![]() However, by following the tips outlined below, the ‘difficulties’ can quite easily be overcome. Its usefulness is undermined by the apparent difficulties, sometimes to the extent that artists give up on it. Masking fluid is often perceived as difficult to use. ![]() The fluid allows me to paint freely over the masked area, which is much easier than having to paint around such complex objects. Or if applied as a fine spatter, to represent the effects of light on water or on a road after a passing shower. ![]() For example, a gate in a landscape or the sails of distant yachts far out to sea. I normally apply the medium to protect small, relatively complex shapes in a painting. Indeed, the product has become so much part of my painting process that not featuring it would seem almost unnatural to me. The use of masking fluid to reserve areas of untouched paper allows me to work in this dynamic way. I use a great deal of water, sometimes pouring colour onto the paper from a small jar and then responding to its progress with further washes as it begins to dry. From that, I add detail and structure as the painting develops. My method of painting is to allow the colour to flow and mix on the paper. The way that a wash runs down a sheet of stretched paper to resemble reflections in a moorland river, or the merging of two granulated colours that conveys the simple beauty of wet estuarine mud, excites me. I have always enjoyed the challenge of painting in watercolour. Many beginners to watercolour struggle with how to use masking fluid. Link copied to clipboard Discover how to use masking fluid with these nine simple steps from watercolour artist Rob Dudley
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