A \u2018simple wash\u2019 is a fairly homogeneous layer of paint (homogeneous in color and value). <\/p>\n\n\n\n
<\/p>\n\n\n\n
The key to getting a good simple wash is two-fold. <\/p>\n\n\n\n
\n
Insure that the area stays wet enough.\u00a0 In this case wet enough means in the \u2018flow state\u2019.\u00a0 The \u2018flow state\u2019 means that you can tilt the surface and you will see water\/paint flowing downhill.\u00a0 So \u2013 keep you wash area awash.<\/li>\n\n\n\n
Use the proper paints.\u00a0 A simple, smooth wash is best accomplished with Modern Paints.\u00a0 Modern paints will stay afloat and can be moved with the water.\u00a0 Classic paints sink quickly and then cannot be moved about to smooth out the wash.<\/li>\n<\/ol>\n\n\n\n
Let\u2019s start with #1 \u2013 the Flow State<\/p>\n\n\n\n
Tape your borders. The tape on the edge makes it easier to sop up extra water and paint. Just tilt the surface so the paint flows to the edge. When the flow accumulates at the tape, use a paper towel, thirsty brush, or syringe to draw it away. Before you start, be sure the tape has been pressed down good, especially the corners. (All tape should be tested first with the paper you use.)<\/p>\n\n\n\n
Use as large and as soft a brush as you can. I prefer a large flat squirrel. Use the brush to gently apply the paint at first. After that, do NOT use your brush to move paint around. If you feel like there is too much paint in one area and not enough in another, use GRAVITY to move the paint around (i.e. tilt the board). You can also blow your paint about. <\/p>\n\n\n\n
Watch your wash<\/p>\n\n\n\n
When your wash starts, the entire area should be in the FLOW state. In the FLOW state you can tip the board and watch gravity take excess paint and water toward the low side.\u00a0 If it quickly flows over you tape you have too much water. Tilt the board so that some of the excess comes to the taped edge and sop it up with a little piece of paper towel.\u00a0 Repeat until you just barely have flow.\u00a0 While in the flow state, you can add more paint by dropping it into the wet and using gravity to help spread it around the area.\u00a0 Drop it in where you want the color to be the strongest.\u00a0 Don\u2019t be shy about the amount of paint, you can always remove some. Once you have the right amount of paint and right amount of water in the wash, level the board and let it dry some. Keep an eye on it, you may want to adjust a little using gravity or light breath.\u00a0 Do NOT use your brush.\u00a0<\/p>\n\n\n\n
<\/p>\n\n\n\nThis is a wash in Phthalocyanine Blue and is definitely in the flow state. There is an excess of paint\/water.\u00a0 I tilt the board slightly so the excess comes to a taped edge where I can wick it up.\u00a0<\/figcaption><\/figure>\n\n\n\n
<\/p>\n\n\n\nSlowly the FLOW state turns into the GLOSS state.\u00a0 In the GLOSS state, there is no flow but the surface is glossy.\u00a0 When you tilt the board you won\u2019t see any paint moving. Here is the same wash after I have drained off some of the excess and let it sit level for several minutes. This is the Gloss State.<\/figcaption><\/figure>\n\n\n\n
Slowly the GLOSS state turns into the DULL state. The DULL state looks dry \u2013 especially next to areas that are still in the GLOSS state. But it is not totally dry \u2013 there is water in the paper under the paint.<\/p>\n\n\n\n
Typically, a wash will dry a little faster in some areas than others. You can control that somewhat by propping your board slightly \u2013 the paint\/water will creep downhill and the highest area will dry first. When the wash is in the state of partially GLOSS and partially DULL it is the most prone for disaster and\/or magical effects. In the glossy area, the pigment particles are still swimming and can be moved easily with the addition of any water or paint. In the dull area, there is water in the paper, and the pigment particles are just about out of reach on the top of the paper. These particles are starting to cling to the fibers of the paper. They can be made to float again, but the particles already clinging may require some physical rousting. <\/p>\n\n\n\n
