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Artists are oftentimes frustrated by their inability to
convincingly render certain effects such as glass, water or silk.
But, before we despair, be assured that with a bit of practice, and the
proper tools, all illusions will fall within your grasp.
I am often surprised to find students using large, clumsy
bristle brushes to paint soft, delicate edges or attempting large, billowy
clouds with tiny watercolor brushes. Many
artists, both amateur and professional, simply rely on old habits when it
comes to selecting their brush, canvas or mixing medium.
This would be a good time to make clear that the term
“special effects” does not refer only to “photographic-like” effects.
All painting is effects regardless of the “style” in which you
work. For example, the effect of
waves crashing against rocks can most likely be rendered more realistically
using large, coarse brushes on a rough canvas as opposed to small, delicate
brushes on a smooth panel. In
other words, learn to match your tools to the task at hand.
To do this you must first know what tools are available
to you. I would suggest that you
spend some time browsing supply catalogs comparing descriptions, prices, etc.
Visit your local art supply store for some “hands-on” research:
feel the balance of the brushes in your hand and run your fingers over the
bristles to test for springiness; feel the texture of the different canvases,
boards and panels; open the tubes of paint and smear a bit on a piece of white
paper – you’ll see what the color is really like.
Another fine way to learn about tools and techniques is
to attend a painting workshop, oftentimes held at you local art association.
Direct contact with a professional artist and other students can be
rewarding as long as you keep this warning in mind: never let your schooling
interfere with your education.
As to the actual techniques used to create effects, the
key here is common sense: if you are painting a subject that is smooth and
delicate, use delicate tools; for subject matter that is more robust, move up
the scale (or down, depending on your point of view). Generally speaking, you’ll want to apply your first coat of
paint using a very “thin” medium such as pure turpentine. This will prevent any premature build-up of paint texture and
allow you to easily “wipe out” if need be.
If you are going for a very photographic finish, try this: after each
coat of paint has thoroughly dried on your panel, lightly sand the surface
using automotive sandpaper, about #1200 grade.
Do not, of course, sand the final layer, and be sure to do any
“experiments” on paintings that are expendable!
Another important piece of general advice is: work large
to small. “Block in” large
areas of color using very thin paint and your larger brushes.
In order to render fine detail, you must work wet over dry.
Let each layer of paint dry completely before proceeding to the next
application. Do not be in a hurry
to get to the finish – illusion can only be created with patience and a
certain amount of method and calculation.
Let us briefly recap a few “rules” which you should
keep in mind when painting:
- Match your painting tools to the effect you are trying
to achieve: large paintings, large tools; small paintings, small tools.
- Rough surface, rough paintings; smooth surface, smooth
paintings.
- Paint large-to-small. Start with the big shapes and refine as you go along.
- Paint thin-to-thick.
Mix your “block-in” layer with turp. Your later layers can be as “rich” as you like.
Adding damar varnish and/or linseed oil to your turp will increase
the richness of your medium.
- Don’t hesitate to wipe out areas that don’t
“work”. Let the wiped out
area dry, then try again. If
that doesn’t do it, begin at the beginning.
And have a nice day!
Next month’s article will concern itself with getting
started in the business. I will
address such issues as presenting your work to a gallery, your portfolio and
that all-important “artist’s statement”!
In the bye, keep painting and
good luck!
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