Painters Online

MIXED MEDIA 9 SKETCHING & PAINTINGGUIDE APRIL 2020 www.painters-online.co.uk Work with different papers by Alison C Board W orking in mixed media opens up the possibility of painting on surfaces other than traditional watercolour paper. Recently, I have enjoyed the challenges that a dark surface can bring to a painting. It is important to understand that the transparent quality of watercolour can be lost to the dark but if your watercolours are opaque or metallic, these will show up with greater effect. A dark surface will also give any other media you choose to include a chance to ‘pop’ on the surface and you can exploit this quality for more drama and atmosphere in your work. There are plenty of coloured surfaces to choose from: experiment with a few to see which work best for you. I often use mountboard; it is also now possible to purchase black watercolour paper. Taken from Watercolour with Mixed Media by Alison C Board (Search Press, 2020). See page 2 for details Rusty Old Heap, watercolour, Brusho, gouache, Posca pen and pastel on a coloured surface, 15 x 11in. (38 x 28cm) TIP FOR COLLAGE Tearing tissue papers A large proportion of papers have a definite grain, much like wood; this grain is determined by how the fibres in the papers are arranged. Why is this information useful? It means that we can manipulate our paper to create a texture or add an unpredictable element to our collage work by tearing it with or against the grain. I prefer torn paper edges to cut edges as I think they look more effective; if I tear with the grain, I get a relative straight edge nonetheless, or a jagged edge if I deliberately tear against it. However, a ruler can be useful for tearing with the grain if you require accuracy. Tearing the paper with the grain, using a ruler. Tearing the paper with the grain, freehand. Tearing the paper against the grain, freehand.