A paint which is water-soluble, but not once it has dried. I use this paint mostly for big surfaces such as wall paintings.
Water paint is in fact transparent. I use water colour often in combination with another technique, such as pen and ink drawing to achieve interesting effects.
An engraving technique for printmaking. I use a copper plate as the basis and cover it with a thin layer of wax. I draw the illustration on the plate with a finely pointed steel stylus to pierce the wax. When the plate is placed in a solution of iron oxide the engraved lines are exposed to the fluid and etched out. I carefully clean the plate and apply a layer of ink. After another cleaning the only ink remaining is in the the etched grooves. Then the printing process can begin. I use a press, which imprints the ink in the grooves onto the paper. The print is now finished.
For a church window I used a glass appliqué technique. By cutting individual pieces of glass into shape, assembling them and sticking them onto window glass I achieved a splendid display of line and colour.
For an artwork in a public space I have used weatherproof wall tiles, and applied the design with a paste of glazing powder. The tiles were baked with the glaze on them in a kiln. The glaze makes the image on the tiles indelible.
Coloured pencils seem to belong in primary school. However you can make the loveliest drawings with them, drawings with a very soft expression, but still proper drawings. The pencils I use are colourfast and I mostly use them for portraits.
There are different types of chalk and it would take too long to go into all the possibilities. In general you could say that drawing chalk is a compacted stick made of pigments (colours, charcoal), water and clay. Some are harder and some softer. It is a splendid material for drawing sketches but it is also suitable for more detailed drawings. Chalk is particularly known as non-fading. Because it can easily be smudged it has to be framed under glass.
This technique is called relief printing. The illustration is cut out of lino and printed using a press. Linocuts can also be used with several colours.
For this my responsibility is the designing of the projectwork and a specialist firm has to carry out the final work. Careful monitoring and checking are very important. An example of my work is the monument commemorating the end of World War II in the garden of the church in Woubrugge. The constructor made a metal frame, on which my design was mounted. The frame was adjustable by means of bolts, so that the artwork could be positioned at the right angle and that could only be done on site.
I use acrylic paint for outside work, and also Keimtechniques. That is more durable if it is used on a stucco base and looks like water colour. For inside murals I use oil paints often combined with acrylics.
This type of paint was invented in the 15th century. Pigments in the form of very fine, coloured powder, are mixed and bound with a vegetable oil, mostly linseed. Oil paint dries slowly, so you can paint wet on wet, i.e. you can create wonderful transitions from one colour to another. Oil paint has great charm and by painting in layers (many colours are transparent) and applying a suitable varnish, you can give your oil paintings a truly magical quality. In the past a number of colours were not colourfast or had a negative effect on adjacent paint layers. A few pigments were very poisonous. Now that the chemical industry has developed very colourfast pigments mostly toxin-free I use this technique very often.
A very soft type of chalk that has a lot of pigment and not much binding solution. A wide range of colours is available. You can use them to make wonderful paint-like drawings. You can enhance the paint effect still further by rubbing the pigment with your fingers. In this way you can make very good skies. They are particularly colourfast, but must definitely be framed under glass. Special glass is required of a type that has been developed to reduce reflection to a minimum. This glass is certainly a little dearer, but much, much nicer than so-called non-reflective glass which in fact obscures much of the colour in a pastel drawing. I never recommend it.
Pen and ink
I mostly draw my illustrations using a pen and Indian ink ( indelible /black). I mostly make my illustrations with this technique and often use a spatter technique and/or water colours as well. Using a wash means I can put in accents using thinned ink.
I use pencil not just to make sketches but also to make some detailed drawings. By shading or rubbing you can achieve a nice depth to the drawing.
Screen printing is a printing process in which the ink is squeezed through a very fine screen (= raking). The areas not to be printed are masked off with a template. Every colour is printed separately. So the number of colours indicates how many printings were needed to create the artwork. Because it is completely done by hand, there may be small differences between the different prints. Each print is numbered according to the total number of prints. There is a code in the bottom corner on the right: 07/20 would mean the seventh print from a total edition of 20. Some screen prints are produced on an industrial scale using a completely automated process where the template is applied photographically. While the principle may be the same, all my screen prints are handmade and each one has an individual character.