tip: Smattering of Texture
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Spattering (sometimes called splattering) is common technique to suggest
texture in watercolors. It’s useful to simulate gravel, grass, leaves, sand or
other, similar items.
The old favorite method is to flick your thumb across a paint-loaded toothbrush,
spattering paint on paper. This makes small and rather uniform dots of texture
and is not easy to control. Let’s call this spattering.
Another accepted technique, which we can call splattering, involves tapping a
loaded round brush against a pencil or a second brush, flicking globules of paint
on the paper. This is less messy than spattering and yields more random sized
dots of paint. A No. 10 or 12 round brush works well.
I prefer a third approach that I call scattering (for screen spattering). Load a
small piece of screening with one or more water colors, then blow through this
onto your paper. You get multi-colored and varied sizes of dots in a more
controlled area. I use a piece of needle-point backing, a plastic screen material.
You can buy it in craft or sewing stores, and it can be cut easily with scissors.
Available in at least two sizes -- eight holes per inch and 12 holes per inch -- it
costs about a dollar for an 8” x 12” piece.
To leave random dots of white, use the scattering technique with water-based
masking fluid. I use this for small flowers and light-colored trees in landscapes.
Practice all three techniques on an old sheet of watercolor paper and note the
differences. I made a chart of all three techniques under different conditions,
so I’m ready to tailor my textures to any painting.
texture in watercolors. It’s useful to simulate gravel, grass, leaves, sand or
other, similar items.
The old favorite method is to flick your thumb across a paint-loaded toothbrush,
spattering paint on paper. This makes small and rather uniform dots of texture
and is not easy to control. Let’s call this spattering.
Another accepted technique, which we can call splattering, involves tapping a
loaded round brush against a pencil or a second brush, flicking globules of paint
on the paper. This is less messy than spattering and yields more random sized
dots of paint. A No. 10 or 12 round brush works well.
I prefer a third approach that I call scattering (for screen spattering). Load a
small piece of screening with one or more water colors, then blow through this
onto your paper. You get multi-colored and varied sizes of dots in a more
controlled area. I use a piece of needle-point backing, a plastic screen material.
You can buy it in craft or sewing stores, and it can be cut easily with scissors.
Available in at least two sizes -- eight holes per inch and 12 holes per inch -- it
costs about a dollar for an 8” x 12” piece.
To leave random dots of white, use the scattering technique with water-based
masking fluid. I use this for small flowers and light-colored trees in landscapes.
Practice all three techniques on an old sheet of watercolor paper and note the
differences. I made a chart of all three techniques under different conditions,
so I’m ready to tailor my textures to any painting.
| All paintings are copyright by Herb Reed and may not be reproduced without the written permission of the artist. |
