Artists_amp_amp_Illustrators__July_2016_

When applying

colour through

a stencil, don’t

move the

mask during

application or

on removal

It can be applied with a variety of implements from brushes

to colour shapers, and dip pens to cocktail sticks. With the

masking fluid dry, layers of paint can be freely added and

the protected and masked areas will stay ‘unpainted’. With

the painting finished and the paint dry, the masking fluid

can be carefully rubbed away with a clean finger or soft

rubber revealing the unpainted white of the paper.

In my watercolour, Springtime, Lukesland Farm, (pictured

left) the fine tracery of the sunlit branches, the tree trunks,

roofs and foreground plant stems have all been picked out

in masking fluid; the branches with a dip pen and the

remainder with a fine nylon masking brush. Knowing that

the ‘whites’ would be reserved, washes of colour were

freely applied until the required effect was achieved. Upon

removing the masking fluid from the tree trunks I was able

to add detail and structure to the trees with the addition of

more paint. I left the fine branches unpainted to convey the

bright spring light hitting them, with the white of the paper

doing the job for me.

Before using a masking brush with masking fluid, it’s a

good idea to dip it into a solution of water and washing up

liquid. This helps to prevent the masking fluid from building

up on the brush, allows for finer lines when applying it to

the watercolour paper and makes cleaning much easier.

Please don’t try this with your favourite sable brush, as it

will only end in tears and a ruined sable.

PAPER MASKS

Paper masks are very useful to the watercolour painter

• they are quick to apply, cheap, and versatile. Old
  envelopes, photocopy paper and even ‘junk mail’ can all
  double up as paper masks. Kitchen roll can be used but be
  careful not to get it too wet with paint, as this is likely to
  seep onto the painting surface.
  A paper mask can be used to isolate areas of the
  painting when splattering colour. In one of my landscape
  works, A Corner of a Foreign Field, I built up the texture of
  the trees and the grasses by using a paper mask and
  simply applying layers of spattered paint to create the
  desired effect. The same technique was employed in
  Springtime, Lukesland Farm to add detail to the tree area.
  As with kitchen roll, care should be given to how wet the
  mask becomes; if it’s too wet, paint might be transferred to
  the area you are trying to protect.
  To create the effect of sunlit leaves in Springtime,
  Lukesland Farm I used a paper mask to protect the
  surrounding areas whilst spattering masking fluid over the
  required sections, thereby protecting the white of the
  paper. This would enable me to apply washes freely. When
  dry and the masking fluid removed, the reserved white
  highlights would give the appearance of the bright leaves.
  Paper masks can also be used as a form of stencil. A
  paper doily used as a stencil can create the impression of a
  voile or net curtain in a still life. Hold the doily firmly down
  onto the paper, and with a stencil type brush or by
  spattering the colour from a toothbrush, apply the colour
  carefully to the masked area. When sufficient paint has
  been applied, carefully lift the doily. A palette knife is useful
  for lifting the mask cleanly and crisply, as any movement
  might lead to the paint smudging and compromising the
  protected area.

Here areas of

the painting

were masked

with paper

where paint

wasn’t wanted

With parts of

the painting

protected, a fine

layer of masking

fluid can be

confidently

applied

tip

The effect of

foliage can be

built up with

successive

layers of paint

>

Artists & Illustrators 75

74 Rob Dudley.indd 75 11/05/2016 10:38