MIXED MEDIA: MELLOW AND MEEK

More often than not, mixed media is characterized by the amalgamation of diverse materials which strongly contrast each other and give emphasis where particular textures/shapes are desired. Aha! Not this time!

In this experience we will blend two different painting media and allow each to modify the other--oh, so gently!

We'll begin with several practices on 9"X12" drawing papers coating each one in tempera paint in smooth and textured applications. These are background "bases" and are applied with at least 2-3 coats. Then we let them dry.

The backgrounds can be any hue, but the value should be very high with white being the dominant mix. A light background permits more tint varieties in the overlapping colors to follow.

Sketches are very lightly done on the background, and the final painting application is made with watercolors layered over the tempera base.

Tempera being a soluble media, will modify the watercolors, also a soluble material and the resultant hues are subtle, more understated in brightness, and blend with the undercoating softly. Brighter colors result with overlapping layer applications which do not penetrate down to the base level. However, the rather quiet blends from the intermixes as wet watercolors are applied to the surface are very pleasing and visually restful in their own special way.

SMOOTH APPLICATION MAKES A SOFT SKIN

Wide brushes, brayers and large, small holed sponges can make quick work of covering a format with smooth to a very mildly tactile feel for the base coats. Do try small applications of each and see which one/s are preferred. All examples here have smooth backgrounds---and we will see alternatives!

Allowing the watercolors to "run" as they usually do, allows very soft tints to form in or around the forms. They can be further modified by permitting the base coat to be stirred more during the painting, bringing it up to increasingly blend with and lighten the applied color.

With careful preparation, various colored light tints can be mixed for backgrounds as seen in all these examples. Also, very fine watercolor brushes effect darker color intensity since being so small, they don't brush against the base coat very much as seen here in the fuzzy fur.

PAINTING THE BOTTOM ON TOP!

There are two very simple ways to either make the background more visible as an integral part of the painting, or as a method of placing highlights where needed.

Here, some areas were deliberately "skipped" leaving open background spaces to have foreground purpose.

And here's the second method. The background was repainted over the finished watercolors with fine brushes to indicate a few, fine highlights. Easy, and very effective!