Some helpful tips to ‘save’ a painting.
The first 9 are taken from Birgit O’Connor’s article,
“Watercolor SOS”, in Watercolor Artist,
August 2018, page 20-24. This is just a summary, but see the article for more details.
1.
PROBLEM: Studio Lighting Issues. Birgit
O’Connor suggests full-spectrum natural lighting is best, so you want to come
as close to that as possible. Use compact florescent bulbs or LED bulbs.
Basically, you need a clean WHITE light cclosest to daylight without being too
blue, 5000K should be fine.
2.
PROBLEM: Messy, undefined edges. This is
a mistake made by painting an area too soon, efore the adjacent areas has had
time to dry completely. SOLUTION: walk away and let the painting dry
completely. If you need to clean up a messy edge, dry it completely, and use a
wet on dry technique to clean it up.
3.
PROBLEM: Trouble determining values. There
is a saying: value does all the work, but color gets all the credit. The
quickest way is to make a black and white photocopy. (I often take a photo on
my cell phone and turn it into black and white.)Or do a small thumbnail sketch
in pencil or single paint color, such as gray. The other way is to hold a sheet
of RED PLASTIC OR ACETATE over a subject. The red color shows the ranges of
values.
4.
PROBLEM: Unintentional blooms. These
occur when parts of the painting dry more quickly than others.SOLUTION: allow
the painting to dry completely. Then try to lift or soften edges with a
melamine foam eraser. Or, while still damp, add more water and allow the puddle
to move around the surface to spread the water more evenly.
5.
PROBLEM: hard rings of color. These occur
when you apply and reapply too much water, lifting pigment and pushing to
edges. SOLUTION: Dry
completely, then reapply color in layers.
6.
PROBLEM: Muddy colors. SOLUTIONS: * DON’T
MIX TOO MANY COLORS AT A TIME. * Don’t overmix colors on palette. * Work with
the most transparent colors.* Avoid mixing cadmiums, opaques, and earth colors.
* Don’t overuse mixed complements. * Be aware that every color has a warm or cool
bias. * Allow each layer of color to dry completely before applying the next.
7.
PROBLEM: COLOR MATCHING ISSUES: Each
brand of paint may have different names for each color. But also, they may use
a different formula for the same name. SOLUTION: learn to read a tube of color.
a.
Pigment code: Tells the pigment(s)
name(s) used
b.
Transparency code: Transparent, semi-, or
opaque
c.
Lightfastness rating: you want a I or II.
It refers to the permanence or chemical stability of a color, especially whether
it fades over time with light.
d.
Series number: This indicates PRICE.
Series 1 is lowest priced.
8.
PROBLEM: STRAY BRUSH HAIR IN WET PAINT. SOLUTION:
Don’t leave it and don’t try to remove it with a fingernail, which can dent
your paper. Use a small stiff synthetic brush, like a #3 round, to gently lift
it out.
9.
PROBLEM: THE ENTIRE PAINTING IS A
MESS. Birgit O’connor suggests
removing all color by placing it under running water using a faucet or hose or
submerging it in a tub. While the surface is still wet, use a large soft brush,
or Mr. Clan Magic Eraser, to gently wipe surface. If you press too hard you can
damage paper fibers.
AND THAT BRINGS US TO THE CHALLENGE: CAN THIS PAINTING BE
SAVED?
Here are more ideas you can use when you run into problem
#9. You are ready to throw this thing in the trash. But before you do, ask if
there is something redeeming about the painting, other than the fact you have
poured hours of work into it.
1.
CROP.
2.
SOAK OLD PAINT OFF
3.
WHITE OUT
4.
USE BLACK OR VERY DARK PAINTS TO TURN IT INTO
ABSTRACT
5.
USE FLUID ACRYLIC OR GOUACHE TO RECLAIM YOUR
WHITES
6.
USE COLLAGE
7.
COVER PARTS WITH RICE PAPERS
8.
USE YOUR COLORED PENCILS
9.
TRY GOING OVER PARTS WITH PASTELS
10.
COVER WITH MAT MEDIUM OR GESSO
11.
RUB WITH A SMOOTH STONE (for paper that has
become rough from overuse)
12.
USE IT AS AN OPPORTUNITY TO TRY SOMETHING NEW
a.
Stenciling
b.
Stamping
c.
Gels and mediums
13.
TEXTURIZE
14.
CUT IT UP INTO BOOKMARKS
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