A Guide to Painting Tools

Introduction to Painting Tools

We need painting tools to help us apply colour to our artwork. Painting tools can refer to anything from brushes to fingers to palette knives. In this guide, we focus on the painting tools available at Jackson's.

We also have a complete Guide to Watercolour Tools, as well as a guide about the most common painting tool – the brush. Click here to learn more about artists' brushes.

Palette Knives (For Oil, Acrylic)

Painting Knives are also known as palette knives. A palette knife is very useful when colour mixing on a palette, as it can be wiped clean with a rag in a second, unlike a brush. This allows you to use the same knife to mix a number of colours cleanly and quickly.

Knives can also be used to apply colour to your painting. The long edge of a knife can be used to achieve extremely flat swathes of colour. These layers of flat colour can be built up to create fleshy textures. The tip of the knife could be used to draw fine lines or sharp dots of colour.

Colour Shapers (for Oil, Acrylic, Charcoal, Pastel)

Colour shapers are available in varying softnesses. They tend to be made of rubber or silicon. They can be used to draw lines, or they can be used to etch marks into wet paint that is already on your support. Great for oil, acrylic, charcoal, and pastel.

DOUBLE-ENDED BLENDER OR WIPE OUT TOOL (FOR OIL, ACRYLIC, CHARCOAL, PASTEL)

These Colour Shapers feature an angled flat rubber nib at one end and a round pointed nib at the other. A wide range of different marks and blending techniques can be achieved with this tool.

TORTILLIONS (FOR PENCIL, CHARCOAL, PASTEL)

A tortillon is a strip of paper that has been rolled to form a stick. It has a sharp point at one end and looks like a pencil. Tortillions are used to blend colour once it has already been applied to paper. They are particularly good for blending detailed areas without losing any of the detail.

PAPER STUMP (FOR PENCIL, CHARCOAL, PASTEL)

A paper stump is a pencil-shaped piece of compressed cotton rag. It is great for even blending of charcoal, pencil, or pastel. The stump tends to be more effective than the tortillon, but it is less easy to use in very detailed areas.

SOFFT TOOLS (FOR PASTEL)

For ultra-smooth marks, Sofft Tools allow you to apply colour with 'make-up' style sponges. These lend themselves to very soft (as the name suggests) blended marks. They are made by PanPastel.

CATALYST SILICON PAINTING TOOLS (FOR OIL, ACRYLIC)

Catalyst Silicone hand-held tools are for applying paint in unusual textures. Each tool has one or two sides cut with a serrated or wavy edge. This is so that when you apply paint with it, the paint adheres in stripes. They can also be used to remove paint in stripes from an already painted surface. They are made by Princeton.

COMPOSITION TOOLS

Composition tools help you to accurately compose the elements of your artwork. These tools can be used for a range of purposes. This ranges from mixing colour to arranging objects within your viewpoint.

Perspectoscope

This is a simple visual aid. It is used for drawing and determining the angles found in oblique and parallel perspectives. When held up to a subject, it clearly shows the viewer how to create an accurate perspective.

Colour Wheel

A colour wheel helps you to understand the science behind colour and its behaviour. It also shows colour in relation to tone.

Grey Scale and Value Finder

A value finder will help you to read tone. With this tool, you can compare the comparative lightness and darkness with the rectangles of grey to help evaluate whether the values are right in your work of art.

View Catcher

View catchers or view finders will help you select your composition when painting from life. It will help you decide what the field of vision should be for your composition. Simply hold the frame up in front of your subject and move closer/further away until what you see within the frame is what you want to paint or draw.

Perspective finders will help you ensure your lines of perspective are drawn or painted at the right angle. Simply match up the horizon line of your subject with the grid on the clear plastic and compare the perspective guidelines with what is in front of you.

Tracedown

Tracedown is wax-free carbon paper. It is ideal for transferring an image from one source to another surface.

To use it, place it on the surface you want to transfer to, and then place the image you are transferring on top of it. Then, use a pointed tool, such as a pencil, to go around the lines of the image. The pressure will deposit carbon onto the surface in order to make the image on your new surface. Tracedown can be re-used many times.

