Pouring is one of my favorite techniques. It literally means to pour paint across the paper. It can either be the atmospheric beginning to a painting or a major part of the painting process. Some people use it to create abstract shapes to suggest the painting subject. But however much pouring is used, it provides transparent color passages that can be gotten in almost no other way.
The method I use most frequently was popularized by Jean Grastorf in her book Pouring Light: Layering Transparent Watercolor. Her technique uses multiple masks in much the same way batik uses multiple wax resists.
When I first began painting I used her pouring and masking method as an aide to help me paint with contrast, because it forced me to divide my picture into five distinct tonal values or less. It also helped me loosen up about color. These days I pour only when I think the subject of the picture will be enhanced by pouring.
Sunday I photographed just such a picture, one of the counter weights to a local railway drawbridge recently converted to a pedestrian bridge. The silhouetted subject is perfect for pouring.
Working Photo
After one false start detailed in the previous two posts I had a drawing of the bridge I liked. I began the painting by transferring it to a block of Arches 140 cold-pressed paper. (Because removing mask is hard on paper I always use the more durable 140 weight cold-pressed paper when pouring.) My photo of the bridge has loads of minute detail. In my cartoon I simplified. I want the silhouette of the bridge tower and counterweight to predominate. Too much detail would take away from the graphic nature of the image.
After making the cartoon I taped off the edges of the painting and began masking the sky plus everything I’d like to remain white. The trick to masking is to use nylon brushes and to soap the brushes frequently. This keeps the mask from gumming up the brushes and saves your quality brushes from rack and ruin.
Once the mask was dry, I mixed three cups of very thin paint: cadmium yellow, phthalo blue, and Windsor red. I deliberately choose staining colors, because mask lifts pigments. Then I wet the paper (an important step as otherwise the paint tends to run off the paper without staining) and poured the yellow straight across the top of the tower. I tilted the paper right to let the paint run off and wiped up the excess. Then I poured the red just below the yellow, tipped the paper, and cleaned the excess again. Some of the red bled into the yellow making orange. Then I poured the blue the same way across the counter-weight adding a dull purple where the paint crossed the red paint I had just poured.
After the First Pour
When the paint had dried completely, I masked all of my lightest values and poured slightly thicker paint over the paper in roughly the same places. After the paint dried I masked the medium values and repeated the process with milk-thick paint. When the final pour had dried, I pulled the mask off, revealing a bold but rough painting in vivid color.
After the Mask Came Off
It’s all brush work from here.
