Artist Materials: The Tools Artists Reach for Again and Again

Peeking inside another artist's studio can be strangely reassuring. Not because we're hoping to discover a secret ingredient or the perfect shopping list, but because it reminds us that every creative practice is built one trusted tool at a time. Behind every finished painting or sketchbook lies a handful of materials that have earned their place through years of experimentation: the pencil that's always within reach, the brush that feels like an extension of the hand, or the pigment that changed the way an artist sees colour.

For anyone returning to art after time away, or stepping into an art supplies shop for the first time, choosing where to begin can feel surprisingly overwhelming. Endless aisles, unfamiliar brands and hundreds of products can make it seem as though creativity depends on having everything. Ask almost any experienced artist and they'll tell you the opposite is true. The most treasured studios aren't necessarily the fullest, but the ones shaped by a small collection of artist materials that are used, loved and reached for again and again.

So rather than asking artists what they'd recommend, we asked two artists working in very different ways the same simple question: Which three materials couldn't you imagine making art without?

From a pencil that's become part of a daily journalling ritual to buttery pigment sticks that encouraged an artist to embrace colour and let go of perfectionism, each story reveals not just a favourite product, but a creative relationship. Whether you're stepping into the studio for the first time or simply curious about the tools your fellow artists swear by, we hope these personal picks inspire you to discover the few materials that might become part of your own practice.

I use Blackwing pencils for everything: sketching, writing in my journal, and jotting down ideas in my art notebook when inspiration strikes (which sometimes happens in the middle of the night - the creative brain ceases to turn off).

I would recommend this pencil to anyone. They have a few different types, but I tend to use their classic the most. It’s soft, smooth, and incredibly satisfying to write with. And an underrated flex: the eraser at the end is AMAZING.

While I don’t use this pencil directly in my paintings, I have written in my journal every day for over four years, and this pencil has been part of that daily practice. The consistent writing has greatly improved my storytelling abilities and the way I communicate the meaning behind my paintings and process.

I use the Conté à Paris brown charcoal pencil to sketch my grids onto canvases and draw the initial outlines of my subject matter. I love this pencil because once I trace over the drawing with oil paint and it has dried, I can easily wash away the grid lines with a rag dipped in water.

The most recent artwork where this pencil really came through was Wanna Grab Coffee. After creating the digital composition from my reference photos on my iPad, transferring that design onto canvas is one of my favourite parts of the process. Once I have the planning done, I put on a good playlist, grab my Conté pencil, and completely zone out while sketching.

If you love drawing with charcoal, I would definitely recommend this medium. The quality is stunning, and they offer a variety of different colours.

I love this medium in so many ways. R&F Pigment Sticks are incredibly high quality - the pigmentation is rich, the texture is beautiful, and the final paintings have such a buttery, luscious surface. I have been using them more over the last six months, and I am completely in love with them.

I love butter, and honestly, painting with pigment sticks feels like spreading butter onto a canvas. There is something so tactile and satisfying about the process.

This material has really shined in my new series, I’m Sitting in a Pocket of Sunshine, which explores grief through the subject of food. I pushed myself to explore a brighter, more primary colour palette, including colours that initially feel a little unexpected or even awkward when placed beside one another. But the longer you sit with them, the more they begin to complement each other.

I wanted the viewer to experience a slow burn when falling in love with these paintings. In such a fast-paced world, I wanted these pieces to take up space - both literally and emotionally. Working with oil sticks challenged my comfort zone, pushed me to be more experimental with colour and technique, and encouraged me to let go of perfectionism. They naturally create a more intuitive, expressive way of painting.

I would recommend pigment sticks as a great introduction to working with oil. The technique is simple to learn, and the process feels incredibly freeing, playful, and intuitive. They’re a beautiful way to explore a new medium and to simply let go and have fun.

Rose Cowles is a Governor General Award nominated artist who creates full time from her rooftop home studio in Esquimalt, BC and her teaching studio in Rock Bay. She earned a three year diploma in Illustration from Sheridan College in 1990 and has won many awards for fine art, illustration and design. Acrylics, watercolours and oils are most often her mediums of choice. Rose’s work is infused with joy in everything she portrays from realism to the whimsical and everything in between.

Because I work across several mediums, I'm always switching between watercolour and acrylic, sometimes both in the same day. These palettes allow me to do so without the fear of paint drying up before I've had a chance to use it. My colour choices are still intact and I am able to pick up where I left off effortlessly. These palettes are convenient with the ability to mix and mingle your colours from the middle of the tray so there is no need for additional paint surfaces and such it is such a money saver!

I've had my Masterson Aqua-Pro Watercolor Palette for over 30 years now. The Masterson Sta-Wet Premiere Palette acrylic one is now a six year adventure and I'm always grateful that my paint is still wet even after weeks of neglect!

My handy trays were stuffed anatomy luggage for a french chateau artist experience and get-away and proved to be invaluable.

My two new favourite drawing sticks to use with predominantly watercolour but sometimes acrylic.

I cannot tell you how many times I've demonstrated their uses to my students, online demos, to random in-store fellow shoppers and friends.

I like to start with a big gesture and loose line drawing with my Grafcube and watch it transform my blank sheet of paper and work its magic by mingling it with a spray or smear of water here and there. I usually follow it up with the Neoart oil pastel as a resist method by consciously reserving some white space. And if in fact I did not leave behind enough I can always use it again on top of the colour laid down. 

Both Opus Essential Watercolours and Opus Essential Acrylics form the foundation of my practice. They perform remarkably well for the price point. My favourite colours are Paynes Grey for acrylics (it is the new black as far as I'm concerned) and Opus Orange for the watercolours. Anytime (most recently) that I predominantly use Opus Orange in a W/C it sells. 

I have very recently fallen in love with Lascaux Studio and Artist paints. I now gift myself the luxury of using them alongside my huge collection of other brands.