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Even an experienced artist can be confused bythe huge array of watercolour materials on themarket. For the newcomer to the medium thechoice can be overwhelming.

Aquafine colours, brushes and paper are highquality affordable materials for watercolourpainting, specially selected to work perfectly together.

The eye-catching blue packaging of allAquafine products is instantly recognisable onthe art store shelf so you can put together acollection of paints, surfaces and brushes -and add to it - confident that you have chosenthe right materials.

The Aquafine colour range is based on thetried and trusted Georgian Water Colourrange, noted for its brilliant free-flowingcolour.

Daler-Rowney have been making the finestart materials for more than two centuries.Turner used Rowney colours. So didConstable. Over the years artists at all skilllevels have come to appreciate the quality ofDaler-Rowney watercolours, which are now afavourite choice among leisure painters,students and professionals in more than 90 countries worldwide.

Water colour is a transparent painting medium.As the light shines through the thin layers ofwatery colour, it’s reflected back from the white

of the paper.

To maintain the transparency of thecolour, and create sparkling bright

watercolour paintings, use clean water andkeep the number of layers of colour (glazes) to

a minimum. Apply colour with a sure touch,and don’t be tempted to overwork it.

The amount of water you add to colour takenstraight from the pan or tube will determine thestrength and intensity of the colour. To create palecolours that retain their transparency, add morewater to the mix, rather than white. For deeperdarker colours, use water more sparingly.

The flow of the colour also depends on thequantity of water in the mix. Thin watery colourwill obviously run more freely. This is used forbroad sweeps of colour over large areas. Formore control when adding in detail, use lesswater.

Understanding the basics

Choose from 37 Aquafine water colours, alldesigned to give rich colour and create delicatetransparent washes that will remain bright andclear for years to come. Colours come in 8mltubes and individual half pans of moist colour in cakes.

All colours are sold at the same affordable priceacross the range, and they’re made to the sameexacting standards applied by Daler-Rowney tothe manufacture of all their art materials.

Recent advances in pigment technology haveproduced new high performance pigments toreplace some of the more expensive ones used inArtists’ Water Colours. These are denoted by theword “hue” on the colour chart.

Star ratings relate to the resistance of the colourto fading over time.

Colours

If you’re buying loose tubes, a recommended starter palette would includeUltramarine, Coeruleum (Hue), Alizarin Crimson,

Cadmium Red (Hue), Yellow Ochre, Hooker’s Green,

Cadmium Yellow (Hue), Burnt Umber and Payne’s Grey.

Cylinder Radical new compact cylinder set, with 12 half pansand an Aquafine brush for painting outdoors. Newlarger thumb hold for extra comfort, generousdetachable mixing palettes, and built-in water wells.Ideal for painting outdoors.

Slider setsSlider sets incorporate ingenious extra slide actionpalettes, detachable mixing wells in the lid, and asmooth open/close catch.Choose from:• 20 half pans• 18 half-pans plus tubes of Ivory Black

and Chinese White• 10 tubesAll with an Aquafine brush.

Metal BoxesTraditional black tin paint boxes, with fold outpalettes and extra mixing wells in the lid.Choose from:• 12 half pans with a brush• 24 half pans with a brush.

Pocket SetLightweight flat box with 12 half pans. Mixing wellsin the lid and a brush for painting outdoors.

Starter SetSix tubes in a plastic storage tray.

Introduction SetNew style wallet of 12 tubes.

Whole Pan SetLightweight paint box with 12 whole pans of colourand a brush.

Palette SetAttractive presentation box with ten tubes, loosepalette and brush.

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Daler-Rowney Ltd., Bracknell, Berkshire, RG12 8ST England. Telephone: (01344) 461000. Fax: (01344) 486511.

Daler-Rowney USA, 2 Corporate Drive, Cranbury, NJ 08512-9584. Telephone: 609-655-5252. Fax: 609 655-5825.

