FA Albrecht Dürer Artists’ Watercolour Pencils Finest Artists' Quality : Made in Germany
A sustainable future needs new ideas as well as people who are eager to shape that future in a creative way. We as Faber-Castell are a driving force for sustainable development in our industry: with our products, we motivate people to unleash their creative potential. As a family-owned business in the ninth generation, we take our responsibility seriously. Sustainability is not a new trend for us, but an integral part of our value culture and a proven success factor in our company's history. We understand sustainability in ecological, social and economic terms. We are pioneers in the industry with our own certified forest management for securing a long-term source of raw material. But we are also committed to biodiversity, renewable energies, the conservation of resources, equal opportunities and diversity. As a globally renowned brand company, we see ourselves as a key player in the economy: our actions have a significant impact on both the environment and society. Wood from certified sustainable forestry is the most important raw material for the Faber-Castell product range. The Faber-Castell Group works on reducing plastics or replacing them with recycled materials in packaging and Faber-Castell offers a wide range of erasers. Erasers with this symbol are produced under strict quality control Every product contains valuable raw materials. To extend their lifespans, many products are refillable. Further information can be found on our sustainability website. https://www.faber-castell.com/corporate/sustainability
Faber-Castell stands for quality
Faber-Castell is one of the world's leading manufacturers and mar- keters 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 a production capacity of more than two billion pencils and coloured pencils. Its Art & Graphic range allows Faber-Castell to enjoy a great repu- tation among artists and hobby painters. Prestigious creative minds have recognised this expertise since time immemorial – from Vincent van Gogh to Karl Lagerfeld. High quality artists' pigments ensure light resistance and thus brilliance and colour intensity for decades. All products are based on the same colour system, enabling reliable mixing techniques of artists' pencils, whether water-soluble or indelible. Albrecht Dürer 😍 Draw and paint with artists' watercolour pencils The artists' watercolour pencil Albrecht Dūrer has long been treasured by creative people around the world for its excellent qualities. The break-resistant, 3.8 mm thick lead has a very soft stroke and is convincing thanks to its vibrant colours and unsurpassable lightfastness. All watercolour painting techniques are possible when the colour is completely dispersed onto the paper with water and brush. This allows the pigment dissolved in water to display its full luminance. Only artists' watercolour pencils offer the artist a combination of watercolour and drawing tool for individual brushstroke and visual language. With the comprehensive assortment of 120 colours and the resulting mix of colours, the Albrecht Dürer provides an inexhaus- tible wealth of colours. Albrecht Düre In order to make the colours shine parti- cularly brightly, you should layer several colours on top of each other in an under- painting. Shade the areas slightly by leaving out certain parts. For example, use yellow and orange under the red back of the koi on the right. Thus, you can create soft transitions and strong colours.
Both smoother papers and coloured or black substrates are great for drawings which will not come into contact with water. The artists’ colour pencils stick on drawing, water colour and pastel papers and on rough surfaces, like cardboard, wood, stone, leather and brushed metal. If a drawing has to be painted with water, watercolour paper is recommended. Ideal for this are pads in which the edges are glued which allows the paper to be smoothed out. Individual sheets should be fixed onto an underlay before painting with water colours. The higher the grammage of a piece of paper, the better the flatness for painting with watercolours.

Holding the pencil
As with handwriting, how you hold the pencil influences individual line handling. Hold the pencil nearer the tip, and you can draw more exactly and with more detail. Or hold the shaft more loosely to get sketch-like strokes better.
Angle of inclination
The angle of inclination when drawing determines whether a stroke will be nar- row or wide. A steep angle creates a clear- ly defined line, while a flat angle provides wider lines up to the colour area. Particu- larly large areas can be created quickly by "shading". To do this, the angle of inclina- tion of the colour pencil has to be extreme- ly flat. A shaded colour area is perfectly suitable for painting with watercolours afterwards.
Varying pressure
Fine, wide, light or dark lines: just one color pencil can produce different lines by varying pressure intensity.
Colours can be brightened up with a white or light colour pencil. As for darkening a colour, not just black or grey can be used, but also the respective complementary colour. Complementary colours are opposite each other on the wheel of colour. The layering of comple- mentary colours creates broken or grey colour mixtures. Tip: Complementary colours put next to each other enhance each other’s colour effect. So, for example, orange makes blue shine when placed next to it.
Light colours are transparent, dark colours are opaque By overlapping and compacting colours, you can create a variety of colour nuances. Layering light and dark colours increases the brightness and vitality of the colour. 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. Colour gradients can be created by in- creasing the pressure during drawing, by covering a colour with a white or light colour pencil, or by lightening specific areas with an eraser pencil. In the wet technique, the order in which you apply the colour doesn't make a diffe- rence, since painting with watercolours mixes the colours homogeneously. Bright- ening is only partly possible by washing out the applied colour. phthalo blue 110 on cadmium yellow 107 cadmium yellow 107 on phthalo blue 110
Seen from a distance, hatchings merge visually into colour areas. The closer the lines are to eachother, the more intense and dark the colour effect is.
Parallel hatchings
In parallel hatching, the strokes run in the same direction. Stroke length and distance vary the optical result. Overlapping and compacting influences the tonal value and mixed tones.
Cross hatchings
For cross hatching, hatchings are over- lapped at different angles. Various mixed tones and shadings define the thickness, colour and cromacity of the cross hatch- ings. Formative hatchings Formative hatchings take on the individual contour of the object; i.e. the lines run parallel to it.

