Watercolour pencils

Dry and wettechniques
Learning with easy
drawing projects

Tools

Creating with knife,eraser & co.

Technical terms

The difference between thetechniques glazing and wash48

Colours
Can be blended with water

Creative Studio · Made in Germany

Sustainable commitment

Carbon-neutral production
Faber-Castell’s forests in Prata, Southeast Brazil, absorb 900,000 tonnes of carbon
dioxide (CO2), according to a scientific study by TÜV-Rheinland in 2012. The 10,000
hectare forestry project not only secures stocks of sustainable wood but also protects theenvironment through photosynthesis, which converts the CO2 into biomass. The pinetrees and forests in Prata, one third of which have been left untouched, therefore
neutralise the climate-relevant carbon footprint of Faber-Castell’s global production
facilities. Large parts of the forests have become a habitat for rare species of animals
and plants, which is particularly important. A respectful interaction with nature is key
alongside sustainability.

The Faber-Castell Group
works on reducing plastics
or rather replacing themwith recycled materials.

Every product contains
valuable raw materials.
To extend their usability,
many products can berefilled.

tifiedcerci lenb

les u s t aina

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estry

Eco P

Wood from

Wood from certified
sustainable forestry is
the most important raw
material for the FaberCastell product range.

refillFurther information can be found on our sustainability webpage.
https://www.faber-castell.com/corporate/sustainability

Faber-Castell stands for quality
Faber-Castell is one of the world’s leading manufacturers andmarketers of quality products for writing, drawing and creative
design – the brand name is world-famous. In the core area of woodcased pencils, the group is the most important and oldest manufacturer in the world with an annual production capacity of more than
2 billion graphite and colour pencils.
Regardless of personal motivation and individual skill level –the new Creative Studio concept allows both beginner and hobby
artists to express their creativity and offers them everything theyneed to do so: high-quality products for drawing and painting, aperfectly matched colour range, material that inspires and fosters,
and an incomparable versatility in terms of use.

Discoverour colours

CreativeStudio

We want to inspire you – with our ﬁnest
quality and rich colours.
When was the last time you drew? Grab acoloured pencil and forget the world aroundyou. Even if your artwork doesn't look perfect
right away, doing creative work and concentrating on drawing will reward you with relaxation and a sense of delight.
In this brochure, we would like to tell you
about the joy of drawing. With many tips andinstructions on drawing techniques, we willshow you through examples how simple it isto create beautiful pictures using Goldfaber
Aqua coloured pencils.

Let yourself
be inspiredTheCreative Studio

Colours forexpressive
drawings

assortment

Oil pastels
in 36 colour

sColour pencils inSoft pastels

48 coloursurs

in 70 colo

Watercolour pe

Pit t A r tist

48 colours

Pen

India ink

pe ns in 6

6 colours

Graphite pencils

Metallics

ncils inMetallics in 6 colours

in 10 degrees ofhardness

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Can beGoldfaberAqua

blended with water

What aThe Goldfaber Aqua is an ordinary drawing
pencil. Really? Of course, you can use it
simply for drawing – quick sketching, hatchingor even shading on surfaces. But what makes
Goldfaber Aqua so special? The colour isentirely blendable with water! Get somebrushes and water and see the drawing
transform into a lively and vibrant watercolour
painting.
This pencil will send you on a journey of
discovery. This is because your curiosity will
be awakened by the many different ways ofcombining of dry and wet techniques. You willbe amazed at the possibilities this opens up
for drawing and painting.

Dry and wettechniques

Hexagonal barrel,
3.3 mm lead

One pencil,
twofunctions

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Draw
il
one p e nc
using justrsDrytechniques

Of course you can use black to darken acolour. But try using the corresponding complementary colour to do this. On the colour
wheel, this is the colour opposite the colour
you chose. When you layer these two colours
over each other, you get a shade of grey. You
can vary the shade of grey by adjusting theratio of the two colours.

Darkened with black

Overlaying a colour with white is a great way
to lighten the colour. Likewise, you can also
try using other brighter shades. Depending on
the shade used, the colour that has been
overlaid will get a warm or cool character.

Darkened with blue

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Good toColour mixing
Just imagine how many shades you cancreate with 48 colours available for mixing –the number is inﬁnite! Start with two colours
and increase the number of colours when you
have gained some experience in how colour
tones interact with each other.
Even the order in which two colours are painted over each other is important; for example,
overlaying yellow on blue will give a different
colour from blue on yellow. Things become
trickier when you layer several colours on
top of each other. But you still can use thetopmost colour to give the overall colour tonea cool (bluish) or a warm (reddish) touch.
The intensity of the colour overlay is anothervariable you can use to alter the colour. But
take note not to apply an overly thick layerof the upper colour on the underlying colour.
An overly thick layer of colour will seal off thepaper surface, thus preventing the applicationof further colours.