Daler-Rowney SA, Rue Technologies 4, B-1340, Ottignies, Belgium. Telephone: 010 452 545. Fax: 010 452 241.

www.daler-rowney.com991 850 022

Aquafine Colour ChartA New Generation of watercolour for everyone to enjoy

001Chinese White

*** (o)

588Vermilion (Hue)

*** (o)

537Permanent Rose

*** (t)

142Phthalo Blue

*** (t)

338Emerald Green (Hue)

*** (t)

223Burnt Umber

**** (t)

563Rose Madder (Hue)

*** (t)

123Ultramarine

*** (o)

352Hooker’s Green

*** (t)

221Burnt Sienna

**** (t)

034Ivory Black

**** (o)

035Lamp Black

**** (o)

651Lemon Yellow

*** (t)

640Gamboge (Hue)

*** (t)

620Cadmium Yellow (Hue)

*** (o)

636Rowney Orange

*** (t)

503Cadmium Red (Hue)

*** (o)

571Scarlet Lake

*** (t)

515Alizarin Crimson

*** (t)

514Crimson Lake

*** (t)

433Purple*** (t)

413Mauve*** (t)

127Indigo*** (t)

135Prussian Blue

** (t)

110Cobalt Blue (Hue)

*** (o)

112Coeruleum (Hue)

*** (o)

355Leaf Green

*** (t)

375Sap Green

*** (t)

382Viridian (Hue)

*** (t)

663Yellow Ochre

**** (t)

667Raw Sienna

**** (t)

527Light Red

**** (o)

269Vandyke Brown

**** (t)

247Raw Umber

**** (t)

251Sepia (Hue)

*** (o)

065Payne’s Grey

*** (o)

619Cadmium Orange (Hue)

*** (o)

651 Lemon Yellow Arylamide Yellow 10G PY3 11710 *** t

640 Gamboge (Hue) Arylamide Yellow, Arylamide Yellow 10 G PY1:1, PY3 11680, 11710 *** t

620 Cadmium Yellow (Hue) Arylamide Yellow GX, Arylamide Yellow PY73 PY1:1 11738, 11680 *** o

636 Rowney Orange Arylamide Yellow GX, Naphthol Red AS - OL PY73, PR9 11738, 12460 *** t

619 Cadmium Orange (Hue) Diarylamide Orange, Arylamide Yellow GX PO34 / PY73 21115, 11738 *** o

588 Vermilion (Hue) Diarylamide Orange, Naphthol Red AS-OL PO34, PR9 21115, 12460 *** o

503 Cadmium Red (Hue) Naphthol Red AS - OL PR9 12460 *** o

571 Scarlet Lake Alizarin Lake, Toluidine Red PR83:1,PR3 58000:1, 12120 *** t

515 Alizarin Crimson Alizarin Lake PR83:1 58000:1 *** t

514 Crimson Lake BON Arylamide, Thioindigo Violet PR210, PR88 12477, 73312 *** t

563 Rose Madder (Hue) Alizarin Lake, Quinacridone PR83:1, PR122 58000:1, 73915 *** t

537 Permanent Rose Quinacridone PR122 73915 *** t

433 Purple Quinacridone, Dioxazine Purple PR122, PV23 73915, 51319 *** t

413 Mauve Dioxazine Purple PV23 51319 *** t

127 Indigo Phthalocyanine Blue, Carbon Black, PB15, PBk7, PR88 74160, 77266, 73312 *** tThioindigo Violet

135 Prussian Blue Ferri Ammonium Ferrocyanide PB27 77510 ** t

123 Ultramarine Ultramarine Blue PB29 77007 *** o

142 Phthalo Blue Phthalocyanine Blue PB15:3 74160 *** t

110 Cobalt Blue (Hue) Ultramarine Blue, Titanium Dioxide PB29, PW6 77007, 77891 *** o

112 Coeruleum (Hue) Ultramarine Blue, Phthalocyanine Blue, Zinc Oxide PB29, PB15:3, PW4 77007, 74160, 77949 *** o

355 Leaf Green Arylamide Yellow 10G, Phthalocyanine Green PY3, PG7 11710, 74260 *** t

375 Sap Green Arylamide Yellow GX, Ultramarine Blue PY73, PB29 11738, 77007 *** t

352 Hookers Green Arylamide Yellow 10G, Phthalocyanine Green PY3, PG7, PV19 11710, 74260, 73900 *** tQuinacridone

338 Emerald Green (Hue) Titanium Dioxide, Arylamide Yellow 10G PW6, PY3, PG7 77881, 11710, 74260 *** tPhthalocyanine Green

