50 artistMarch 2021 http://www.painters-online.co.uk
MIXED MEDIA
SUBTRACTIVE TECHNIQUES ON
TEXTURED SURFACES
This is where the fun really begins! I use graphite and
painting media auxiliaries more and more these days
because they produce unique effects and are exciting to
work with. They help me to express the true nature of my
chosen subjects, especially landscapes.- Subtractive techniques aren’t always
rubbing away or lifting out. In this close-
up of one of my mixed-media drawings
on 300lb (640gsm) 100-per-cent cotton
watercolour paper I have deliberately cut,
torn away and scratched into the painting
surface to bring back highlights and create
textures using a scalpel and the end of a
screwdriver to lift and score the paper - Acrylic painting media create unique
surfaces on which to draw and paint.
Wallace Seymour pastel primer was used
to create the initial texture onto which
liquid graphite had been applied. Once
dry, graphite was worked into the surface
and erased with a putty rubber to create
a contrasting smoother lighter mark and
lighter tonal area, revealing the ground
underneath - Wallace Seymour Bone Ash was used
to prime mount board. Next water-
soluble Derwent Graphitone was applied.
Once dry, I used a strip of masking tape
to protect the central area then used
an eraser on both sides to remove the
Graphitone. Once the masking tape was
removed I used a sharp scalpel blade to
scratch over the entire swatch, left to
right and back again. The firm support
and strong ground enabled lovely even
sgraffito marks with the scalpel
4. Here pastel primer was used with
Wallace Seymour Liquid Graphite Marron
Dore before applying a Derwent XL Block,
which has a softer tone when diluted.
Once dry, a large scalpel and blade were
used to create sgraffito marks. Techniques
such as this set up a knowledge base to
use in larger expressive paintings and
drawings
5. In this close-up section of a mixed-
media seascape a Staedtler eraser was
used with vigour to cut through the
watercolour washes for streaked light
effects. The luminosity in these areas is
notable and looks far more natural than
adding media to try to achieve the same
effect
6. This close-up is of the same drawing
used for Example No. 1. This time I used a
scalpel to draw, very carefully, the profile
of the mountain top. With clean hands
I peeled away a layer of the heavy-duty
watercolour paper to add texture to the
cloud above the mountain and to define
its sharp clean contour shape. Acrylic ink
is useful for this, as is diluted acrylic paint,
because the colour is permanent once dry- an advantage if you are using any kind
of drawing media over the top and want a
stable support underneath
- Light watercolour paper was first
- an advantage if you are using any kind
indented with a flat-edged blade used
from side to side. A soft Lyra graphite
stick was then applied to reveal the
sgraffito marks. A Derwent vinyl eraser was
used with firm pressure to cut through
everything to create lighter areas while
containing textures- Subtractive techniques can also be
applied to drawings and paintings created
on black or very dark coloured supports.
The support here is Canson Mi-Teintes
Touch 350gsm pastel paper which has a
unique sanded surface quality. A white
Derwent Inktense pencil was applied
then water added and, when dry, rubbed
into with a plastic eraser to create lighter
toned passages - A water-soluble Derwent Graphitint
pencil was used both dry and wet to
create the initial marks. Once dry Blu Tack
was used to lift out the graphite to create
a softer-toned area - A Wolff carbon pencil creates a
beautiful rich black on different drawing
surfaces, as here on Canson C à grain
224gsm heavy duty bright white drawing
paper. By dragging a Stanley Knife blade
from top to bottom, and continually
repeating, the area in the middle becomes
lighter and textured at the same time
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