A list of my art supplies that I use to guarantee that I can create every illustration in the same high quality. I work exclusively with selected supplies, which have proven themselves in many years of use.
Arches BFK Rives 300 gsm 100 % cotton paper
Princeton Neptun synthetic squirrel brushes
Dr. PH. Martin Hydrus watercolor
Caran D’Ache Luminance 6901
Sanford Prismacolor Premier
Epson Perfection V600
Huion Lighttable A3
Wacom Cintiq 27 QHD
For my work I mainly use Arches BFK Rives (280 gsm or more) made of 100 % cotton.
The paper has some texture, but not a whole lot. It is somewhere in between a hot pressed paper and a cold pressed paper. This way I can work on as many details as I like while being able to layer up pigments until I am satisfied with the result. I can render the subject neatly without worry that the paper will be damaged.
If the subject that I am about to illustrate needs a smoother paper to turn out great (e.g. portrait paintings or very detailed spot illustrations), I tend to use Fabriano Artistico hot pressed watercolor paper instead.
If the subject shows a lot of texture, I gravitate to Fabriano Artistico cold pressed watercolor paper to enhance the texture in my illustration.
I use exclusively 100 % cotton paper for all my work, because only with this choice I can guarantee a high level of quality with all my illustrations.
Princeton Neptune brushes are made of synthetic squirrel hair. (I try to avoid animal hair brushes in my work wherever I can)
These brushes of my choice can hold a lot of water and come to a sharp point. The body of the brush can take – different to other synthetic brushes – loads of watercolor and distribute it evenly to the paper.
To create naturalistic illustrations it is essential that there is full control over the paint application. Large areas have to be filled with watercolor evenly.
I use the following sizes:
round: 0, 2, 4, 6, 8, 12
flat: 3/4 “
quill: 4, 6
mottler: 2 “
Dr. Ph. Martin Hydrus watercolor is a paint where the pigments are already dissolved in water and can be used on a palette.
A specialty is that this watercolor does not reactivate with water once it dries on paper. That allows me to use this type of paint whenever I need to place layer upon layer that should not mix with each other (e.g. floral illustrations with delicate petals).
The colors are highly pigmented and brilliant with a extraordinary lightfastness. I do use them as well for colorful illustrations such as tropical fruits, plants and animals.
I own the following range of colors:
1H Hansa Yellow Light
3H Brilliant Cad red
4H Deep Red Rose
5H Quinacridone Magenta
6H Phthalo Green
7H Phthalo Blue
9H Cobalt Violet
10H Venetian Brown
11H Carbon Black
12H Titanium White
For almost all my illustrations I use the honeybased watercolor from Sennelier. The brand has colors with lots of brilliance and a very good lightfastness rate. On top of that, they have a huge range of mono-pigmented colors, which are perfect for mixing. Since I mix all my colors I use because they need to perfectly match the color on the reference image, this is really important for the kind of work I offer.
Sennelier Watercolor Set by Billy Showell (tubes):
Cobalt Blue (307), French Ultramarine (314), Phthalocyanine Blue (326), Lemon Yellow (501), Sennelier Yellow Deep (579), Quinacridone Gold (599), Sennelier Red (636), Red Orange (640), Helios Purple (671), Alzarin Crimson Lake (695), Rose Madder Lake (690), Dioxazine Purple (917)
Custom made Set (pans):
Lemon Yellow (501), Aureolin (559), Indian Yellow (517), Quinacridone Gold (599), Brown Green (857), Rose Dore Madder Lake (691), Sennelier Red (636), Alizarin Crimson Lake (695), Alizarin Crimson (689), Opera Rose (659), Dioxazine Purple (917), Indigo (308), Prussian Blue (318), Indanthren Blue (395), French Ultramarine (314), Sennelier Blue (399), Phthalocyanine Blue (326), Warm Sepia (440), Raw Sepia (443), Payne’s Grey (703), Neutral Tint (931), Ivory Black (755), Chinese White (112), Titanium White (116)
C’ARAN D’Ache Luminance 6901 are very lightfast colored pencils. They allow a smooth paint application and can be sharpened very well without breakage.
The high quality selection is based on mono-pigmented colors. Saturated base colors allow me to create pure, brilliant and luminous illustrations.
The set I own contain (sorry about the german color descriptions, I will try to find out what they are called in English. I own the base set of 76 colors):
001 Weiß, 801 Titan Buff, 242 Schlüsselblume, 821 Neapelocker, 240 Zitronengelb, 810 Bismuthgelb, 820 Gold Bismuthgelb, 041 Aprikose, 030 Orange, 850 Kornalin, 571 Anthrachion Rosa, 061 Permanentrot, 070 Scharlachrot, 589 Karmesin Alizarin, 585 Perylen Braun, 599 Karmesin Aubergine, 350 Purpur, 083 Ultramarinrosa, 630 Ultramarinviolett, 112 Manganviolett, 129 Violettbraun, 093 Violettgrau, 095 Hellaubergine, 120 Violett, 159 Preußischblau, 185 Iceblau, 162 Phthalocyanine Blau, 662 Echtkobaltblau, 661 Hellkobaltblau, 660 Kobaltblau Mittel, 755 Graublau, 161 Hellblau, 171 Türkisblau, 181 Hellmalachitgrün, 182 Kobaltgrün, 214 Berylgrün, 729 Dunkel Englischgrün, 180 Malachitgrün, 739 Dunkel Tannengrün, 220 Grasgrün, 225 Moosgrün, 470 Maigrün, 015 Olivgelb, 025 Grünocker, 039 Braunoliv, 732 Braunoliv 10%, 736 Braunoliv 50%, 548 Echtumbra, 842 Echtumbra 10%, 846 Echtumbra 50%, 077 Ocker gebrannt, 872 Ocker gebrannt 10%, 876 Ocker gebrannt 50%, 862 Siena gebrannt 10%, 866 Siena gebrannt 50%, 036 Echt Siena, 034 Gelbocker, 037 Braunocker, 832 Braunocker 10%, 836 Braunocker 50%, 065 Rotbraun, 069 Siena gebrannt, 407 Sepia, 902 Sepia 10%, 906 Sepia 50%, 046 Kasselbraun, 808 Französischgrau, 802 Französischgrau 10%, 803 Französischgrau 30%, 002 Silbergrau, 495 Schiefergrau, 508 Paynesgrau, 004 Stahlgrau, 504 Paynesgrau 30%, 507 Paynesgrau 60%, 009 Schwarz
Sanford Prismacolor Premier are wax based colored pencils with a smooth color application.
They are the base of my colored pencil range with 150 different colors.
With a high resolution of 6.400 x 6.400 dpi my scanner is perfectly suitable to digitalize and edit photographies and is usually used by professional photographers. It is my scanner of choice, since my illustrations have a naturalistic approach and are really detailed. With this scanner I achieve a great color resemblance to the original, so that I don’t need to edit the colors a lot after finishing the scan.
Due to the high resolution of the scanner, my digitalized illustrations can be used even for really large formats and printed without any loss of quality.
In my daily work I use a basic model A3 lighttable from the brand Huion. It can display different light intensities and is a perfect choice to transfer sketches onto watercolor paper.
During all of my editing process I work on a Wacom Cintiq 27 QHD. The graphic monitor is calibrated and a reliable source to view the colors of my illustrations. I use my Wacom as well whenever I work on digital illustrations or color correct a reference image.