D E M O N S T R A T
I O N
FINAL STEP
So far I have worked only wet-in-wet. Now it is time for a little bit of detail, using the smallest brush, I add some lines with either the tip or the side of it.
It is important not to overdo it and not to draw fine lines. Broken lines and the dry-brushing method is much more effective - don't overdo it, stop right here!
MASTER HINTS AND TIPS
- Get a large board of canite from your local hardware store and cut it up to the required sizes, for example four half-sheet boards, and prime them with white primer/undercoat on all the surfaces. The soft canite makes stapling much easier than onto timber boards and the staples come out easily as well.
- The fewer colours being used in your work the greater the chance of overall colour harmony and absence of mud. For tonal variation try
- using more or less water.
- Paint what you are familiar with. This may be flowers you like, buildings shapes that impress you, landscapes that cause you to say "wow". Your heart needs to be in it.
- When working wet-in-wet, should 'cauliflowers' occur, don't panic. Let them dry completely. Then, either incorporate them into your design, go over them with with a darker paint or using a natural sponge, slightly moisten the area, remove
- the offending bit by gently rubbing and then let the paper dry before reworking the design.
- Working wet-in-wet, I often find it most effective to tilt the paper to let the paint run freely, then mopping up the surplus water with a moist brush.
- Don't paint to sell your artwork. Paint with your emotions and you'll find that your paintings will become good enough to sell!
59 Artist's Palette
Copy of Artist's Palette Magazine No.33 articles by Justyna Lupa and Christine Groh.
Copyright 2005 © - Artist's Palette Magazine