Sunday Secrets #41

  This entry was originally posted on Sunday, October 28, 2012

Dragon Alley

Poured Watercolor

21x29"

 

Today's Sunday Secrets comes from a class that I am currently teaching.

It is about my poured watercolors.

 

The question is, "How do you know where to pour?"

 That is a good question. 

There are a few things that I take into consideration when I start a pour.

Among them are:

Where is the light coming from?

What color palette do I want to use? 

Do I want to try to match the colors to the ones in the photograph or use a different color chord?

 

Then I will also take into account that our eye is drawn to warm colors in a painting and the cool colors will recede.

I usually start with my warm colors and pour them in the direction that the light is falling across where I want my focal point to be.

I will pour my cooler colors around most or some of the edges of the painting.

This gives it a vignette look that helps draw the eye to the focal point.

 

Since I usually only use 3 colors, I try to pour them in the direction that will help them mix into the colors that I want and am happy with.

Sunday Secrets #34

    This entry was originally posted on Sunday, September 9, 2012

Heartbeat of Chinatown

Poured Watercolor

21x28"

 

Today's question is from Kathleen.

Her question is about my poured watercolors. She asks, 

How do you continue to see the underneath drawing between layers so you can accurately mask?

 That is a great question. Thank you for asking.

 

Usually when you draw out your image on watercolor paper, you don't want the pencil lines to be too dark.

However, in this case, you do want the pencil lines dark.

It can be difficult to see the pencil lines through all the layers so I start off with them being really dark. 

They will fade with each successive layer of water and paint that you put on.  

And if the pencil line is too dark in a white area, the mask usually lifts it when the masking fluid is taken off.

Sunday Secrets #32

 This entry was originally posted on Sunday,  August 26, 2012 

Yesterday I demonstrated my pouring watercolor technique for a local group.

Of course I was asked about the colors that I use for the demonstration.

I was surprised to discover that I have not addressed this question here in my blog.

So I though it was time to let you know what colors I use when pouring and why.

 

First of all, I usually only use 3 colors.

The three primaries- one yellow, one red, one blue.

Every other color comes from a combination of some or all of these colors.

However, which yellow, which red, and which blue I use will vary.

 

For my yellows, I will use either Winsor Yellow or Winsor Lemon.

For red, I use Permanent Rose, Permanent Alizarin Crimson, or Winsor Red.

For blue, I will use either Winsor Blue or Indanthrone Blue.

 

My reasoning beyond the fact that I like these colors is that these colors stain.

It is important to have staining colors when pouring.

That is because masking fluid will be put on top of the dried paint.

If the paint is a nonstaining color, the color will lift when the masking fluid is lifted.

If the paint is staining, it will stay put.

 

Simply reasoning, really.

But it works. 

 

More information about the staining quality of a color can be found on each of the manufacturer's website.

Sunday Secrets #22

 This entry was originally posted on Sunday, June 17, 2012

Ronda, Spain

poured watercolor on aquaboard

11x14"

 

Another common question I receive from my students and my collectors is,

"What is Aquaboard?"

 

Aquaboard is hardboard that has been coated with clay made by Ampersand. It is similar to the texture of cold press watercolor paper and accepts watercolor paint very nicely. There are a few differences though.

 

The main difference is that the surface is more workable than paper. The paint can be lifted much easier. This is wonderful for lifting mistakes or to lighten an area. Just be careful when layering. It doesn't seem to dry as evenly as paper so make sure the area you are layering is completely dry before doing another glaze.

 

The color also appears more vibrant than with paper. It is easier to achieve a brighter color and darker darks with fewer glazes. 

 

I find that aquaboard has a beautiful texture that even though it appears similar to cold press paper, it is not. It is a nice pebbly type texture though that lends well to certain subjects. It does accept masking fluid and wet in wet painting can be done on it. Painting on the aquaboard is not exactly like painting on paper but is pretty close.

 

The best part about the aquaboard is that you seal it with a clear fixative and it doesn't need to be put behind glass.

 

Sunday Secrets #18

 This entry was originally posted on Sunday, May 20, 2012

Drawing for Autumn's Bounty

 

Today's Sunday Secrets is a question that I was asked a couple of times during my studio tour concerning my poured watercolors.

The question is:

How do you know where to put your masking fluid?

 

That is a very good question.

 

I first draw out what I am going to paint.

I make sure this drawing is dark.

Usually you draw with a light pencil line but for pours, you need the pencil lines dark.

This is because when you wet the paper and add layer upon layer of paint, the pencil line starts to fade.

If it isn't dark enough, that pencil line disappears by the time you want to mask for the last couple of pours.

 

Then using my black and white photograph, I determine which values I want to save with my masking fluid.

I start by saving the lightest value, which is white. 

I apply the masking fluid to the white paper before I apply a pour of paint.

Once the first pour has dried, I again look at my black & white photo and figure out what the next value is that I want to save.

Then I apply the mask to that value and pour again.

I continue to build up the layers of masking fluid and paint until I am left with the darkest areas.

