WATERCOLOR ON YUPO: SUBTRACTIVE PAINTING

This technique is ideal for artists of all skill and experience levels. I will demonstrate

how to create a finished painting without tedious attention to detail and the inherent

desire to produce a piece that looks just like what I see in front of me. Those of us

who’ve been painting for years sometimes feel just a bit bored with what we’ve been

doing and feel the need to ‘loosen up’. The playfulness of this approach gets me – and

probably others – out of a rut.

Watercolor on Yupo (a polypropylene surface) lends itself to the technique of

subtractive painting: lifting pigment to define the image and bring back the white of the

surface. It’s ideal for lots of subject matter: flowers, fruit & vegetables, buildings,

animals, etc. It can be used to lift pigment around the subject or it can be used to lift

pigment to develop the subject, such as white flowers or buildings or swans.

I’ll show you the entire process, beginning with cleaning any residue from the Yupo

surface with rubbing alcohol. Next, I’ll flood my surface with rich juicy pigment, using the

colors of what I want to portray. I love doing clusters of grapes, or apples, or tomatoes –

any fruit that is colorful as it ripens.

After the paint has dried, I’ll use a ‘thirsty’ brush to start lifting pigment. The initial

washes typically show me where some definition can easily be developed.

I study the piece and see what’s working and what needs further lifting. At this point, I

need to make the subject stand out while avoiding my inherent desire to turn to detailed

realism. It’s critical to just leave the fresh rich statement.

Now I’ll lift more where it’s needed and perhaps add some detail with fairly thick, straight

from the tube, pigment. This is often needed to define stems, leaves, etc.

Continuing to study the progression, I lift or add more as the image demands.

When I’m satisfied with how it looks – stand back and squint my eyes, or look at it in a

mirror – I literally tell myself ‘Quit!’. Overworking can ruin the desired effect.

After the painting has dried thoroughly, usually overnight, I spray it with a protective coat

of Krylon. Do this in a well-ventilated space and let it dry for 24 hours before popping

the piece in a frame. Hint: a welcome benefit of this technique is that the painting

frames itself so there is no need for matting!

I hope you enjoyed my demo and got introduced to and excited about something new.

Next January I’m giving a workshop at the Bothwell in Livermore for those who want to

try it. Contact me for details: JeanElaineBatchelder@gmail.com