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Creating Texture and Depth

Watercolor is one of the most popular art forms practiced today. It is used by every age and level of expertise and is enjoyed by all. Versatility is one strong reason for watercolor's continued growth in popularity. Virtually any subject can be captured with this medium and in any style and application. Read on as we explore one of the many reasons why watercolor challenges and motivates artists.

In a previous article, the excitement of creating and/or recapturing whites was explored. Now we will look at a near opposite: Rather than whites and open areas, we will explore ways to create depth and textures by employing simple and effective techniques of layering.

One very direct way to create specific shapes, control shadows and thereby create depth is by the use of stencils. Shapes are allowed to come forward by remaining clear and unobstructed while backgrounds recede into the scene with subsequent layers of color. Almost anything can be used as stencil material. Experimentation will allow you to match your painting style with the proper stencil material.

If you use a painting surface wet with lots of fluid and brushes that are charged with fluid color, you will want to choose a stencil material that is less likely to absorb water. Suggestions include: commercial stencil sheets (available at all art and craft supply stores) and special stencil board or sign maker's stencil paper (heavy wax-permeated card stock), both of which are available at art supply stores. Transparency sheets used with computer printers make excellent stencil material as do recycled meat trays and milk carton sections.

If you work with less moisture, even thinner papers such as conventional office quality card stock can be used. For one-use stencils for quick blocking out of general shapes, copy paper or recycled newsprint do a very good job. Each will absorb moisture and begin to deteriorate quickly, but for instant applications, they cut/shape/tear easily and are excellent for creating unique edges and shapes for special purposes. In each of these cases, the use would be momentary and the result spontaneous.

Other uses for any weight of stencil material, rather than direct painting over the open areas of the stencil, include spattering and stippling of paint. With spattering, tiny droplets are broadcast over a specific area of a painting. If your stencil or block-out material is in place when this action is taken, a shadowy and soft image is implied. With subsequent applications of spatters, a rich and finite depth can be produced. Create droplets by charging an old toothbrush with paint and rubbing across the bristles or using an old stiff paintbrush the same way. Spattering is especially valuable to the watercolorist, as it never removes color in the process of adding new tones. All existing color stays put while the new spatters of tone are applied over the existing layers.

Stippling is best accomplished with a dry brush, lightly tip-charged with color (or with an airbrush). Drive the brush tips against the surface of the paper within the open areas of the stencil. Add more texture and color for more drama or apply the color very lightly for a soft and delicate look. Dry brush paint application of stencil designs is a fast and accurate way to duplicate important details such as fabric prints, wallpaper patterns and other repetitious designs in your work. Remember, too, that by flipping the stencil to the back side, you automatically double your patterns and the uses of the stencil designs.

For more sophisticated or intricate patterns, it will be necessary for you to cut a design from your chosen stencil material. Begin by carefully drawing the design onto the stencil paper. Use a cutting instrument of some sort (stencil or frisket knives or other razor-sharp blades) to carefully cut along the lines you have drawn. What you will create in this cutting process is actually two stencils: the positive and the negative of the same image. Both are very valuable and can be used from both the front and the back sides, resulting in actually four stencil images.

Tear sheets of newsprint into random strips to create very simple images and textures. One very good use of torn stencils is to create a landscape scene with multiple "hillside" or mountain shapes, each fading into the next layer. The strips can be used first from the front and then from the back to create double images. Note: Care should be taken with any wet surfaces. Allow the strips to dry between uses or create several strips for your landscape recession.

Masking fluids, those used to protect paper surfaces and thereby retain bright whites, can be used as brush-on stencil material, too. Remember to brush the masking fluid onto dry painted surfaces so that it will adhere and do the job you intended.

Even found objects can create dynamic textures and depth. Consider all types of screening, webbing, and netting--virtually any item with tiny holes or openings. Each can be used in repeated layers to impart exceptional texture and give unique style to your work.