[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.

[WIP] Japanese Chrysanthemum

Taking longer time than I thought before. I've already started painting the Japanese Chrysanthemum in my spare time for these 2 -3 days and seem it won't be finished soon.

The red mixes were Permanent Rose, Opera Rose, Quinacridone Red, Cadmium Yellow Pale and a lil amount of French Ultramarine.
Previous post: The Sketch

[TIPS] Chrysanthemum: A Touch of Dry Brush

Wet in wet and glazing are watercolour techniques I use the most, but sometimes an object requires a different technique. This Chrysanthemum flower has hard edged/ broken pattern with striking colour on each petal. For it, I need a touch of dry brush technique.

Dry brush is the opposite technique to 'wet in wet'. It involves more pigment, less water and a completely dry paper.

My tips:
1. Make sure the paper and the background colours completely dry.
2. Make a fairly dark mix with just a little water.
3. Load the brush and use kitchen roll/ tissue paper to remove excess fluid.
4. Flatten the end of the brush to separate its hairs slightly.
5. Drag the brush along the area you want then gently lift it off before the end.
6. To have a fully patterned petal's tip, use paper or masking fluid to cover white paper.
7. Establish the wanted effect (e.g. scratchy look) on other paper. It is good to exercise a just pressure and dryness. Once you get what you want, work on the actual piece.

[TIPS] Taking Care of Watercolour Brushes from Rosemary

A few month ago NSBA got a special guest, Rosemary, a brush maker with 30 years of experience. She demonstrated how to create rounded, flat and fans shape Kolinsky Sable brushes. She also pointed out various forms of brush that I saw for the first time, the sword lines, triangular point, comber, 'tadpole'/ extended point brushes, and some more. Everything was done manually, including how to make the strongest sable hair in the middle of the brush and how to get the tip of the brush taper. A very interesting demonstration.

Later Rosemary shared some tips on taking care of watercolour brushes. I didn't make a note of all of them, but I keep some relevant tips for my self:

1. Always clean brushes thoroughly after each painting session. For Kolinsky or Sable, rinse in cold water. Remove as much moisture as possible with kitchen roll and reshape before storing.

2. To prevent brush's handle from loosening/ cracking, try to keep handles dry when you dip the brush head into water. Only wet the ferrule.

3 Expensive/ perfect pointy brushes shouldn't be used to mix the paints.

4. Another special treatment is to recondition your sables as you would your own hair! Once a year, take ordinary hair conditioner and apply just one or two drops to the heads allowing to soak, then rinse well before storing again.

I also ask what to do to repair a bent synthetic (nylon) brush, she said to dip it in boiled water for about 2 seconds, reshape the head and let it dry naturally. Warning! It was for synthetic brushes only, never do it to natural Kolinsky/ Sable brushes.

[WIP] Japanese Chrysanthemum

Autumn is coming and I just met its lovely and delicate flower, Japanese Crysanthemum. Just settled down the sketch, I hope I will have time to paint on it soon.