Masking And Lifting

Masking fluid is the Marmite of the watercolor world, but used correctly it can create unique effects. ROB DUDLEY sets an exercise to help you explore the possibilities.

I enjoy working with masking fluid when I make my watercolours – in fact, I rarely make a painting without using it somewhere. My use of it often becomes a topic of conversation during workshops or art breaks and it certainly seems to elicit strong views when discussed by fellow artists. It’s definitely the Marmite of the watercolour world – they either love it or loathe it. This feeling often stems from an unsuccessful experience when first introduced to it.

Some artists cite that the reason they prefer to avoid using masking fluid is that it can leave a hard edge to the paint on its removal. That can certainly be the case. However, if the correct paints and paper are used, ones which enable the pigment to be lifted with a damp brush, then edges can be softened.

I enjoy the possibilities that masking fluid brings to my work, the opportunity to use various techniques or to create certain effects that would prove, if not impossible, then very difficult, without using the stuff.

Probably the simplest use of masking fluid is to protect the white of the paper from subsequent washes. However, I also like to use it in combination with other techniques, which allow me to create some interesting and unexpected effects within my paintings.

A particular favourite is one that I call “mask and lift”. As the name suggests, it involves both the masking of selected parts and the lifting of paint from around the masked sections. Use this project to get to know what your materials do, have a play with them and find out. www.moortoseaarts.co.uk

EXERCISE

LEARN HOW TO MASKING AND LIFT