382 Viridian (Hue) Phthalocyanine Green PG7 74260 *** t

663 Yellow Ochre Yellow Iron Oxide PY42 77492 **** t

667 Raw Sienna Natural Iron Oxide PBr7 77491 **** t

527 Light Red Yellow Iron Oxide, Red Iron Oxide PY42, PR101 77492, 77491 **** o

221 Burnt Sienna Natural Iron Oxide, Trans. Red Iron Oxide PBr7, PR101 77491, 77015 **** t

223 Burnt Umber Natural Iron Oxide PBr7 77491 **** t

264 Vandyke Brown Natural Iron Oxide, Carbon Black PBr7, PBk7 77491, 77266 **** t

247 Raw Umber Natural Iron Oxide PBr7 77491 **** t

251 Sepia (Hue) Yellow Iron Oxide, Naphthol Red AS-OL PY42, PR9, PBk7 77492, 12460, 77266 *** oCarbon Black

065 Payne’s Grey Carbon Black, Ultramarine Blue PBk7, PB29 77266, 77007 *** o

034 Ivory Black Bone Black PBk9 77267 **** o

035 Lamp Black Carbon Black PBk7 77266 **** o

001 Chinese White Zinc Oxide, Titanium Dioxide PW4, PW6 77949, 77891 *** o

Colour no. Colour Name Pigments C.I. Name C.I. Numbers Perm. Trans

Transparent (t)

Opaque (o)

Permanent ****

Normally Permanent ***

Moderately Permanent **

123Ultramarine

*** (o)

620Cadmium Yellow (Hue)

*** (o)

112Coeruleum (Hue)

** (o)

515Alizarin Crimson

*** (t)

503Cadmium Red (Hue)

*** (o)

663Yellow Ochre

**** (t)

223Burnt Umber

**** (t)

065Payne’s Grey

*** (o)

352Hooker’s Green

*** (t)

Aquafine Sets

The complete Aquafine range

All you need for a great start in watercolour

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AF85 – Round3/0, 2/0, 0, 1, 2, 3, 4, 6, 8, 10, 12, 14, 18, 26, 30

A versatile brush used for sweeping washes ofcolour as well as touching in fine lines and detail.An essential in watercolour painting. A large sizeround will make it easier to lay a broad wash overa big area.

AF50 – Script Liner1, 2, 3, 4 A long thin head for painting in thick and thinlines, such as rigging and twigs, and for addingdetail and scrolling.

AF55 – Flat Wash1/2in, 3/4in, 1inA flat brush offering good colour control. Apply itflat on the paper for thick lines, use the cornersfor touching in detail, or edge on for thin lines.

Basic materials to make a start in watercolour will include a large, medium and small sizedRound brush or a large One Stroke Flat Washbrush, a medium sized Round and a fine ScriptLiner. Add more as you progress. The character ofdifferent brush heads enables the artist to makevarying types of brush mark that add life andenergy to a watercolour.

Brushes

What else?

Making shapes

Wet colour added over wet colour, known aspainting wet into wet, is almost impossibleto control – but don’t panic. Let it dry, thendelight in the interesting and excitingeffects you have created. When workingwet into wet, it’s important to keep a lighttouch. Drop the colour in, don’t scrub atit or you'll end up with a muddy mess.For more control, allow each wash todry before adding more colour on top.

An almost dry paint brush dragged across thesurface of the paper produces broken colour thatcan be used very effectively to denote sparkling lighton water, or the rough surface of a tree trunk.Damp dry the brushhead before dippingin the colour, or use a wet brush, pick upthe colour, then blotoff most of the liquidbefore applying to the paper.

As a painter, you’re working on a flat surface, soto give objects shape, you have to use light andshade to give the impression of 3-D. A box, forexample, may be the same colour on all sides,but it won’t appear that way. The side catching the light will be paler than the side in shadow.The same applies to rounded objects, suchas chimneys and tree trunks. Usestronger colour for the shaded area, andthe object will take shape on the paper.

