Tag Archives: masking fluid on oil paint

masking fluid on oil paint experiment / 2021

a close up of my new, still unfinished painting

The masking fluid saved the orange dots in the water when I painted blue and gray on top of the masking fluid on top of the orange tint.

When the paint was dry I scratched off the bumps of paint on top of masking fluid with my fingernail. After I do the dishes my fingernail will be ok but there’s some paint discoloring it. That’s a normal fingernail for an artist. If you try this maybe you will think of a better way to do it than scraping with your fingernail.

People say masking fluid doesn’t work on oil paint. They are misinformed. If I can make it work, you can do it. I’ll give you the tips.

First, tint the paper or canvas with a thin wash in the color you want to save with masking fluid. They will tell you masking fluid doesn’t stick to oil paint but if you thin the paint enough with terpenoid you break down the oil and when it dries the pigments have less binding them to the paper and they get a little powdery. I brush off dry loose pigments with a paper towel before painting the masking fluid on it. The bright orange left plenty of color.

Second step, paint the masking fluid on the dry oil paint tint.

Third step, use a deer foot brush to put paint on top of the masking fluid without lifting it. If you use a stiff brush it might make the masking fluid come off but this brush which works great for stenciling won’t lift your masking fluid. You can build up a few layers of glazes and still see where the masking fluid makes bumps under your colors.

When it’s dry scrape off the bumps and Voila! masking fluid saved your bright dots or lines! This is easier than trying to paint bright orange dots on top of the blue and gray glazes because the orange is a semi transparent color and it shows up bright on a plain white paper or canvas but if you want to have bright orange dots on top of the blues and grays you have to take the time to under paint the dots with white and wait for the white to dry then do the orange on white.

So, yeah, if someone tells me it won’t work I might try to do it anyway. I learn the hard way sometimes but I’m not afraid of failure and once in a while something works for me and others don’t try at all. I could say I’m hard headed like my Mom or I could be a skeptic like my Dad or an unholy mix of the two. hahahahah

painting experiments with oils in progress

There are two experiments happening here, pointillism and masking fluid on oil paint.

I can’t find much technical advice on pointillism, like did the pointillists do an underpainting? Did they mix colors or use paint straight out of the tube? Are the dots supposed to touch, overlap or should there be space between all the dots? I’m going to have to guess. I know the rules of the academy. If I knew the rules of pointillism I’d try to stick to them for the learning process. Maybe there are no rules.

There’s an app for making dots if you like to do digital paintings, but I’m not into apps and it might be better for me to just wing it so I can improve my painting skill.

In this close up you can see the masking fluid dots which are covered by ultramarine blue.

I want to save some bright orange dots to represent shiny reflections of the sky on the water. It would be easier to have bright orange dots showing ( if this works) than if I paint the orange on top of the water when I’m finished with painting the water dots because the orange is a transparent color and if I want to put orange on top of blue and gray dots I’d have to underpaint them with white like I did with my azaleas, which are a transparent pink. I need to put water colored gray dots on top of the blue and that will make a thicker layer of paint on top of the masking fluid and also take over a week to dry before I can try to take the masking fluid off the painting to show the orange dots. It might not work out or it might work. Either way, I’ll post the results.

This is a color experiment in more than one way. I under painted my paper with orange because it’s the complimentary color of blue. The sky isn’t really blue but kind of hazy when I go to Back Bay lately. And the water isn’t really blue but kind of a mixture of two different grays.

You can see the underpainting of the foliage on the opposite shore. I did it with a red gray because it’s mainly a greenish gray and the red gray would be the complimentary color.

This was a real no no at the academy, tinting the painting with an unnatural color to start. They would call this “forcing color”. It might take away any depth and the academy was into creating the illusion of depth. Modern art doesn’t care about aerial perspective which is the illusion of depth. Pointillists were modern.

I often see a landscape with a bright tint showing that isn’t there in nature. Some artists like violet or red and will tint their canvas with a bright color because the landscape around here doesn’t have any bright colors and the artist doesn’t like to paint mostly grays. You can see spots of violet or red or some color showing through between brush strokes. It’s a modern look and it does take away any aerial perspective. When I see a bright tint showing through I say to myself, “forced color is weak.” Now I’m doing it.

This is 18 x 12. Dotting the whole paper will take some time. That’s ok. Patience is my super power! hahahah