Yellow
on
blue
Green
on
orangeBlueonyellowRed
onpink
Bright

blue
on
pink

Dry
techniques

Whether it's parallel or cross hatching –hatching gives drawings a spontaneous,painterly quality!

Short hatchingstrokes with overlaying
create depth

In a picture, hatching defines the lighting conditions and gives objects a three-dimensional
look. Hatching lets you quickly develop yourown "signature" because, in reality, every person hatches differently. The differences lie in
the angle of the pencil, the stroke length, theintensity and the density of strokes running inparallel.

All-over hatchingdoesn't give theeffect of depth

Hatch lines drawn
close to each othermake surfaces
appear denser

Start by using a colour and applying evenpressure. Hold the pencil upright and draw
parallel lines in the same direction on thepaper. The closer the lines are to each other,
the darker the surface appears. Drawing shorthatching lines creates overlapping that boosts
the contrast between light and dark. If you
layer hatching over each other, the surface will
become denser.

Start with
one colour

For cross-hatching, hatchings are overlappedat different angles. Different tones are createdby altering the density and length of the lines.
For multi-colour cross-hatching, the colours
will blend visually into a play of colours rich innuances. Start likewise with a few colours.
Develop your own hatching with somepractice.

Good to knowce, hatch lines
from a distanoser
Whe n viewed
area s. The cl
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e colour appeand da rker thShading
beautifulcolour
gradientDrytechniques

For shading, unlike hatching, you hold thepencil in a very flat position, such that theentire lead surface is used. This results in a
homogeneous colour application.

Frottage
You can use shading to try out a simple
drawing technique: frottage. Place a sheet ofpaper on a textured surface. This can be acoarse-grained wood, a metal grate, a textured linen or a porous crock. When you
shade subsequently, the texture will be transferred onto the paper, creating a beautifulpattern.

Examples of materials suitable for frottage

det maema
bricaf
Pl a ciclastof p,
Woodnly s aw
hguro

Shading over the rear of a tile

Metal fabricCorr ugate

d ca rdboa rdThe last time you tried the sgraffito technique
was probably during your childhood using
wax crayons. But sgraffito is also an interesting way of using coloured pencils.
Here's how it works: the first step
involves completely covering one
colour with another; the underlying
colour should ideally be brighter
than the upper colour. Then
carefully scratch out lines
and areas from the upper
layer using a knife. And
just like that, you havemagically reatedbeautiful contrasts
and patterns!

Apply a darkcolour over abright colour

Wettechniques

Blend thecolours witha brush andwater

Astonishingly easy
You will love the moment when brushes andwater bring your colours to life! The colour
pigments used in Goldfaber Aqua are fully
soluble in water. This opens up anotherdimension of application for you.
You can determine the opacity or transparency of the colour by adjusting the intensityof the dryly applied colour and the amount ofwater. Once the pigment is dissolved in water,
you can use the brush to move the pigmentto the desired part of the picture.

A larger paintbr ush
forabsorbs enough water
watercolou ring

You can create mixed colours even whendrawing with a dry medium. Try it out whenwatercolouring and see the diverse range ofcolour nuances you can get by blending
yel- low and red. With time, you will become
more familiar with colour selection, because,
as always, practice makes perfect.

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D id you

Colour too bright or too dark?
What can you do when the colour on yourwatercolour painting is not intense enough?
Here's a little trick that helps. Apply the paintyou have used in your picture on a separate
piece of paper. Dissolve the paint with water,
use a brush to absorb the pigment and dabthe pigment on the surface of your picturethat is still wet. The pigment will immediately
spread across the water surface and intensify
the colour.

Has the colour become too dark? Not aproblem as well. Use a dry brush to absorb
water from the moist surface, which will also
remove the pigment dissolved in the water,resulting in a brighter colour. Repeat theprocess until the colour matches what
you want.

Idealdepth
effects
Wet
techniques

Technical terms ˗ explained quickly
You have most likely heard of the following
techniques and wondered where theirdifferences lie. In all these techniques, thepaint is dissolved on a separate piece ofpaper and further processed depending on
the technique.
Glazing
Watercolours are transparent and can bemixed to give new shades of colour. You canmake use of this effect through glazing. Apply
several thin washes of paint on each other;during this process, make sure that each
wash fully dries before applying thenext wash.

Third layer

Second layer
ayerFirst lAddition a l layersWet the paper
Washtechnique on
dry paper

Wet-on-wet

Wash technique and wet-on-wet technique
These two techniques require you to workwith generous amounts of water. Colours flow
wildly, but painterly, into each other. For thewash technique, paint is applied on dry paper,
whereas for the wet-on-wet technique, thepaper is wetted with clean water before paintapplication, such that the paint runs more
intensively.

Apply the paintGranulation
On papers with strong textures, you can use avery beautiful effect. Hold an almost dry bushin a very flat position and glide it gently
across the surface of the paper, such that thepigments are applied only to the top layer ofthe paper grain. This produces random white
regions that create a wonderful contrast to thecolour.