WashesColour mixed with water in a palette and applied topaper is known as a wash. Before applying a wash,damp the paper with clean water to help the paintto flow and blend smoothly. Water colour artists usethree different techniques to lay a wash.

Flat WashFor uniform colour.

Mix plenty of watery colour in your palette toensure you don’t run out before you finish. Loadyour largest brush, start at the top and workacross the paper from left to right (left handersmay feel more comfortable working in the oppositedirection.) Draw the brush all the way across thepaper in a single confident movement. Workingdown, apply a second stroke that slightly overlapsthe first. Loading the brush with more colour as it’sneeded, continue down until the area is covered.

Graduated WashFor colour that starts stronger at the top andbecomes progressively paler

Apply in the same way as a flat wash, but addmore water to the colour in the palette as youwork down. This is particularly useful for paintingskies. Paler colour towards the horizon line helpsto give a sense of distance.

Variegated WashFor subtle blends of colour

Wet the paper, using a sponge or a brush, andwork across, dropping in different watery washesof colour, lightly mixed in the palette so theymerge and blend on the surface.

Graduated Wash

Variegated Wash

Dry brush work

Wet into wet

Pencil for initial drawing

A 2B is ideal. Or use a Derwentwatercolour pencil for an outlinethat will dissolve.

Putty eraser

A soft pliable artist’s eraser. Dabaway mistakes. Don’t rub.

Water jar

Change the water often to keepcolours fresh and clear.

Clean rag or tissues

For blotting/colour lifting anddrying brushes.

Natural sponge

For wetting, lifting out colour andcreating interesting paint effects.

TV artist Charles Evans

takes you through four easy steps

to success using Aquafine colours,

brushes and paper. You will need:

Colours:

Yellow Ochre

Burnt Sienna

Ultramarine Blue

Hooker’s Green

Brushes:

Round Size 8

Flat Wash Size 3/4in

3 Paint the tree trunks with the Round brush,using well-watered Yellow Ochre on the right,Yellow Ochre strengthened with Burnt Sienna in themiddle, and a dark mixture of Ultramarine andBurnt Sienna to the left. Paint one trunk at a timeso each strip of colour is still wet when the nextgoes on. The colours will then run smoothly intoeach other and give a rounded effect, rather than aflat surface with hard lines. Mix Hookers Green witha little Burnt Sienna for the foreground grasses.Don’t try to paint individual blades of grass. Use theflat brush, almost dry, and lightly watered colour.Press on the paper, and flick upwards. Practise firston a separate sheet. Repeat trunks and grasses inthe water for reflections.

4 Paint the blocks of foliage with Yellow Ochre,using the wash brush. While still wet, drop in amixture of Hookers Green and a touch of BurntSienna and let it merge. With the corner of thebrush, dot in a mix of Ultramarine Blue and BurntSienna to add shadow under the foliage. Paint thewater, using the same mixture as the sky – well-watered Ultramarine Blue and BurntSienna. Stroke all the way across, over the now dry reflections. Wash thebrush, squeeze it out and suck out a few light lines.

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PaperFor best results watercolour painting requiresspecial paper. The choice of surface textures andweights available can be confusing. Aquafine is agood quality affordable paper, selected to work wellwith Aquafine water colours. It’s a strong 250 gsmpaper with medium textured surface, designed toforgive mistakes – a boon for the beginner.

To remove colour and return to white paper applyclear water and lift off with a clean sponge, cloth,tissue or moistened brush.

Pads contain sheets of ready to use paper, lightlyglued together along one short edge. Simply teara sheet off and attach it to a board with gummedstrip. Suitable for most watercolour techniques.Sizes: A3, A4 and A5.

Blocks are gummed all the way round. Work onthe top sheet of the block, and leave to dry beforepeeling off the finished painting to reveal the nextclean sheet beneath.Sizes: 16x12in, 12x9in and 9x6in.