Paintmaking Tools

Paint is made by slowly applying pressure in a circular motion to combine pigment with a binder – such as oil, acrylic, or gum arabic for watercolour. Glass mullers are used to apply this pressure by hand onto a slab, ensuring a smooth, even mixture.

MASKING FILM AND TAPES

Masking tape and film are used to mask off areas that need protection when painting. They help to create clean, crisp lines.

Masking films include stencil films and frisket film and are used for stencilling purposes. Masking tape is designed to stick temporarily. It is very versatile, and one of its many popular uses is for securing paper onto a drawing board, ready for work. Masking tapes are available in a range of thicknesses as well as levels of tack.

SPONGES (ACRYLIC, WATERCOLOUR)

Sponges can be used to make marks that provide texture and pattern. They can also be used to remove brushstrokes and mix colours on the surface. They are most often used with watercolour paints.

ROLLERS (ACRYLIC, INK)

Sponge and foam rollers are used to apply an even application of paint on to a surface. Rubber rollers are used to spread ink across a matrix when relief printing. All rollers are washable with soap and warm water.

AIRBRUSHES AND COMPRESSORS

Airbrushes are a way of applying very thin colour to surfaces. Inks and dyes can both be used. The most popular is fluid acrylic colour. Many paintmakers produce fluid colour that is the optimum viscosity for airbrushing. These include AV and Golden.

An airbrush works by passing a stream of fast-moving compressed air through a venture (chamber). This creates a reduction in the local air pressure that allows paint to be pulled from an interconnected reservoir. The high speed causes the paint to travel in tiny droplets. This is known as atomisation.

An airbrush can control the amount of paint being applied. This is done by varying the amount of pressure applied to the trigger of the airbrush. A double-action airbrush offers great control. This is essential when producing fine lines and thick-thin strokes (the classic 'dagger stroke'). These are also known as 'internal-mix' airbrushes because the air and paint mix inside the nozzle.

The double-action airbrush has two trigger movements. As with the single-action, airflow is controlled by pressing the trigger down. However, the amount of paint can also be controlled by pulling the trigger back. The farther the trigger is pulled back, the more paint comes out. T-shirt lettering is much easier with this type of airbrush. Experienced 'freehand' (painting without the aid of masking materials) airbrushers can control a double-action to produce photo-realistic artwork.

The finer the atomisation of the paint, the greater the ability to create smooth blending effects. Airbrushing is great for the following:

Blending of two or more colours seamlessly
Photo realist painting
Bold shapes using stencils and masking (Frisket film)
Colouring and decorating 3D models
Painting murals
Decorating and colouring cars, motorcycles, helmets and other vehicles

Airbrushing was once the main method for correcting photos before digital photography and imaging software.

WHAT DO I NEED TO START AIRBRUSHING?

Below is a list of the airbrushing equipment and the function of each piece.

Airbrush
An airbrush is what the paint is dispensed from. It has the trigger which the user will apply pressure to in order to dispense the colour. It connects to the paint source and the compressor.

Compressor
A source of compressed air that forces the paint through the airbrush. Looks like a canister or an aerosol.

Adaptor
The adaptor connects the airbrush to a hose and its compressor. An adaptor must have the correct diameter and length for compatibility with your equipment. Make sure you check before you purchase.

Needle Caps and Nozzles
The needle is required for fine line spraying. It fits into the nozzle which is attached to the airbrush, reducing the hole that the paint passes through in order to leave the brush. The nozzle is the part that the needle fits into. The nozzle and the needle should be tapered in the same way.

Valves
A valve acts as an aerosol can regulator. The higher the air pressure, the finer the ‘mist’ of paint, also known as atomisation. In an airbrush with a fine needle, less pressure is required to produce good atomisation. The valve can regulate the air pressure supplied by the compressor.

Spray Away Exhaust Filters
These filters are for use in the Simair spraying booths. They help to protect the user from harmful fine paint particles that could be inhaled and cause damage to your lungs.

Uni-Booth
Uni-Booth is a studio extraction system that ensures safe spraying indoors. It lets light in from the top so that the view of your work is not compromised. This ensures you can maintain accuracy when spraying. Uni-Booths possess a centrifugal blower/motor with a polyester intake filter and dual-activated charcoal-impregnated filter. This ensures the best possible solvent and odour removal.

