ARTICLE II



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Save your Whites
Discover two simple approaches that can help you
preserve white areas
By Linda Gunn
I work in both watercolor and liquid acrylic ink, so naturally one of my biggest challenges is preserving the white areas of my painting surface. While most of my finished paintings are traditional and realistic, they often don't start out that way. At times, my first applications of paint are loose and wild. That can be catastrophic when it comes to keeping areas of my watercolor paper untouched. Once the paint or ink is on the paper, that area will never be a pure white again. So I've developed to distinct approaches to help me solve this problem--each works for a specific type of painting situation.
 
I use my first approach--which involves paint, a brush and clear water--when I working in a more controlled manner. I simply paint around any white shapes, large or small. To insure that color doesn't bleed over into the white area, I first lay down clear water, then add pigment to the puddle. The pigment spreads only to the water, creating the desired line. This technique requires lots of practice. You must have the right amount of water and pigment for it to be effective. Once you mastered it, however, you'll find it needs little adjusting later in the process.

There are times, however, when I want to get wilder and cover my entire sheet of paper.

In most cases, I use masking to preserve only white areas. But it comes in handy for preserving painted areas as well. Steephill, Lincolnshire (watercolor,22x30), for example, was masked in stages. I first masked all of the white shapes, then I wet the entire sheet of paper. Next, I applied midtones, tipping and turning the paper to let the wet surface spread and mix my colors. Once this initial application was dry, I masked my midtone areas and repeated this painting process with a wet-into-wet wash. In these cases, I turn to my second approach: liquid masking fluid--an adhesive, liquid frisket used to protect areas from unwanted color. The film created by this masking lets me apply paint freely, without worrying that I may be setting myself up for a disaster.
Please click here to continue. Saving whites cont. Covering all the Basics 
Please click here to Put on your Mask

Credit: The Artist Magazine Sept 1997

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