TECHNIQUES

WATERCOLOR TECHNIQUE WITH MATISSE ARTIST ACRYLICS

Traditional watercolor techniques can be achieved easily with Matisse Colors. Using selected Matisse Mediums will not only allow the artist to work with Matisse Colors, as they would with traditional watercolors, but also open up a whole new area of creative possibilities.

The bright vibrant colors normally associated with watercolors are achieved by diluting watercolors with water. The watercolors are made transparent and allow light to pass through them and bounce back off the paper giving a rich brilliance. The same brilliance can be achieved when using acrylics for watercolor techniques.

The Matisse Professional Artist Acrylic range features both thick heavy-bodied acrylics known as Matisse Structure and a thinner viscosity range known as Matisse Flow. Both are equally as strong in binder and pigment content; however, the Matisse Flow would be the best selection for watercolor techniques. The Matisse Flow range will flow more easily, particularly when diluted with water, responding well to all watercolor techniques usually employed.

WATERCOLOR VS ACRYLICS

When using Matisse Colors for watercolor techniques, the artist must keep in mind that Matisse Colors, unlike traditional watercolors, are waterfast when dry. In other words, they will not re-wet once they have dried. Traditional watercolors are based on the binder gum arabic. This binder is soluble in water and will re-wet in water. Matisse Colors are based on a high quality acrylic binder which, when dry, will not re-wet with water.

If re-wetting of the color is desired, add 20% or more MM1 Drying Retarder to the Matisse Colors. This will inhibit the "binding" of the acrylic and allow the Matisse Colors to re-wet even when dry.

WASH

A wash, as the name suggests, is a layer of transparent or thinned down paint. This is useful for large areas such as skies. A wash is generally an even coverage of pigment although it can also be graduated or variegated. A graduated wash changes from more intense to less intense in color. A variegated wash is one which changes from one color to another.

To achieve an even wash, approx 3-5% MM3 Surface Tension Breaker added to the water will help produce an even flow to avoid "stripes or lines" as the wash is applied.

GLAZES

A glaze is the term given to a wash that is painted over another color usually to produce a third color. There is no limit to the number of glazes that can be used; however, too many over each other may lead to the loss of clarity and result in dullness. The beauty of using Matisse Colors for glazing is that glazes can be applied without the fear of lifting off or mixing with the previous work.

WET IN WET

This is the term given to painting one color into another color before the first color has dried. By adding at least equal parts or more of water to paint, the paint will become very thin. This will generally allow the colors to bleed into each other without harsh lines separating them.

Some pigments may blend with each other more readily. This is due to the difference in surface tension of the pigments. If blending is desired, use 3-5% MM3 Surface Tension Breaker in the water to dilute the paint. Adding MM3 will allow the pigments to mix more readily.

This technique will take some practice to master and is not completely controllable. The paper to be used should be dampened down well and kept moist. It is advisable to use up to 5% MM1 Drying Retarder mixed into the water that is to be used to mix with the paint.

WET ON DRY

This describes the method of painting over a layer which has already dried. A glaze is usually done wet on dry. Using Matisse Colors, previous work will not be re-wet whilst overpainting; therefore, they will not mix in and muddy the colors or bleed.

GRANULATION

When adding water to achieve a wash, some pigments will look grainy or as though the individual particles of pigment can be seen. The pigments used in Matisse Colors are each ground to a predetermined particle size. The size required is determined by the pigment type, chemical nature, transparency, etc. The pigment particle size is far smaller than can be seen with the naked eye. What appear to be grains are actually "clumps" of pigment particles drawn together by their own surface tension.

If this is the effect that is sought, all well and good. However, when the pigment groups together, the paint is not as efficient as it should be so more paint is needed to cover the same area.

To avoid "clumps" of pigment, add 3-5% of MM3 Surface Tension Breaker to the mixing water. This will help to disperse the pigments.

One advantage of using Matisse Colors for watercolor techniques is that the application of full strength opaque color covers up unwanted underpainting or mistakes. Also, extremely strong pigmentation may be used without having the paint crack or flake off the surface as is the case with most watercolors and gouaches.