Finally I remove the mask and viola! 

I have my painting!

 

Photographic Record

 This entry was originally posted on Saturday, May 19, 2012

Another way to keep track of your progression is to keep a photographic record.

It is also fun to photograph a painting throughout a process. 

This will help remind you of how you painted that really awesome painting years from now.

The Harmony Gate

Poured Watercolor 

Progression from the first pour to final piece

Value is More Important Than Color

  This entry was originally posted on Thursday, May 10, 2012

Greyscale Reference Photo for Autumn's Bounty

 

Autumn's Bounty

14x21"

 

Too often we get caught up in trying to reproduce the color that we see in our photograph.

The color that we see is not as important as the value.

You can paint your subject any color if you are getting your values correct.

Sunday Secrets #16

 This entry was originally posted on Sunday, May 6, 2012

Maybelle 
Poured Watercolor
11x14"

Today's Sunday Secrets comes from Marion in Germany.

 Her questions are:

What kind of paper do you use for your works (poured watercolors) and how long could masking fluid stay on the paper? Could you estimate how long the drying process is between the layers?

 Thank you for the questions, Marion.

 

For my pours I use 300lb (638gsm) paper. I prefer Arches cold press paper.

 I can leave the masking fluid on the paper for up to a couple of weeks as long as I keep it in a cool and dark place. Do not leave it in the heat or sun or the masking fluid will bake into the paper and never come off!

If it is difficult to find a cool and dark place, only leave it on for a couple of days.

 

I do let the paper dry completely between pours before I apply the masking fluid. 

I usually let it dry overnight but it depends on the humidity in the air. I live in a more humid part of the world so it takes longer for my paintings to dry.

 You can blow dry your painting as long as you let it sit 20 -30 min before doing so and you keep the heat off of the masking fluid. 

When pouring, make sure you use staining colors or else the mask will lift a lot of it at the end.

Sunday Secrets #7

  This entry was originally posted on Sunday, March 4, 2012

The Sunday Secrets question for the week is from Marney in Surrey, BC

It is: What would you suggest for a good brush for putting down a wash?

Thanks for the question, Marney.

I actually use a few different types of wash brushes depending on what I am doing.

My favorite one is just a 2" hake brush.

I like this type of brush for a nice even wash and when I layer my washes. For instance, I use it for my layers of poured watercolors when I wet the paper before I pour the paint. The reason for this is that it is soft enough not to scratch the surface or lift the layer of paint that is already there. I find that the synthetic wash brushes tend to lift the underlying layer of paint when you stroke it across the surface, no matter how soft it is.

The hake brush is a Japanese brush made with soft white goat hair.

 

This painting was wet with a hake brush before the paint was poured across the surface. The surface was wet again with the hake brush before another layer of paint is poured. 

 

I also have a couple of synthetic brushes. A 2" and a 1" brush.  I use these when I want texture, usually in my backgrounds. I tend to use it in a criss-cross pattern. The larger brush is used for larger paintings, the smaller brush for smaller paintings.

The wash in the background is done with a 1" synthetic wash brush.

*Update: I still use my hake brush for my poured watercolor paintings but I have since discovered how useful  a 1/2 inch or 1 inch cat's tongue can be in creating backgrounds.

Keeping the Mask On

    This entry was originally posted on Tuesday, February 28, 2012

In one of my previous posts I mentioned that masking fluid should not be left on your paper in a hot or sunny place. It should also not be left on your paper for long periods of time.

This is because it will bake into your paper and never come off. To prevent this from happening, be sure to take it off of your paper within a couple of weeks of application. Even if you are not done.

It is easier to reapply the masking fluid than it is to paint the painting over.

However, I have had success with keeping the masking fluid on my paper for up to several weeks.

I was able to do this by putting the painting in a dark plastic garbage bag and keeping it in a cool spot.

Just make sure the paper is dry before you do this or it might mold.

The other important thing about this is that you don't forget about it! (which I have a tendency to do)

Now that I have a basement studio, it is easy for me to leave it out where it can be seen but is still in a cool area.

Rubber Sole

   This entry was originally posted on Monday, February 27, 2012

Another great way to remove masking fluid is with a masking fluid remover.

Yes, that is the technical name.

I prefer rubber sole since it reminds me of the rubber sole from the bottom of a shoe.

As you can tell, mine is well used. 
It has turned black from all the masking fluid but it started out as a light beige color.

Removing Masking Fluid

 This entry was originally posted on Saturday, February 25, 2012

The best way to remove masking fluid is to first take a corner of a large area of mask.

Peel it away then start to pull it gently up and away from your paper.

If you pull it down, it the paper might tear.

Please make sure your paper is completely dry when you do this.

Now you can take that large chunk of masking fluid and use it to rub and lift away smaller pieces of mask.

More Texture Techniques with Masking Fluid

   This entry was originally posted on Thursday February 23, 2012

Another way to achieve texture with masking fluid is by using a toothbrush to splatter the mask.

I do this for asphalt on my poured watercolors and for the sparkles on water and waves.

