × 30cm) sketchbook is the perfect size for the projects in this book.

Tracing and transfer paper: I love to transfer my drawings to the painting surface. It allows me to keep the fine details and saves on redrawing time. A 9" × 12" (23cm × 30cm) pad of tracing paper is very versatile, and transfer paper comes in white and black. Each color works best in different circumstances, so it’s great to have both. A light box is also a great accessory for tracing your drawings, but you can use a sunny window as a free alternative.

Pencils and erasers: I have a collection of drawing pencils and erasers in various shapes and sizes. It’s useful to have a large white eraser as well as a small stick eraser with a brush on the end. The larger one works well on big areas that need erasing, and the smaller one is useful for adding highlights or erasing out details. The brush is handy for getting rid of messy eraser debris. I also have a few kneaded erasers around from my charcoal life-drawing days, and they’re nice because you can squeeze them into any shape you need.

PAINTING SURFACES

Wood panels: I use cradled wood panels for most of my paintings. You can draw on them, glue paper to them, paint, sand and otherwise distress them, and they hold up like champs! Prepare your wood with white or clear acrylic gesso or let the bare woodgrain show through for a different effect.

Clayboard: This is an excellent and versatile support that accommodates carving.

Plain-colored cardstock: Cardstock is one of my favorite surfaces for developing characters. It works great with gouache and gel pen, and you can save your cardstock artwork to incorporate into larger future projects. My studio wall is filled with such creations, and they’re a constant source of inspiration for my stories (it’s like having a stable of actors on call for any drama).

PAINTS

I love acrylic and gouache paints because they fit every lifestyle and workspace. They are water-based and non-toxic, and they don’t require special ventilation. They are fast-drying and available in every color under the sun. You can find inexpensive “basic” or “student” brands at the art store, and these are an affordable way to buy colors “à la carte.” Experiment with your favorites! Another option is to buy a paint set of primary colors and use them to mix up more exotic colors. I use the Golden Open Color Mixing Modern Theory Set. It comes with eight colors, a bottle of thinner and a wonderful poster that shows you how to mix dozens more. I keep the poster hanging in my studio, and it not only helps me to create colors I like but has given me insight into the science of color-mixing. If you use a set, keep in mind that it’s not always possible to create every color. You will probably want to add a few fluorescents and metallics to round out your collection. I have one can of spray paint (in fluorescent pink) for using with stencils, too.

BRUSHES

I use an assortment of flat brushes to lay in background masses. I have a ¹⁄₄" (6mm), ¹⁄₂" (13mm), ³⁄₄" (19mm) and 1" (25mm). For facial expressions, small flora and fauna and delicate tree limbs, I use a no. 00 round or no. ²⁰⁄₀ liner. I also have a 1" (25mm) bristle brush and 1" (25mm) foam brush for applying adhesives. Palette knives are great for mixing paint colors.

MARKERS

Paint pens and markers (from brands like Montana and Posca) are a wonderful way to add linework to your acrylic paintings. They can be costly, but if you start with black and white and build up your collection, you will eventually have a colorful set.

I adore Moonlight Gelly Roll pens from Sakura. There are other brands, but these are specially formulated to glow brightly on dark grounds. I love using them with kraft or black paper surfaces. They also work nicely for details on acrylic paintings. Just be sure to let them dry thoroughly to avoid smearing.

MARK-MAKING TOOLS

I love a needle-point clay tool. You can use this to carve details into soft surfaces like clayboard, and it gives your work a three-dimensional textural effect. An awl also works, and you can find both of these tools in the sculpture section of an art store. A pointy rubber-tipped tool will help you draw details into thicker acrylic paint or medium. Sandpaper (in fine, medium and course grits) and artist-grade steel wool (without oil) are great for adding atmosphere.

MEDIUMS AND ADHESIVES

I use two main types of acrylic medium: glazing and heavy gel. I like the gloss option, but you might prefer the matte or another finish. You can add glazing medium to acrylic paints to thin them out or to build up layers for depth and luminosity. Heavy gel medium triples as a paint thickener, clear coat for carving and adhesive. Brands vary, but my tried-and-true favorite is from Golden. It isn’t cheap, but it’s a great thing to splurge on when you have a coupon!

Glue sticks and glue pens are great when you need to do a lot of detail collage work. When I glue down an entire tree of leaves, I like the handiness of a glue pen.

A brayer and a box of supermarket wax paper are also essential tools in the gluing-down process.

COLOR RESOURCES

Paint chips or a Pantone color book are amazing resources for building up color palettes for a painting. The Pantone book is an investment, but you could also gather heaps of gorgeous, colorful paint chips at any home improvement store.

STENCILS, STAMPS AND PUNCHES

Sometimes you want to add a graphic pop to your artwork. Stencils, stamps and punches do this job quickly. I have my own line of stencils available through StencilGirl Products that lets you add flowers, trees, houses and story elements to your paintings, but you can also make your own stencils or use doilies for pure texture.

One of the great things about stamps and punches is they can provide ready-made characters for your stories. You don’t always need to draw a character from scratch. If you keep a collection of stamps and punches in the studio, play with them when you’re feeling blocked. They just might have a tale to tell.

TEXT AND TEXTURE

As a storyteller, words can be your best friends. I love incorporating text into my work by using old love letters, book pages, poetry, children’s writing and pages cut from the dictionary. You can always scan and print these items if you don’t want to cut up the originals.

My most prized paper collection is the array of collage papers—some store-bought and some I made myself and scanned digitally—I have accumulated over the past decade. When torn up and reassembled, whole stories can emerge from these papers. When I was in graduate school, I did a project on the stories women historically stitched into their quilts, and I think of my paper collection much like scraps of quilting fabric that can be reenvisioned into new narratives.

REFERENCE

We’re creating stories from our imaginations, but even the imaginary world can benefit from references. Some of my favorites are my own sketchbook, studio walls pinned with drawings, photos, postcards, trinkets and toys. And a special thank you to my children—Annabelle and Nicolas—who sweetly strike a pose whenever mommy has a flash of inspiration.