Saving Whites (continued)

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Put on Your Mask
Liquid masking is relatively easy to use, and with a little practice, it can become a valuable creative tool. But to ensure best results, you must do lots of planning, and be prepared to make some adjustments when you remove the masking.

When I plan to use masking, I first establish my value pattern and determine which areas I need to protect. Then, I depending on the effect I'm after, I may apply my liquid masking fluid in one of several ways. for example, I often use a No. 5 white sable brush and a drybrush technique to apply the masking. (Before starting, I coat the brush with a protective layer of liquid soap so that the masking won't harden and ruin the brush hairs.) this drybrush approach leave gaps in the masking, so subsequent washes find  their way to exposed areas of paper., heightening the overall texture of the piece. When I need extremely fine lines, I dilute the masking fluid with water and apply it with a quill pen. If I'm after more interesting textures, I spatter the masksing onto my painting surface. A toothbrush works well for ver fine spatter, while a No. 5 brush is my choice for slightly larger spatters. for a simple even application, I pour the masking directly onto my paper. To creat cloud like edges, I dilute the masking, pour it onto wet paper, then paint over it when it dries. The paint stains through the thin  masking, producing a feathered look. To re-create the texture of sand, I sometimes sift the masking through a piece of screen.

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No matter how you apply it, however, liquid masking must be applied to a dry surface. Once I've masked particular areas, I let them dry before applying paint. It's important that the masking dries naturally--don't try to speed up the drying process with a hair-dryer, for example. Such practices usually force the air side of the mask to dry while the side that's against the paper remains wet. Or, if the masking does dry thoroughly, it adheres so tightly that removing it will likely tear your painting surface. Finally , the paint must be dry before you rub away the masking with a rubber mask-removing tool.

I find that liquid masking works best on 300lb rough or cold-pressed sheets. The heavier paper doesn't need to be stretched, is more absorbent, and doesn't allow the paint to bloom as readily. In most cases, I use cold-pressed paper, but i turn to rough paper when I want a lest-detailed, impressionistic look. But no matter what type of watercolor surface you work on , I think you'll find that my twin approaches for saving whites can help you create more expressive art.  ( cont)