|
|
|
Channels:
|
Search for:
|
Author: Nicholas_Simmons, Contributing Editor
 | ...which makes this result. Notice the edges are darker, and the part that washed away reveals the color from the first layer. A nice, natural-looking effect that creates a lot of depth. It would be virtually impossible to paint this deliberately, though I do not consider this a "happy accident." The execution of the technique is very deliberate and controlled. What happens within that process is a function of the materials vs. heat, and is therefore somewhat random, but there is always that element in watercolor - good watercolor, anyway! That said, experimentation with dilution of the paint and use of the hair dryer will help you gain more control over the effect. It's important to stress again that it's a good idea to err on the side of less-dry; if there is not enough coverage, you can simply do it again. I stopped long ago trying to make the look perfectly uniform, as I discovered the variation is better. |
| Here is half of the water background done. The various watercolor anomalies that occurred in the underpainting show through the batik layer, and contribute greatly to the textural interest. Besides the batik quality, notice also the dark edges of each "pane" create a sort of stained glass effect. |  |
 | I was careful not to make a hard edge of darker color against the end of the fish tail. Since the tail is curving away from the viewer, I want that edge to be soft and diffused. I'll soften it more in later steps. The close-ups reveal that I didn't always paint precisely to the edge of the leaves or the fish. This is to preserve any interesting edges that occurred in the previous steps. Leaving bits of white paper also provides contrast next to the edges, adding some glow. Of course, as they take on the color of subsequent washes, they don't remain pure white, but the brightness still comes through. Saving those precious glimpses of white paper is a safety mechanism I often use (explained more fully in the Tarantella Demonstration. Anyone who has ever painted around objects knows what I'm talking about: as you add more glazes, and refine (or fix!) things, it's easy to start creeping into the subject. Wet in wet, it's even more likely to happen. As a result, the object shrinks, and shrinks, and shrinks..... Especially important on small paintings where millimeters can make a difference. |
| I then started on the upper half of the water sections. I changed the color slightly, and used a more diluted mixture of paint in the top right, so the underlying colors would show through more. Let's go over the "batik" process one more time: 1. Paint over an existing layer (photo at right). |  |
 | 2. Using the hair dryer, get the section 50-75% dry. |
| Quick Jump: | ||||
 |
||
|
||
Copyright © 1998-2009, F+W Media, Inc. All Rights Reserved. FA |
||
