bythesea.makingsense.com You can also clean the surface with rubbing alcohol before you begin to lessen this occurrence. If you draw with a graphite pencil and need to erase a line, the area where the eraser was used will become an area of resist and will not want to receive paint. To solve this issue, I have started to draw with a watercolor pencil. If I then need to erase a line, I just use clean water and it is virtually gone. Sometimes when an area needs to have the color darkened or changed, usually we just apply a thin layer or two of color over our traditional paper and call it a day.
Memminger, Steve Original surfboard designs. Salute to our Partners. Unique and organic, her technique captures the meticulous detail of each individual fish. Celebrate the minimizing of the world's waste by choosing to appreciate and be inspired by a new sense of fashion. With his carpentry experience, Paul finishes the work by shaping the copper to the hand built frame. The outcome for this husband and wife team is an exciting contemporary style that captures the spirit of both artists, and converts their love of animals. Heavier paper withstands more vigorous techniques and manipulations.
But with YUPO you have to go about this a little bit more carefully. While using YUPO, agitation will cause the paint underneath to become reactivated which disturbs the underlying passage. In order to apply a glaze without disturbing the color, you must make sure the painting is completely dry. The painting should be placed flat, no tilt. Then mix up your color on your palette; my mixtures tend to be more watery. Then, using a large brush and a gentle touch, apply the glaze over the desired area with one swipe. I tend to hold my brush at slight angle when doing this and barely apply any pressure on the paper.
Do NOT go back in for a second pass; it will start to pick up the color underneath. This would be a good time to get a coffee and come back after the paint is dry to evaluate whether or not you need another pass. It is best to let the paint dry on its own rather than use a blow dryer because if the blow dryer gets too close to the paper, the heat it produces may warp the paper.
Texture, drips, and mark-making. That is what is so cool about YUPO — and the brilliance of the watercolors seem to bounce off the paper. Cheesecloth, cardboard insulator from my coffee cup, the end of a matchstick, among other common household things have made for some very interesting results. I have even made my own stamps by impressing designs with a dull pencil into flat styrofoam pieces. Of course wax paper and cling wrap work like a charm, too.
Although water droplets sprayed in an almost dry area look fabulous. I have not been impressed with salt yet. Canson, Strathmore and Fabriano also produce heavyweight paper ideal for acrylic paint.
Handmade and mould-made, percent cotton rag watercolor papers are among the finest art papers. If the paper is pressed between unheated rollers, the surface becomes smoother but still retains a noticeable texture; this is called cold pressed. If the paper is passed between hot rollers, the surface of the paper becomes smooth and hard and is labeled hot pressed. Gelatin sizing is often added to watercolor paper, either to the pulp or to the final sheets. Sizing makes the paper stronger and also water-resistant; without sizing, the paper would act like a giant blotter, soaking up everything it came in contact with.
Most papers contain some sizing. Paper Weights:. Paper is measured in gsm grams per square meter or lb pounds per ream—a ream is sheets of paper. Papers suitable for dry media are 60 to 90 lb. Heavier paper withstands more vigorous techniques and manipulations.
Bristol board is a heavier sheet 80 to lb that comes in a smooth vellum or ultra-smooth plate finish. Heavy watercolor paper—especially rough, lb paper primed on both sides—is a good surface for acrylic or oil paintings. Coated paper for artists: Most papers suitable for charcoal work well for pastel—especially colored charcoal paper.
Some papers have a ground coating that really grabs pastels, such as Sennelier La Carte pastel card, Wallis sanded pastel paper, UArt sanded pastel paper, Ampersand Pastelbord and Art Spectrum Colourfix Supertooth board. Three types of nontraditional paper for artists, from left to right: ginwashi inclusion ppaer made with kozo and manila hemp , unryu paper mulberry or rice paper with kozo strands with gold and silver flakes, unbleached mulberry paper. Delicate Japanese papers made from kozo mulberry , mitsumata and gampi fibers are especially good for printmaking and collage.
With synthetic paper, the artist can manipulate paint on the surface to create interesting effects.
The traditional and time-honored surface for paintings is canvas. Artists have been paint- ing on stretched canvas using paints ground in linseed oil for centuries. Stretched canvas is lightweight and therefore portable and relatively inexpensive. Nothing compares to the feel of painting with a high-quality brush on well-stretched canvas. Cotton canvas, sometimes called cotton duck from doek , the Dutch word for canvas , is less expensive than linen.
Linen is made from the flax plant, the same source as linseed oil. Canvas comes in rolls in a variety of widths and weights: Generally, lightweight canvas is 4 to 6 ounces, medium-weight is 7 to 9 ounces, and heavyweight is 10 to 12 ounces. Raw, untreated canvas must not come directly in contact with oil paint, which causes the fabric to rot.
Traditionally, canvas was sized with glue made from rabbit skin and primed with lead-based paint. Stretching a canvas properly can be an exacting process but not a difficult one. The more you do it, the easier it gets. In any case, pre-stretched canvases or canvas panels provide a convenient and economical option.
Pre-stretched canvases come in a wide variety of sizes, thicknesses and textures, ranging in quality from inexpensive to the caliber for professional work of the highest permanence. As is generally true with art materials, you get what you pay for. For good quality pre-stretched canvases at an affordable price, look for 7-ounce cotton primed with acid-free gesso and back-stapled on solid wood stretcher bars.
For the next step up, look for linen preferably Belgian double-primed and back-stapled on heavy, kiln-dried bars. He shares years of experience with Yupo, from complex layering methods to simple tips on how much water to hold in your brush. The workshop is a tour de force of techniques. You'll discover new methods for washes, glazing, line work, and adding texture.
You'll delight in Yupo's unique properties as George teaches you to reclaim whites from wet or dry paint. He helps you take control of this unpredictable surface with an array of stamps, spritzers, wipes, and rollers. Each issue includes drawing inspiration and an artist interview, plus a sneak peek at new titles that will help you learn to draw and paint!
Creating Texture with Watercolor & YUPO Synthetic Paper - Kindle edition by Janice Tingum. Download it once and read it on your Kindle device, PC, phones or. Hi Anne - thank you for your comment and inquiry about painting on YUPO synthetic paper. I urge you to experiment with different types of paint.
Mastering Yupo with George James. Physical DVD.