Conserving the white of the paper during thepainting process is easy with Daler-Rowney ArtMasking Fluid. It comes as a solution that dries toa rubbery water-resistant film. Apply at thebeginning of the painting to areas you want toleave white. Use an old brush, a cotton bud or thetip of the brush handle. Allow to dry, then paintover it with confidence. When the painting isfinished, gently rub it away with an eraser, a softtissue or a cotton bud, and re-discover sparklingwhite highlights and detail.

Tip: It’s very difficult to clean masking fluid out ofa brush head once it’s dry. To make cleaningeasier, first coat the clean brush hairs with moistbar soap and allow to dry. Wash out surplus

masking fluid immediately with soapy water.Lighter fuel will remove dry clogged masking

fluid from Aquafine brushes, but usewith care. Not recommended for

natural hair brushes,such as Sables.

1 Draw a simple pencil outline, without shading ordetail. Using the flat brush, wet the sky area withlots of clean water, all the way down through thedistant trees. Tip the board at a steep angle to let itrun downwards. With the same brush, apply well-watered Yellow Ochre into the bottom third of thesky. Make a wash of Ultramarine with a touch ofBurnt Sienna and work across, from the top down,stroking it into the Yellow Ochre. While the sky is stillwet, squeeze the water out of a clean brush, anddrag it across with circular motions to lift out thepaint and form clouds. While it’s still damp, use aslightly stronger mix of Ultramarine and BurntSienna to drop in the distant woodland. Allow to dry.

2 With the flat brush, stroke across the middledistance field with well-watered Yellow Ochre.While still damp, use Yellow Ochre with a touch ofBurnt Sienna to add a few lines, using the chiseledge of the brush. Apply stronger Yellow Ochre tothe foreground grasses.

Art Masking Fluid

Mixing too many colours together at a time willproduce dirty muddy looking colour. To keepcolours fresh and bright, limit yourself to mixes of only two or three colours, and don’t overmix.You can mix colours in a palette, or drop them onto damp paper and let them merge.

Red, blue and yellow are the primary colours.Mix two together to create a secondary colour.Blue + yellow = green, blue + red = purple,red + yellow = orange. When mixing two colours in a palette, the general rule is to start with thepredominant colour and add the tinting colour to it. If you want a yellowy green, start with yellow and add blue to it.

Different shades within the primaries will create different shades of secondary colour.

Tip: To tone the mix down, add a touch of the third primary. For example, Ultramarine andCadmium Yellow Hue will make a bright green.For a more subdued green, add a tiny amount ofCadmium Red Hue.

Mixes of two secondary colours create tertiaryshades of brown and olive, but the beginner willfind it easier to use ready-mixed browns in theAquafine range, which include Van Dyke Brown,Sepia Hue, Raw and Burnt Umber, Raw and Burnt Siennas.

Experiment on a piece of paper and note down the combinations used.

Colour mixing

+ =

Primary

Secondary

Raw Umber

Black + Burnt Sienna + Ultramarine

Red Blue Yellow

Blue Yellow Green

+ =

Blue Red Purple

+ =

Red Yellow Orange

+ =

Ultramarine Cadmium Yellow Green

+ =

Cadmium Red Ultramarine Purple

Crimson + Raw Sienna Hookers Green + Raw Umber

Hookers Green + Burnt Sienna

Burnt Umber Sepia

Raw Sienna Burnt Sienna

How to paint aperfect watercolour

Black & whiteUse black sparingly. Straight from the tube or pan, itcan look harsh and deaden the painting. For a softerblack, mix the three primaries together. For morecolourful dark areas, try using deep blues or purple.You can also make dark tones for shadows usingUltramarine, mixed with Burnt Sienna or Burnt Umber.

Chinese White is a strong opaque colour that can beused for finishing touches to add sparkling highlightsor pick out white detail areas that have been “lost”during the painting. But the most effective way tocreate white is to leave areas of the paper unpainted.

Watercolour painting calls for springy brushes thatform a fine point, hold plenty of colour and are easy tocontrol. Aquafine brushes, made from a carefullyselected blend of dark tipped sable like filaments, offerall these benefits – at a very affordable price. They aresized from the finest 3/0 (000) upwards, and come in avariety of shapes for different strokes.

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Flat Wash