Frottage
In frottage, the texture of a material under- neath the paper is used. When drawing, the texture pushes through the paper. Textured materials include wood, grained glass plates, metal plates and rough textiles, to name just a few.
Sgraffito
Known to many people from utilisation with oil pastels, Sgraffito is also an inter- esting alternative with colour pencils. In this technique, two colours are first laid on top of each other. Then, using a knife, you carefully scratch out lines and areas from the top layer. Erasers do not just correct errors They can also be used specifically as a stylistic means: colour which has already been applied can, for example, be removed from the sheet with an eraser. This allows you to create white space or less intensive colour areas. A knife or scalpel can be used to precisely place colour pigment on a drawing which can then be effectively rubbed in with a blending stump or your finger. This tech- nique is ideal for fashioning textures in paths or sand areas with little effort. The water solubility The reliable quality of the pigments en- sures that the Albrecht Dürer artists' watercolour pencils are fully water soluble. When the water comes into contact with the pigments, the pigments disperse fully and create bright colour areas. Various mixed tones, attractive transitions between dry and wet surfaces or brief painted lines – the solubility gives the artist a compre- hensive range of painting techniques and combination possibilities. ERMANY Tip: Don't save money when buying a good brush! A large brush can soak up enough water to paint large surfaces and guaran- tees that you will have fun when painting.

Influence colour specifically
Once dissolved with water, the artist de- cides, through the amount of water and the brush stroke, what the watercolour will look like. Depending on the intensity of the applied colour when dry, rich or trans- parent colours can be achieved when paint- ing with water. The pigment found in the water film is pushed by the brush to the desired part of the picture.
Brighten up colours
As long as the water colour is damp, it can be manipulated. On a wet colour area with colours which are too intensive, a dry brush can disperse pigments and brighten up the part of the image.
Intensify colour
If the dissolved colour is not intensive enough, paint can be collected directly from the lead with the wet brush or paint can be dissolved on a separate piece of paper and then applied to the damp colour area.
Glaze
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 trans- parent, the overlapping colours mix visual- ly to create new colours. Painting with glazes gives a picture layer-for-layer depth.
Wash · Wet-on-wet
Generous amounts of water are used with both these techniques. The colours flow into each other in a uncontrolled and artis- tic way. For the wash technique, the paint is applied on dry paper, with the wet-on- wet technique, the paper is dampened with clean water before the paint is applied so that the colours run even more.
Granulation
The paint is applied superficially using an almost dry brush, the pigments remain on the top layer of the paper grain. A struc- tured paper surface is an advantage for this technique.

Drawing on wet paper
Drawing on wet paper has its own charm. Depending on the level of dampness, the stroke dissolves in different widths on the paper. Kept flat, expressive lines down to a flat appearance are created.
Misting bottle
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. A technique which, with a little practice, helps the artist's handwriting.
Colour spritzing
Colour spritzing can be used to create an unparalleled sense of airiness in water- colour artworks. For this technique, the tip of the brush is run over the lead of the coloured pencil in short, quick upwards and downwards motions so that paint splatters land directly on the picture. Dif- ferent results can be created by varying the water quantity and the distance from the picture. Techniques which provide texture The salt technique provides wonderful textures. Sprinkled on a wet picture, coarse salt intensely absorbs water and colour and is easily removed after com- plete drying. Pigments can be released from the lead with a sandpaper board or a knife. These can then be absorbed by a dampened brush and applied to the paper. Since the pig- ments can also be mixed together, the range of possible colours is infinitely varied. Masking protects surfaces 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.
Water brush
To easily implement all described painting techniques when travelling, the compact water brush from Faber-Castell is recom- mended. The lid has two sophisticated extra proper- ties: a conical side, which enables interest- ing scraping techniques, and integrated grooves, which invigorate a watercolour with creative scratch effects. . . . (2012) 2001年10 Combining is fun In combination with artists' ink or gra- phite watercolour pencils, impressive works of art are created. The lightfast India ink pen Pitt Artist Pen is perfect for setting clear lines and ac- cents on dried watercolours. Since the ink is waterproof, sketches prepared with Pitt Artist Pen remain clear upon subsequent watercolour painting. Sketches created with graphite watercolour pencils are completely dissolved when using water afterwards.
Perfect sharpening with the metal sharpener or with the double hole sharpener with con- tainer Handmade multipurpose knife for finest graphical corrections and sharpening artists' pencils Sleeve eraser and dust-free eraser removes pencil and colour lines cleanly Sandpaper board: one fine and one coarse- grained paper stripe for producing pigment powder A blending stump is great for smudging colour The water brush is the ideal companion for on the go Be prepared for drawing any time and anywhere – with the foldable Clic&Go water cup A Physical o
Assortment
(36 colours + brush)
The colour number system Faber-Castell uses a standard colour num- ber system for its Art & Graphic products. For example, a particular colour of a Polychromos artists' colour pencil can easily be used with the same colour Albrecht Dürer pencil, Pitt Artist Pen or the Polychromos pastel. Polychromos artists' colour pencil deep scarlet red  -219 Albrecht Dürer artists' watercolour pencil deep scarlet red  -219 Polychromos artists' pastel deep scarlet red  -219 Pitt pastel pencil deep scarlet red  -219 Pitt Artist Pen deep scarlet red  -219 A.W. Faber-Castell Vertrieb GmbH, Nürnberger Straße 2, 90546 Stein, Germany Phone +49 (0)911 9965-0, Fax +49 (0)911 9965-5856, www.faber-castell.com