The really fun thing about Water Soluble Oil is the complete freedom one feels, while still ending up with a strong final finish. I am using traditional 2 parts Liquin Original by Winsor&Newton/1 part Odorless Paint Thinner for use over this Oil. a very important step!! Cannot stress this enough, for without the use of this Liquin mixture, Water Soluble Oil will lift the very next time it is glazed over. However, once applied, this finish brings out the beauty of oil applications, as well as aiding in deep, quick drying overall. Let each glaze dry overnight, apply Liquin mixture before giving it 2 to 3 days to set, and one can feel assured that your painting is totally dry.
First I sketch my Center of Interest onto
plain white bond ink jet paper, in this
case a sitting nude. This will be placed
printed side down onto prepared canvas, so
remember that you will end up with a mirror
image once applied. Sketch in graphite,
print, and then go over your printed image
with rich charcoal pencil, bring out highlights
as you go.
Next, apply a layer of Matte Medium to
area where your sketch will be applied. I use
Liquitex brand, but any brand of Medium will work. (This is another place I find Water Soluble Oil especially helpful. The water
soluble nature of this Oil, inter-changes well
with acrylic and acrylic medium if desired.) Place
sketch printed side down so it adheres to Matte Medium. . . gently smooth out wrinkles, leave until totally dry.
Once dry, begin a gentle re-wetting of entire printed sketch. I use a soft brush, but some use a wet cotton cloth for this purpose. As paper becomes soaked it will begin to ball-up and lift off, leaving a combination of print & charcoal behind.
Here you can see remaining white of bond paper, along with the transferred sketch. At this point you can evaluate for yourself whether additional sketching w/ charcoal is needed, or whether imprint remains strong as transferred without further touching up. Before I begin the process of skin tones, background coloring, etc, using Water Soluble Oil, I give a quick spray of fixative so charcoal won't smear.
At the same time I have begun to develop remainder of my triptych, adding pressed on leaves coated with Gold Gesso, and a random pattern of 'numbers' where my melting clock will be placed. For this is use the same print/charcoal/apply method I had used on the nude, remembering, of course, that 'numbers' will also be applied in mirror image. I have used computer graphics for my printed image this time rather than a sketch.
I continuing to develop my triptych leaf by leaf, clock by clock, but you may use whatever motif you choose to depict. The smaller Burnt Sienna leaves are stamped on using Water Soluble Oil, while 'numbers' of second clock have been printed in Burnt Sienna, and applied in same method as before.
The tree had been mapped out using a layer of thick basic gesso prior to overall
application of Buff Titanium Gesso, by Daniel Smith. Love working with these colored Gesso in combination with the Water Soluble Oil!!!! After everything is well dried, rubbing a piece of charcoal was used to indicate flow of tree trunks and branches.
And finally, blue marbling is accomplished by dropping Acrylic Flow Releaser,
also by Daniel Smith, into a layer of Cerulean Blue Water Soluble Oil. The paint will pull away from Flow Releaser, disrupting the surface to create a random pattern of rings and disrupted paint. Frilled edges around circle are stamped out as well, with assorted spots of black and white Oil Paint, or even black and white Gesso, being randomly added.
For more wonderful ideas and tips to help explore your own potential creative genius see
THE CREATIVE EDGE by Mary Todd Beam. In this wonderful, informative book Mary covers exciting techniques from fifty-some contributing artists, while including works of her own, along with helpful hints and instructions.
