Winsor & Newton make four ranges of marker pens – something for all types of illustrators and artists. All four of the marker ranges have an ergonomically designed shape, double ended nibs and clear labelling, but each is different in the type of ink or nibs that they have.
- Each of the 4 pen types has a different shaped nib at either end. This mean it is essential that the pens are stored horizontally or one of the nibs will dry out.
- All of the pens are available singularly or in curated sets (e.g. Skin Tones Sets, Pastel Tones Sets)
- Each marker has been ergonomically designed, resulting in sleek, sophisticated shapes and clear concise labelling.
A direct comparison of all 4 pen types:
Different kinds of ink:
Water-based ink is lightfast and acid-free which is perfect for archival projects such as scrapbooking as it doesn’t fade when kept in good condition. They are also easily manipulated with water. You can use a water-filled brush pen to blend and add washes to your artwork. Alcohol-based inks provide a vibrant, streak-free flat finish and can be applied to a diverse range of materials.
Blending and Reactivation:
A blendable ink allows you to seamlessly merge two blocks of colour together, as shown in this introductory video of the ProMarker, while they’re still wet. Reactivation means working back into dry marks and blending them. Watercolour is a great example of a medium that can be reactivated – if you take a wet brush to a watercolour painting even years after it’s dried you can manipulate the marks.
Bleedproof paper is specially coated to lift ink away from the page, making it easier to work with inks and preventing the ink from bleeding through the pages. If you need to work on softer papers for sketches, etc., try placing a sheet of grease proof paper behind the sheet you’re working on. If you prefer a more heavy weight paper, Bristol Board also works very well with ProMarkers and BrushMarkers.
The Pigment Marker stands out from the crowd due to it’s ink – unlike many markers on the market, its colour is made from Winsor & Newton Pigments rather than dye. The ink is therefore lightfast meaning your work will stay vibrant for 100 years. Each Pigment Marker has two nibs: a chisel tip for broad strokes at one end and a fine nib at the other for precision and detail. The inks are also slow drying which allows time for artists to blend tones with either Winsor and Newton’s White Blender (filled with White Ink) or their Colourless Blender (a pigment-less pen). Available in over 100 colours including 24 shades of grey across 4 scales.
This high quality pen also has a dual tip with a broad chisel and a fine bullet nib like the Pigment Marker, but the inks are alcohol-based and translucent. They are more permanent and can be used on ink-resistant surfaces such as acetate, glass, plastic and wood. The range has 148 colours from intensely vibrant to subtle pastels, all of which are blend-friendly with high quality nibs ensuring consistent, streak-free coverage.
The Winsor & Newton BrushMarker uses the same ink as the ProMarker but its two nibs are different; the BrushMarker comes with a broad chisel nib and a brush nib. The brush nib was inspired by the mark-making qualities of brushes – Winsor & Newton designed a stiff yet flexible nib that mimics a brush but is made from a solid tip rather than lots of hairs. This allows the pen to make consistent, fluid strokes without the risk of splitting. Marks can therefore be incredibly precise, smooth and streak free. This pen is available in 72 colours ranging from subtle pastels to bold hues.
Winsor & Newton have combined their knowledge of pen technology with their well-renowned and expansive understanding of watercolours to create Watercolour Markers! Highly pigmented, lightfast and water-based, these pens match the Winsor & Newton Cotman range making them incredibly versatile and very unusual. They have two nibs (a fine nib and flexible brush nib) allowing you to create precise details or sweeping, traditional brush-like marks. These marks can be dramatically altered when worked into with a wet brush, just like traditional watercolour paint. For best results it’s recommended that they are used on watercolour paper.