<\/p>\n\n\n\nThe same wash after several minutes.\u00a0 The upper right corner of the wash is drying first. At this point I can remove the tape.<\/figcaption><\/figure>\n\n\n\n
Now, let’s talk about #2 – how paint choices can affect your washes.<\/p>\n\n\n\n
Modern paints (mid 20th C on) can usually be identified by their chemical-sounding names like Perylene, Phthalocyanine, Quinacridone, Benzimida, etc.\u00a0 I also refer to these as \u2018floaters\u2019 because the pigment particles of Modern paints tend to be lightweight and stay afloat in the Flow state.<\/p>\n\n\n\n
Modern pigments provide the most leveling and a homogeneous result (smooth wash).\u00a0 If you use a variety of modern paints in the wash, they will blend uniformly, particularly if your wash is still in the FLOW state.\u00a0Most modern paints have particles that are so small and have such low density that they remain in suspension (afloat) until the point where the water has been totally absorbed into the paper.\u00a0 Gravity will affect modern paint particles in a pool of water. If the surface is kept level, gravity will tend to take the lighter particles to the edges of the wet area, and you will end up with a darker \u2018edge\u2019.\u00a0 You can emphasize and\/or de-emphasize this phenomenon with different techniques.\u00a0 For example, dropping some additional water into the wash will increase the edging.\u00a0 This is the same phenomenon that is responsible for ‘blossoms’. If you don\u2019t want these, always beware of any areas that are in the DULL state.\u00a0 If you feel you need to add more paint to an area that has begun to turn dull, get it wet first with water only \u2013 the WHOLE area. Then drain off the excess water to the point you are in the GLOSS state again. At this point you can add paint.\u00a0 Just drop it in anywhere in the wet area and use gravity or gentle blowing to level it out some: but NOT your brush.\u00a0 This technique can also work to remove blossoming if you catch it before any part has dried completely.\u00a0 As long as the pigments are floaters and they have water around them (DULL state), they can be lifted with water.<\/p>\n\n\n\n
Summing up then:<\/p>\n\n\n\n
Reasons to use Modern paints in a wash<\/p>\n\n\n\n
\n
They tend to self-level and produce a smooth finished look.<\/li>\n\n\n\n
As long as the wash is kept wet, it is easy to remove excess paint, or to add additional paint without messing up the smooth, homogeneous look of the wash<\/li>\n<\/ol>\n\n\n\n
Reasons to avoid<\/p>\n\n\n\n
\n
They can produce strong edges, which may not be desirable in certain situations<\/li>\n\n\n\n
Can produce blossoms when they are in the drying stage<\/li>\n<\/ol>\n\n\n\n
Now let’s talk about the Classic paints (I also call these \u2018sinkers\u2019)<\/p>\n\n\n\n
Classic paints can add a lot to texture in your washes.\u00a0 The heavier and often larger particles of the Classic paints tend to drop to the paper faster. They do not stay afloat like the small-particle moderns.\u00a0 If you load your brush with a classic paint and sweep it through a wet area, you will see a stroke on the paper.\u00a0<\/p>\n\n\n\n
Play with different ways to introduce the classic into the wash. If you don\u2019t want to see a brush stroke, then avoid the brush entirely, or use it as a big eye dropper. <\/p>\n\n\n\n
Try mixing it with a modern to get a play of colors, or an intensification of the classic paint. For example, if you want to use cerulean, mix it with a deeper modern blue or green \u2013 like a Phthalo \u2013 to intensify the color. Alternately, mix it with a compliment, like a modern red-orange, such as a Quinacridone.<\/p>\n\n\n\n
Classic paints are more of a \u2018what you see is what you get\u2019.\u00a0 As they dry they to hold their color and <\/em>their chromo better than the Moderns.\u00a0 The modern paints tend to lose some chroma and\/or have a hue change as they dry.\u00a0<\/p>\n\n\n\n
