In our
second installment of CANVAS WRAP, we’re going to get the
background painted.
I typically paint back to front, so I start by removing acetate
pieces to expose the background area, leaving our lady covered
for now. Separate the pieces by
gently folding the acetate back against the scores to pop the individual pieces
apart. If you’ve scored the acetate properly, they will come apart quite
easily. If you encounter resistance, take your knife and carefully re-score
the lines as needed. Avoid pulling the acetate so as not to distort it. The
removed
acetate pieces get taped to the studio wall for future use. To make life a
bit easier, I position them in place like a large puzzle.
This is a good time to mix some paint. This painting is monochromatic;
meaning it’ll appear as a one-color painting when finished. I mix a selection of
colors to get the desired blue I’m looking for, but you could paint it
any color you want. I wanted a winter-like feeling for this piece, so a dark
blue seemed like the obvious choice.
The wall surface that our model is leaning against gets painted
first. (Normally, working back to front, I’d paint the sky area first, but in this case I’m
painting the wall to establish my darkest values). My first step is to get some
color down, so using an Iwata LPH-50 Spray Gun I lightly build up the value to
create an even fill of blue. Keep this light as we’ll be adding texture
and it’ll be important that it show through. It’s always easier
to darken later.
Next, I switch to an Iwata HP-C
to add stipple effect – lots and lots of stipple. To do this,
remove the nozzle from the front of the airbrush and crank your air
pressure up to 50 PSI. Spray the background to keep darkening it,
but now you’ll get a nice course texture instead of the fine
spray offered by the spray gun. Vary the air pressure, spraying some
texture at 30 PSI, 40 PSI, and then 20 PSI until you achieve the
desired result. This is a good thing to practice on scrap before
approaching your painting. With a little practice you can create
shading using the course texture rather nicely. Next, I switch to
Com-Art Opaque Black and repeat the process, adding shadows under
her hand and as needed. Then I replace the nozzle on my airbrush
and I glaze over everything with my blue again so that my black becomes
a blue-black, which looks more interesting than just straight black.
Allow the background to thoroughly
dry (usually overnight), then mask over everything that was previously
painted. At this point, I’m also going to keep the torso protected
as I prepare to paint the area behind her and the wall. I’ve
used masking tape, masking paper and acetate to do everything here,
but you could just as easily use frisket for this. If you’re
going to use masking tape, make sure it’s good quality (I only
use 3M brand tapes because they’re easy to remove and don’t
leave residue behind). Notice at this point that I’ve used
tape (or frisket) where I want a crisp edge, and acetate masking
where I want softer edges. Also, the acetate covering the torso has
never been removed from the canvas, ensuring an exact edge. This
background is now ready to paint.
I wanted the area behind our lovely lady to have
a winter-like feeling. To achieve this, I start by airbrushing a
blend of my blue – darker in the upper right-hand
corner fading to lighter in the bottom left-hand corner. This is all painted
with a HP-C, working slowing to keep the color light. Next, I lay the painting
on the floor and randomly disperse lentils. Now spray another gradation with
the beans in place, but rather than spraying directly at the lentils, spray at
an angle (again, this is something worth playing around with on scrap before
jumping straight to your painting). Be sure to spray lightly here, making sure
you don’t blow the lentils around (This blend was sprayed at about 15 PSI,
again using the HP-C). Remove the lentils and we’re back to the easel.
My next and final step is to spray over the entire area with a light color; a
mixture of Com-Art White mixed with a few drops of my blue color. All I’m
trying to do here is ghost back the background and take the edge off the lentils
shapes. Finally, I can now unwrap my canvas.
The background is now finished and has a lot of
impact for what is really a simple technique. Mixing up the textures
adds flavor to your painting and keeps the
viewer interested.
In the next installment of CANVAS
WRAP we’ll start painting the figure.
I can hardly wait.