I prefer a soft child size toothbrush. 

 

Just dip it into soapy water (similar to the brush technique of application), then dip the toothbrush into the mask. Now rub your finger along the bristles of the toothbrush with it facing towards the paper. You may want to cover up areas that you don't want masked with a paper towel while doing this. It can be messy.

Now I can pour or paint over the masking fluid and when it is lifted, I have what looks like texture or sparkles.

Achieving Texture with Masking Fluid

  This entry was originally posted on Wednesday, February 22, 2012

 Since I use mask often for my poured watercolors,

I sometimes try different things to achieve what looks like texture in my pours.

My favorite is to take a Scotchbrite sponge, the rough kind, and cut it into a small piece.

Then I dip it into masking fluid and sponge it onto my paper.

This creates a wonderful texture for asphalt and foliage.

Substitute Ruling Pen

  This entry was originally posted on Tuesday, February 21, 2012

So you just ordered a ruling pen and you are dying to use it but it won't come for another week or two.

And you really want to paint!

What to do?

Instead, try making your own substitute ruling pen out of a straw.

All you have to do is cut the end at an angle.

It is best to cut it so that it is at a rounded angle instead of a point.

 

 

If it is too pointy and sharp, it will scratch your paper and the mask as you put on the masking fluid.

Now the straw will act like a quill.

Dip it in enough fluid that it will come out easily and not too much so it comes out in a big glob.

You may want to practice before you go and put it onto your painting.

And the best part about a straw.

You can throw it away or cut off the end ready for the next time when you are done.

Ruling Pen

 This entry was originally posted on Monday, February 20, 2012

 

My favorite way for applying masking fluid is with a ruling pen.

A ruling pen is an old drafting tool used for drawing lines with ink.

Instead I use it to draw lines of masking fluid.

The width of the line can be adjusted with the screw on top. 

A thin or a thicker line of masking fluid can be created.

Instead of holding it straight up and down to apply, hold it along the edge and have it glide across your paper like this:

The best part is that when the fluid dries, it can just be pulled off the tip of the ruling pen.

So much easier to use and clean up.

Update: I still love using a ruling pen. You can find these on Amazon by going to my store at 

https://www.amazon.com/shop/redheadart

Masking Large Areas

 This entry was originally posted on Saturday, February 18, 2012

You don't usually need to mask large areas but since I pour a lot of my paintings, I do need to protect large areas of my painting.

I have tried using mack-tack and the sticky shelf liner but discovered that it still needs to be sealed along the edges with masking fluid or the paint still can get under the mack-tack. Then the masking fluid leaves a line which many don't see but I do.

Instead I use the masking fluid to protect these large areas.

(Yes, I do use a lot but what else are you going to do with it?)

The easiest way to apply the masking to large areas is to first line the area with the masking fluid.

Then pour the fluid into the area and spread it with your finger.

The lined mask creates a damn and your finger puts it on quickly.

Plus it is easy clean up.

Just wash your hands afterwards.

But be careful not to spill it onto your clothes.

It will never come out!*

*Update: I have since discovered that Goo Gone will get masking fluid out of most clothes (but not all). 

Watercolor Poured

Watercolor Poured

Poured Watercolor

14x21"

I've been busy in the very small studio space that I have created for myself. I did another poured watercolor of my watercolor paint tubes. If you follow me on Instagram, you would have seen the photos of each pour. If not, you can see the step-by-step process below. 

I did 4 pours on this painting. The letters on some of the tubes were too small to try to mask around. So after I pulled off all the mask, I did paint in some of those smaller letters. 

The colors I uses were Winsor Yellow, Winsor Blue (green shade), and Quinacridone Rose. 

The Drawing

Pour 1

Pour 2

Pour 3

Fourth and Final Pour

The Big Reveal

Mixing Paint into Liquid Form

Mixing Paint into Liquid Form Illustration

Quite often I will mix paint into liquid form so it is easier to use for pours and washes.

The above illustration appears in the book.

Again, I combined a painting with a photo.

This is the painted version

Here is the photo:

NWWS Diamond Anniversary Celebration

Me demonstrating at the Northwest Watercolor Society Convention

On July 11, I had the opportunity to demonstrate at the Northwest Watercolor Society's Diamond Celebration in Seattle. What an event! I had a full class of 50 people to watch and help me pour paint.

It was fantastic to meet so many talented and wonderful watercolor zealots. 

Here I am again showing how to move paint around. I had some very willing participants that helped me as well. They did a fabulous job!

This photo is of me being like Julia Child. Since I had so little time to demonstrate and the painting takes so long to dry, I had one all ready to pull out from my magic bag.

These are the different stages of the painting all lined up and drying.

Here I am with some amazing artists, Birgit O'Conner, Judy Morris, and Marcia Giant. So lucky I was able to hang out with these incredibly talented ladies.

Me and the famous Judy Morris standing in front of my painting, Fish Food, that is hung at the Daniel Smith store in Seattle.

And here is the finished painting:

Hotel Don Curro

Malaga, Spain

poured watercolor