Airbrush Stand
By using an airbrush stand, you can avoid damaging your airbrush and prevent it from clogging, as it may do if kept on its side when not in use. It also keeps your workspace tidy and organised.

Face Masks
An important piece of protective equipment, face masks are as good for protecting your lungs from fine paint particles as well as dust. They should have a nose pincher to help stop particles from getting through any gaps between your mask and your face.

Airbrush Colour
Viscosity is measured in centipoise. 1cP is the viscosity of water. Airbrush colour is made to have the ideal viscosity for airbrushing. This is between 40-60cPs. Acrylic ink and watercolour dyes can also be used for airbrushing. However, you may need to experiment with how much pressure you apply with these as they may have a finer viscosity.

Airbrush Mediums
Airbrush mediums allow you to achieve the right consistency for airbrushing. You can mix these mediums with regular acrylic paint. You can even mix them with heavy body paints. Providing the ratios are right, you will be able to create your own airbrush paints. Make sure that you follow the advice of the manufacturers.

Frisket Film
Frisket Film is a great tool for any airbrush artist. It is used for masking off areas of work in order to achieve crisp, clean lines and sharp edges in your work.

Varnish
Vallejo offers a range of airbrush varnishes. This is a great way of evenly applying a protective cover to your work. Varnish can also unify or alter the surface sheen to gloss, matt, or satin.

Airbrush Sundries

Grafix 'Edge' Bandana Mask
A lightweight fabric mask that protects the face and neck from overspray. Easy to put on and take off.

Airbrush Propellant
For economy and occasional use, use a disposable aerosol propellant can. The only other items you require are a control valve and airline – then you can spray anywhere.

Learn more in our Guide to Airbrush.

Glossary

Airbrush
A tool that sprays paint using compressed air. Used for fine detail, gradients, and even application.

Blender (Double-Ended)
A rubber tool with angled and pointed tips. For blending or removing paint and pastel.

Brush Mat (Roll Up)
A mat used to dry, store, and protect brushes.

Catalyst Tools
Silicone tools for mark-making and creating texture in oil and acrylic paint. Made by Princeton.

Colour Shaper
A rubber-tipped tool. Used with paint, pastel, or charcoal.

Compressor
A device that supplies air pressure. For airbrushes.

Dropper
Used for moving liquid mediums, inks, or water.

Fixative
A spray that sets pastel, charcoal, or graphite to prevent smudging.

Frisket Film
A low-tack film. Used to mask areas in painting, especially for airbrushing.

Glass Muller
A tool used with a glass or stone slab to grind pigment into a binder when making paint.

Grey Scale and Value Finder
A card with different values of grey. Used to help assess tonal balance.

Ink Stone
A smooth black slab. Used to grind ink sticks with water in traditional Chinese and Japanese painting.

Masking Film
A transparent, repositionable film. Most often used to block out areas during painting.

Masking Tape
Low-tack tape. Used to secure paper or mask areas.

Mechanical Mixer
Used to mix paint or mediums thoroughly.

Mixing Stone
Used with an ink stick and water to make ink.

Palette Knife
A flat metal tool. Used to mix and apply paint, especially thickly.

Paper Stump
A dense, cylindrical tool. Used to blend drawing media.

Perspectoscope
A tool to understand and map perspective in a scene.

Roller
A cylindrical tool that rotates when moved. Used to apply paint or ink evenly over a surface.

Silicone Tool
Used to create texture and scrape paint. See also: Catalyst.

Soapstone Seal
A carved stone used for signing Chinese-style paintings with red stamp ink.

Sofft Tool
A soft sponge tool for pastel application and blending. Made by PanPastel.

Sponges
Used for applying, blending, or lifting paint. They are popular for watercolour and acrylic.

Spray Booth (Uni-Booth)
A ventilated workspace. Filters overspray and fumes from airbrushing.

Stamp Ink
A red ink paste used with a carved soapstone seal.

Tortillon
A rolled paper tool. For fine detail blending in pastel, graphite, or charcoal.

Tracedown Paper
Carbon-style paper. Used to transfer an image from one surface to another.

Value Finder
Used to compare light and dark areas in artwork.

View Catcher
A tool to help artists isolate a composition from a scene.

Varnish
A final coating. Protects and adjusts the sheen of finished artwork.