The larger pigment particles tend to settle on top of the paper, rather than down in the crevices where only the tiny particles can reach.\u00a0 This makes them easier to lift (wait until dry).\u00a0 Imagine a mixture of a classic and a modern.\u00a0 When they are put to the paper, the classic paint particles sink quickly to the paper surface and then, as the water absorbs and evaporates, the modern particles come down to rest on top of the classic particles already there.\u00a0 This means that both paints will lift more easily because the classic is on the bottom. Washes that include a classic paint will have less sharply defined edges, and dried edges will be easy to soften.\u00a0 If you add a classic light yellow paint to your light and medium-valued washes it will not affect they color or value much but they will help you soften edges on your wash. I love a lemon ochre or even an Indian Red here (Grumbacher is my choice).<\/p>\n\n\n\n
The larger particles are easier to lift.\u00a0 In one sense, that can be quite useful.\u00a0 If you try to apply a second layer of paint, it will tend to lift and move the classic paint underneath \u2013 even after it is fully dried.\u00a0 So, try not to brush over it too much. I prefer a large soft squirrel brush for this.<\/p>\n\n\n\n
So, we have several reasons for using classic paints in a wash:<\/p>\n\n\n\n
\n
They act like a sizing and facilitate lifting<\/li>\n\n\n\n
They don\u2019t edge as much and they help mitigate the edging when mixed with a modern. Also they do not blossom readily, but they will not prevent a floater from blossoming in a mix.<\/li>\n\n\n\n
They can provide texture by way of granulation (Cobalts, Ceruleans, Viridian, Ultramarine, etc)<\/li>\n<\/ol>\n\n\n\n
We have some reasons to avoid them in a wash:<\/p>\n\n\n\n
\n
They tend to remain wherever they are introduced into a wash, sinking quickly to the paper. This is not synonymous with the idea of a homogeneous wash, but it can have its own merits.<\/li>\n\n\n\n
Classic paints are more fragile once they dry. Subsequent brushing over dried classic paints will likely lift and re-distribute them in unwanted ways.<\/li>\n<\/ol>\n\n\n\nThis drying point \u2013 between gloss and dull, is the prime time to apply techniques that take advantage of the edging nature of some paints.\u00a0 In these figures I am dropping in some salt in the upper right corner, and a drop of water in the lower left corner.<\/figcaption><\/figure>\n\n\n\n
<\/p>\n\n\n\nThis is the dried wash. Notice how the drop of water in the lower left has caused a blossom, the tiny tidal wave has pushed some of the pigment particles up and then they reach the drier area the the flow stops, like a wave pushing sand up on a beach. <\/figcaption><\/figure>\n\n\n\n
Next I will do the same procedure with Cobalt Blue \u2013 one of the classics that have heavier pigment particles.<\/p>\n\n\n\n
<\/p>\n\n\n\nI have done the same procedure using Cobalt Blue, letting it reach the dull state and dropping in salt on the right side and a drop of water in the bottom left. You will notice there are almost no effects on the wash. However, the Cobalt Blue has a texture of its own, since it is one of the granulators.<\/figcaption><\/figure>\n\n\n\n
<\/p>\n\n\n\n
<\/p>\n\n\n\nHere I have done another example using Phthalo Green on the right and Viridian on the left.\u00a0 Again, we see no effects of the salt on the Viridian, but quite distinct with the Phthalo.<\/figcaption><\/figure>\n\n\n\n
A \u2018simple wash\u2019 is a fairly homogeneous layer of paint (homogeneous in color and value). The key to getting a good simple wash is two-fold. Let\u2019s start with #1 \u2013 the Flow State Tape your borders. The tape on the edge makes it easier to sop up extra water and paint. Just tilt the surface […]<\/p>\n","protected":false},"author":1,"featured_media":1213,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"off","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[7],"tags":[],"class_list":["post-1206","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-painting-techniques"],"yoast_head":"\n
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The key to getting a good simple wash is two-fold. Let\u2019s start with #1 \u2013 the Flow State Tape your borders. The tape on the edge makes it easier to sop up extra water and paint. 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