PinselHold thebrush in very ganz ﬂach
haltenflat position

Wettechniques

Really useful: the water brush

Innovative
cap design

Farbe
zerﬂießt
malerisch

You like traveling, and paint while you are on
the go? Then the water brush from Faber-Castellis the ideal companion for you. Its cap has a
special shape enabling you to achieve amazing effects.
Scraping technique
You can easily move the dissolved paint onthe paper using the wedge-shaped side on
the cap to create interesting textures.
Scratching technique
The integrated grooves on the cap can beused to create unusual effects. The damp
paper can be scored to give your picture
elaborated line patterns in less than no time.

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With vao u nt ofmaethtrol
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Good tok n ow

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utorials/Run thebrush up anddown the pencil
tip quickly

ReallyYou will have a lot of fun with these simple
techniques!
Colour spritzing
Give your watercolour painting an
unparalleled sense of airiness by using thesplatter painting technique. Run the brushtip over the lead of the coloured pencil inshort, quick up- and down strokes to throw
splatters directly on the picture. Try out
different distances to see which of them
give you the best results.
Drawing on wet paper
You have to try drawing on wet paper. How
much a stroke made using Goldfaber Aqua
will run on a paper is different depending on
how much the paper has been wetted.

Also useful forcolou r spr itzing:an old toothbrush

A simpletechniqueWet
techniques

Theis so simple

It is guaranteed to produce beautiful textures!
Sprinkle coarse salt on the wet picture and let
everything dry. Then remove the salt and bedelighted by the interesting textures.

Blend colours
with waterle saltknir
SpAmazingeffects

Remove salt

Usingtools

Producing pigments
You can use either a sandpaper block or aknife to scrape pigments directly from thelead of the coloured pencil onto the paper.
On wetted paper, the colours will dissolve
immediately in the film of water.
On dry paper, you can take the pigments
using a brush and further process them.

Applypigments
using thebrush

Coarsegrained

Finegrained

Wet
techniques

The contrast with the white in the background contributes to your picture's liveliness. These white areas need to be designated and left blank during painting,which is not always easy for a beginner. If
you want to ensure that certain areas onyour picture remain white, then you shouldmask these areas.

kMa sing

The masking fluid is applied as a liquid andforms a rubbery film when dry. When it isdry, you can apply watercolours however
you want – the masked surface will remain
unaffected. After your picture has driedcompletely, use your finger to rub off themasking film carefully from the paper surface.

ing
Watercolou r
Rub off the ma

sking liquidEffects using spray bottle
You can achieve a really great-looking effectusing a simple spray bottle. Draw your picture
as your normally would – and then spray wateron selected spots. You will be thrilled by theresult of the colours running!

Spray water
directedlyMixedMediaCombine strong techniques
Using the drawing techniques you have already tried, you are already able to create
elaborated artworks.
If you are fan of collages or mixed media art,
then don't be afraid to boldly combine thetechniques with India ink pens. For example,
you can use the water-proof ink in the Pitt
Artist Pen for preliminary sketching. When you
subsequently apply Goldfaber Aqua as watercolours, the ink strokes will remain fully intact.
You can also form wonderful combinations
with oil pastels from the Creative Studiorange.

Pitt Artist Pen

Goldfaber Aqua combinedwith Pitt Artist Pen

India ink pens

Flexible brush tip

Precise strokes with fineliner pens

Oil pastels
Goldfaber Aqua combinedwith Oil pastels

Be bold,
combine different
painting media

Goldfaber Aqua combinedwith Pitt Artist Pena c omr AquebafGoldtelsi l pa sOhtiwbi n e dColour No.
101
104
105
107
108
109
115
118
121
126
130
131
132
119
134
123
125
133
136
137
151
143
120
140
147
154
149
153
156
158
162
161
163
266
166
170
167
173
183
187
192
283
176
273
233
199
250
251

Colour Description
white
light yellow glaze
light cadmium yellow
cadmium yellow
dark cadmium yellow
dark chrome yellow
dark cadmium orange
scarlet red
pale geranium lakepermanent carmine
salmoncoral
beige red
light magenta
crimsonfuchsia
middle purple pinkmagenta
purple violet
blue violet
helioblue reddish
cobalt blue
ultramarine
light ultramarine
light blue
light cobalt turquoise
bluish turquoise
cobalt turquoise
cobalt green
deep cobalt green
light phthalo green
phthalo green
emerald green
permanent green
grass green
May greenpermanent green olive
olive green yellowish
light yellow ochre
burnt ochre
India redburnt siena
Van-Dyck-brown
warm grey IV
cold grey IV
blackgoldsilver•

Art.No.
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11 46 48

11 46 36

11 46 24

11 46 1248 colours

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Assortment

More information atwww.faber-castell.com

A.W. Faber-Castell Vertrieb GmbH, Nürnberger Straße 2, 90546 Stein, Germany
Telefon +49 (0)911 9965-0, Fax +49 (0)911 9965-5856, www.faber-castell.com