48 artistFebruary 2021 http://www.painters-online.co.ukMIXED MEDIA
glaze medium to stick the pieces
together. Gesso (neat, diluted or with
the addition of pumice, marble dust
and so on) is applied to different
parts of the collaged pieces to add
yet more textures. This process will be
repeated until I’m totally convinced
the statement I’m making is a true
expression of feeling and connection to
the subject.
The way you paint has much to do
with surface texture. With acrylics, you
can choose from heavy-bodied to more
viscous paint, which allows you to create
textures in your paintings. The physical
build-up of paint itself acts as a textureThese examples show the importance of good-quality paper supports for painting and drawing. Robust supports
allow you to extend your painting and drawing boundaries with confidence and achieve exciting results.Acrylic paint applied to 140lb (300gsm) Canson
Heritage Not watercolour paper. Gesso was
mixed with different amounts of water and
coarse pumice to create viscous and more open
dry-brush techniques as base layers on which to
further develop a mixed-media paintingAcrylic inks and artist quality oil pastel on
Canson Mi-Teintes Touch pastel paper, 350gsm.
The tooth of this sanded surface is perfect for
many different media, not just soft pastel. Unlike
other papers ‘Touch’ does not need any extra
preparation to stop oil leaching through before
oil pastel is applied. It’s a good-to-go support
and available in eight great coloursA high-quality watercolour paper such as
this Canson Moulin du Roy 140lb (300gsm)
100-per-cent-cotton rag paper has the
strength to accept multiple layers of media.
Creating texture on a smooth HP support
provides wonderful visual and contrasting
effects while allowing very sharp edges and
plenty of detailMountain rocky textures were created with
acrylic ink, gouache and watercolour in layers
with masking fluid. Masking fluid is notoriously
difficult to remove from wood pulp papers as
it tears the surface, especially after being left a
while, when creating layering effects as cleanly
as this. Canson Heritage HP 140lb (300gsm)
100-per-cent cotton rag paper has the strength
and robustness for this process
A top-quality superior cotton Loxley
‘Gold’ series canvas. Acrylic painting
auxiliaries gesso, pumice and marble dust
were added to heavy-body acrylic paint.
Sgraffito techniques were used for the first
highlights to reveal the all-important base
layer of bespoke textured white primed
canvas- any artist who has painted over a
painting will know the underpainting
acts as surface texture and enhances
the subsequent painting. I deliberately
create exciting underpaintings and
allow many elements of these to show
through in the final work.
Surface textures enhanced
I often find that, with a little effort,
a smooth Hot Pressed sheet of
watercolour paper, card or board can
be enhanced with more texture when
needed. The most commonly used
preparation for this is gesso – it is
versatile and very useful for preparingall sorts of different surfaces. I have big
tubs of it in the studio. It never dries
out as I’m constantly using it.
The best way to create textural effects
with gesso is to build up the surface
in layers, leaving each coat to dry
thoroughly before applying the next. If
it is applied too thickly the gesso and
subsequent media will not dry evenly
and are likely to crack.
Acrylic paint can be used to prime
paper or card for painting on but my
advice is to choose a cheaper brand
to do this, especially if you work on a
large scale. Thinner papers need to be
stretched before gesso is applied andMixed media on Canson Heritage 640gsm Not
100-per-cent rag content watercolour paper. A
firm favourite in my studio at the moment, this
versatile, heavy watercolour paper works with me
as I keep pushing my creative boundaries with
media and direction. Photo montage, very fluid
acrylic ink and watercolour were used in layers and
every application is still bright, clean and highly
pigmented, with no sinking in or loss of colour