[TIPS] Cherry Blossom: The Fear of Masking Fluid

Last week, I and a friend, a wonderful botanical artist, had a chat. She was working on an illustration of lovely streaked red-yellow apples with light brown spots spread over the fruits. When I saw her specimen, I immediately thought of using masking fluid for the light brown spots, but she said she was afraid of using it since masking fluid tends to ruin her works. A few years ago, I will say the same. Using masking fluid is an easy way to leave detailed or intricate white spaces but it can also ruin my hard work when applied inappropriately.

How to avoid masking fluid from ruining your work?

1. Masking fluid is not suitable for regular paper, such as cartridge paper, regular sketchbook, Padalarang paper, etc. These papers would be peeled off when I removed the masking. Test the masking fluid on the watercolour paper before applying to a real painting. I found that I need to be more careful with cold-pressed paper than hot-pressed one when rubbing masking fluid.

2. Masking fluid must be applied to a perfectly dry paper and removed only when a painting is completely dry. The wrong choice of time in applying/removing masking fluid is the main reason of ruining a work.

3. Never use a fine brush! I use my inexpensive synthetic brush (actually I got it free from buying a watercolour pencil set) or a dip/ ruling pen.

4. Dip the brush into liquid dish soapy water, rinse slightly and then wipe it before and after using the masking fluid. I used to ruin my brushes with masking fluid but since I treat the brush regularly and repeat the soap step before applying more masking, I never clog my brushes anymore.

5. Make sure the masking fluid is completely dry before putting a paint or glazing the paper. Be careful with thick masking fluid, it may look dry on the outside but wet inside, the brush's pressure can scrape the paper and spread the fluid out. Masking fluid will be more transparent once it's dried.

6. From a completely dry painting/paper, gently remove masking fluid by rubbing it off with dry and clean fingers or rubber eraser. Be careful with a greasy finger, it can smear paint onto the newly uncovered area.

7. Pat down the painting to make sure all the masking fluid removed. I check any missed spots by running my fingers lightly across the paper surface. 

                                                                                                                                                                                                                               

Masking fluid made my painting process on this Cherry blossom much easier. The masking retained the tiny white area of the stamens and carpels of the flowers while I was painting the other area freely, putting darker shadow or making patterns and veins. For this painting, I used Winsor & Newton masking fluid. You can read on another post about the brand of masking fluid I use HERE.

I used Fabriano Artistico hot-pressed paper and let the masking stay for about a week without any trouble removing it.

Pebeo | Winsor&Newton Masking Fluid

A few years ago, I won't have many options for watercolour papers or medium in Indonesia as I have now in the UK, such as masking fluid, a latex-rubber fluid that is applied to retain the white watercolour paper or wash underneath. I used to know only Winsor & Newton art masking fluid.

Since I start practising botanical art which often requires delicate details and sometimes a very tiny area to preserve, I made a time to browse a better option for masking. I found Pebeo drawing gum and I am happy I did it!

I like that Pebeo is significantly coloured (grey). It is nice to easily see where the masking is already applied. I love that Pebeo is thinner or more liquid than W&N masking fluid, so it is easy for making sharp edges and reaching the paper's deep texture quickly. I'm also fond of Pebeo for lasting a long time and not making solid gum on the bottle's neck and cap when not in use. I like that the cap is also easier to open than W&N.

I haven't tried other brands yet. I heard about other masking fluids whose bottle has a special nib so I don't need a brush and just gently squeeze the bottle to apply the masking. I may tried them later but for now, I am happy with what I've had. I never be worried about paper tearing or brush clogging as long as the masking fluid used appropriately. Read more tips HERE.

Comparison of the colour. Using dip/ ruling pen will give thicker masking and so darker colour than using a brush. Since I use brushes more often, I prefer the grey Pebeo that is easily seen on white paper.

Comparison of the thickness. I can't show you well the significant difference of thickness between Pebeo and W&N masking fluid but it was easier for me to move the brush/dip pen with Pebeo than W&N masking fluid. You can see the the branch silhouette in left painting has longer and steadier strokes.

Comparison of the sharp/clean edges. I love that the anthers of flower in the left image have sharper and rounder edges than the right one.

[Commission] Bitchslap Magazine

Yippee! Just got the copies of Bitchslap - Copenhagen magazine #15 ^^ with 4 pages of my watercolour illustrations on it. I was commissioned to adapt photographs of products to spontaneous but identifiable watercolour drawings. Now they also have the online edition. Please take a look :)

Open publication - Free publishing - More 15
Update: Just found that this project was featured on IllustrationServed | Behance (31/10/2012). Cheers!