Masking

Numerous techniques exist for watercolor that stem from the fact that there is no way to remove color once it's been applied. One of those techniques is masking. Masking involves applying a thing I just learned about, called masking fluid, to the area that you want to block from paint. Until recently, I'd had no need for this. But while working on the cover for Apartness, I discovered one.

This is sketch for the cover, which will be in ink and watercolor. You can see that the sky in the background is blue, while the text that sits in front of this sky is red. You may also notice that the blue sky is very blotchy and uneven. This is because I was unable to wash the blue on in broad strokes because I was carefully painting around those letters, and everywhere I did so left a blotchy edge that later translated into the blotchy sky you see before you.

Blotchy

Turns out this can all be avoided with a little planning and some masking fluid. Here's what you do.

Draw your letters in ink, of course.

Then apply your masking fluid to the inside of the letters. The fluid will be shiny and have a slight tint that allows you to see what you're doing. Once it's dry you can apply some watercolor.

You can keep applying paint and build up your wash, with broad even strokes, without ever having to worry about getting paint on the text.

Once the paint has completely dried you can remove the masking fluid from the page by simply rubbing it with your finger.

You can see there are some imperfections: some paint got through our mask, and the mask was slightly too big in some parts. These were mainly due to my own carelessness, but should be completely fixable later.

Next you'll simply go ahead and paint in the text.

And then finally you can correct the over-masking problem with a little touch-up using the background color.

And there you have it! A much cleaner wash and much cleaner text. 

Oh, also, I'm using Winsor and Newton masking fluid which I was able to easily obtain locally from the Michael's up the street. Works great!

More Brushes

A friend recently asked me to recommend a good inking brush, so I told him about my two favorites: The Winsor & Newton Series 7 and the Raphel 8404. I have loved and used both these brushes for a while now and they're both terrific.

​Winsor & Newton Series 7
The W&N has a reputation for lacking quality control at the factory, but mine's been pretty good. Maybe not perfect — it tends to start to splay a bit during long inking sessions — but still one of the best brushes I own. And really, is there such thing as the perfect brush? I'm starting to think not. But the Series 7 is as close as I've seen.

Raphael 8404
I've liked the Raphael nearly as much — and on certain days more — than the W&N. It doesn't hold quite as much ink, but it has great snap and holds a point for longer than the W&N. It was my go-to brush for a long time, but lately I find myself using the Series 7 a lot as well. Go figure.

My friend got back to me a while later ​with some additional recommendations, courtesy of a terrific brush log. After reading the list I decided to try out all the brushes that got an A. For the most part I agree with what's said in the brush log, with some additions and one exception. Here are my thoughts as well as some examples of these brushes in action.​

Isabey 6227z
The Isabey 6227z is an odd brush and something of a surprise. It's a bit longer and thinner than the inking brushes I'm used to, almost somewhere between a rigger and a round. At first I hated it. It doesn't hold much ink and it doesn't have much snap. But eventually I discovered that this brush, when held more perpendicular to the paper, is particularly good for detail work. For tiny lines it just can't be beat. It's not a brush I'd recommend for general inking, but if you need to do fine brushwork, this brush will be your friend.

Escoda Tajmyr 1212
I've seen the Escoda recommended before. I have to say, I don't get it. This brush doesn't hold much ink, has no snap and can't keep a point to save its life. In my notes I wrote, "Has character," which I later realized meant, "Sucks." I also realized I'd bought an Escoda once before. Didn't use that one either. I honestly don't see why people continue to recommend this brush. Aside from its slightly larger handle, I don't like it.

Kalish Series 1
The Kalish was the real revelation for me. What a great brush! I've only played around with it, but I'm really looking forward to doing some real inking with this thing. It's got a great feel, holds lots of ink, has excellent snap and seems to keep a point for quite a while. Kalish sizing is pretty weird — they use milli-inches as their unit of measurement — so I accidentally bought one that was way too big for me. After ordering smaller ones — a # 2, which is comparable to a W&N #2, and a # 3 — I was quite pleased. Not only do they have everything you want in an inking brush, but it seems to me that the handle is slightly fatter than the W&N and the Raphael, and I really like the way they feel.

​All in all, the Kalish Series 1, the Winsor & Newton Series 7 and the Raphael 8404 are all wonderful brushes for general inking. I'd be hard pressed to pick a favorite at this point. The W&N is the gold standard, though, the brush by which all other brushes are measured. Still, after doing these tests I was amazed at how much I enjoy using the Raphael. And the Kalish promises to be a real contender for the throne.

Any way you slice it, it's a good time to be an inker.​