Posts Tagged ‘frisket’

A traveling studio

Wednesday, December 15th, 2010

Traveling-Studio Supplies

As I mentioned in my previous article, “A Palette to My Taste,” I normally prefer to work with moist paints, fresh from the tube. I forego that luxury, however, when I travel. Instead I use a small “piggy back” palette, with a lid of its own, which serves as my mixing tray. This entire tray can snap into the lid of a larger palette, which I leave at home. Squeezing a limited quantity of creamy paint into the tray’s palette cups, I intentionally allow them to dry for several days, uncovered. Each cup is labeled with the color and manufacturer’s name so I can restock it with the same color when I get back home. After the paints have dried in the tray, they are no longer subject to airlines’ “liquids” regulation so can be packed into either my suitcase or a carry-on bag.

My other traveling-studio necessities include a soft drawing pencil, eraser, and a fistful of brushes—a #30 round synthetic (my workhorse), #8 round synthetic, a natural-hair brush somewhere between those two in size, a #0 round or liner for detail, a small scrubber, and (if I intend to use frisket) a small disposable round. An old toothbrush or typewriter eraser brush works fine for spattering paint or water.

I like to tuck in a compressed cellulose sponge or scrap of terrycloth (such as an old washcloth) with which to sop excess water from my brushes and to wipe up spills, in lieu of relying on paper towels or fast-food napkins, which aren’t always absorbent enough for my needs. A quart-sized collapsible water bucket is handy, too, but in a pinch, a jar, can, or even a small disposable cup can be used. (I avoid employing reusable food or serving containers when using any potentially toxic pigments, such as cobalts or cadmiums.)

Watercolor “blocks” of paper, up to quarter-sheet size (about 12 x 18), can be packed in a carry-on suitcase. These have the advantage of providing their own backing and do not require stretching. (I save any covers or backing boards to use as stiffeners for finished paintings to be repacked for my return.) Or a small watercolor journal can easily be slipped into even a mid-sized purse. Paper larger than quarter-sheet size poses more of a problem, since it must be bought at my destination and shipped back separately. I don’t use an easel. Since I prefer to work on a horizontal surface, and watercolor blocks include their own stiff backing, a table, flat rock, or even a lap can suffice when I’m traveling.

Other items are optional, depending on whether I anticipate needing them. Liquid frisket can be bought in small containers, either for packing or as an on-location purchase. Spray bottles (to be carried empty) are available in travel sizes. And drawing pads and graphite paper can also be easily packed if I expect to want them.

But whenever I’m traveling, the most crucial “studio” element of all is my camera, supplemented, of course, with extra batteries and memory cards. I don’t always have time to execute a painting on location, but I can almost always manage to snatch a moment to whip out my camera to record a scene, a mood, or a detail for future reference.

If you enjoyed this article, you may be interested also in my previous article, “A Palette to My Taste,” and the upcoming articles, “Selecting Paints” and “Staying Out of the Mud.”

Using frisket to reserve the paper’s white

Thursday, July 15th, 2010

In the March 15 entry, I wrote about various methods of reserving the white of watercolor paper.  One of those methods is the use of frisket, or masking fluid.

Arbor Gate, Spring (detail)

The tiny white blossoms at the corner of the fence in this detail from “Arbor Gate” (#090702) were reserved using liquid frisket.

If you want to try using frisket yourself, start with a throw-away brush and wet it thoroughly before dipping it into the frisket fluid, which will dry quickly and tend to glue the bristles together.  Redip the brush in water (or better yet, a solution of dish detergent and water) between dips into the frisket—no more than 20 seconds apart—to keep the bristles from sticking together.  Wash the brush thoroughly as soon as you are finished if you ever want to be able to use it again.

The frisket itself may or may not be tinted.  It’s easier to see its location on the paper if it has a tint, but even if it is not tinted, you will be able to identify areas of dried frisket on your paper because of the slight sheen those areas will have.

Especially if the frisket fluid is tinted and you see a layer of color lying at the bottom of the bottle, you may feel tempted to shake the bottle to mix it up.  Don’t do it! Shaking the frisket bottle will incorporate air into it, which will introduce bubbles into the “juice” your wet brush picks up.  If you spread bubbles onto your paper, the frisket will not go onto the paper smoothly, and the bubbles may pop as the frisket dries, leaving you with uncovered spots in the area you were trying to mask.

As soon as you are finished using the frisket, replace the lid tightly to inhibit evaporation.  You may have to periodically remove long, rubbery strands and globs from both the mouth of the bottle and the bottle cap to be sure they don’t interfere with a secure seal.

Allow the applied frisket to dry completely before painting over it.  When all your paint layers have been applied and the surrounding paint is thoroughly dry—no longer cool when you touch it with the back of your hand—use a “pickup” or white eraser to lightly roll or pluck the frisket off the paper.  (I recommend testing the dryness of the paper only with the back of your hand because your palms and fingertips are more inclined to leave oily deposits on the paper.  Your natural body oils will interfere with any subsequent paint you may wish to lay down onto the surface of the paper.)

“Painting” white

Monday, March 15th, 2010

One of the challenges of using watercolor is that, unlike the opaque white paints that oil and acrylic painters use, white in a transparent-watercolor painting is not applied as paint at all. Any white that appears in a transparent-watercolor painting is the white of the paper itself. It is that same underlying white that makes transparent watercolors seem so lustrous.

Once any paint is applied, the paper is stained to some degree and the color can never be entirely removed from it, however carefully the artist may attempt to lift it out. So the purest whites must be reserved from any application of paint.

Reserving the white of the paper can be done in any of several ways. The first, most basic method is to simply paint around the area that is to be left white. The artist must be able to visualize the finished painting before it has even begun in order to know where the whites must be preserved. This visualization must be maintained through the entire painting process to avoid misplacing a brushstroke. Color and shadow are added sparingly, allowing the reserved white to act as highlights or to represent the local color.

100301

Variegated Ginger

The white of my “Variegated Ginger” (#100301) was reserved using this method. I only used light pencil outlines to remind me where to reserve the white paper.

Another method is to cover the area to be reserved. A paper or adhesive mask, called frisket, is used to protect most of a large area from unintentional paint application. But with this method there can be leakage and wicking of the paint, especially around the edges and anywhere the covering may be torn or not tightly pressed against the watercolor paper.

I sometimes use liquid frisket, a third method, to preserve the paper’s white in very small areas. Liquid frisket is similar, in both behavior and odor, to rubber cement. The fluid, also called masking fluid, or masque, is applied something like a paint, typically in a very limited area, to keep paint pigments off the paper. It can be lifted or gently rubbed or rolled off and brushed away after the surrounding paint is thoroughly dry.

This last method does have some drawbacks of its own, however. The fluid can have a slight yellowing effect on the underlying paper, and erasure (to lift the dried frisket) can lighten the surrounding application of paint when the frisket is removed. The surrounding paint also tends to collect as it dries, to form a fine, dark line at the edge of the frisket, which leaves a hard appearance when the frisket is removed. This edge can be softened by gently lifting some of the concentrated color with a damp brush, but the softening process tends to carry some of the color over the edge into the formerly reserved area of white, thus compromising the purity of part of the white space.

Another problem with using frisket is that the larger the area over which the frisket is applied, the more likely it becomes that the underlying paper will be damaged when the frisket is removed.  In an upcoming entry, I’ll give some hints about using liquid frisket.