Textured Backgrounds for Mixed Media Painting

Here’s some inspiration for employing textured backgrounds in your paintings or mixed media collages.

There’s a number of ways to create texture. One of my favorite techniques is perhaps the most simple: embedding plastic wrap into paint.  This can be done with watercolors, acrylics, or oils.  Also, you can use rolled plastic (saran wrap, etc), or recycled plastic bags.

The above examples were done in watercolor, whereas those below were done with acrylics.  First, apply a layer of one color, let dry, then apply a second layer and press plastic before the paint dries. Acrylics dry quickly, so make sure that your mixture of paint is very fluid, then firmly press the plastic into the paint before it dries. Then leave the plastic in the paint until it is dry or almost dry.  (The underground color is the part where the creases are).

I frequently create an acrylic background that’s lighter in color than the one that I glaze over it.  I usually do an oil glaze over this, which I embed the plastic wrap into.  If I’m doing an acrylic wash instead, I add some glazing medium into the paint so that it won’t dry before I have a chance to texturize it.

You can also create wonderful textures by bunching up the plastic, swooshing it around into your paint mixture, and then pouncing it onto the surface of your painting.  This is especially helpful in creating textured foilage, though it’s also great for abstract patterning.

Taking the plastic wrap technique a step further, you can also use bubble-wrap textures to create patterned circles.

You can do this by either pressing the bubble wrap directly into the wet paint, OR by using a brayer to get the paint on the surface, then pressing the wrap onto your painting.

I used bubble-wrap as a texture in my painting, “Mating Dreams”.  My preference is to let the texture be subordinate to the main content of the piece.  Below is an example of an artist, Mary Yim Kliauga, who painted directly onto bubble wrap to create texture in her painting.

Pouring and dripping paint is another fabulous way to create a background texture.

When pouring paint, you can have the canvas or board sitting flat on a horizontal surface, but if you want the dripping to be evident, you’ll want to have it almost vertical but at an angle.  The tilt of this angle depends on the fluidity of the paint.  When using acrylic, it’s important to add both polymer medium or a glazing medium, as well as some water.  For oils, you’ll want to add mostly turpentine (preferable odorless, since you’ll need a fair amount of it).  Make sure you use some plastic and newspapers to prevent overspill of the paint onto any surfaces.

In my painting, “Disquieting Harmony”, I combined the techniques of dripping paint from the top edge, embedding plastic into wet paint, and sponging.  I also used gold leaf and a textured gel pen on a layer of plexiglass that floats above the background texture.  (I’ll go over these techniques in another post).

sponging

Sponging is a great way to get some texture into your art. It’s been utilized quite successfully as a “faux finish” technique, used to texture walls and furnishings, but there’s no reason that artists can’t employ this into their work. Use a large, natural sponge for the best effects.

Spattered paint can also create wonderful textures.  You can do this by simply loading your brush and hitting it against your other hand, or you can apply smaller spatters in more detailed areas by using a toothbrush dipped in paint, then pulling your thumb across the bristles to release the wet paint.

For more controlled effects with spattering, you can utilize stencils, (you can also use stencils with the sponging technique) to create hard-edged forms and patterns.  Stencils can be the type bought for decorative (tole) painting, or you can create your own stencils by cutting out shapes in heavy-weight paper, such as bristol board.

Staining and Painting Papers for Collage

Many of the other techniques above can also be applied to paper.   Collage artists frequently paint or stain paper, before they collage it onto other surfaces to build up a background for an artwork.  This can be done on rice paper, tracing paper, newspaper, wrapping papers, etc. Try different effects of painting, soaking or applying paint with a brayer.

You can partially obscure text by first covering the pages with acrylic medium or modge-podge, put a layer of paint, then rub off paint where desired:

Practice combining techniques on various types of paper, store your papers til they are needed.  The papers can then be cut or torn into various shapes when the right project comes along!

Palette-Knife painting is a great way to create thickly textured (impasto) effects.  You can use either a palette knife or a putty knife to add paint to the surface (canvas or panel), or to subtract paint, scraping pack to previous layers.

credits: Nancy Eckels, palette-knife painting, above right.
Brian Giberson
, used a putty knife or spatula to scrape back paint, at left.

Left: Nancy Eckels, comb through acrylic glazes;
Right: Shawn Wells, scraped a serated knife and comb through heavy-body acrylics.

Below are several more examples of textured artworks created by Brian Giberson:

In the examples above, Brian embedded materials such as netting, straw, woven fabric, and copper directly into thick gesso (this could have also been achieved with modelling paste or thick acrylic texturing paste).  Speaking of his process, Brian says,

“I love to work with texture. I think of the first stage as purely sculptural. I like to build up the surface of the canvas or wood with thickened gesso, copper, sand, glass, or any thing else that appears interesting. By creating deep highs and lows, it suggests a feeling or direction I want the painting go in. Then I add the color.

You can also use a palette knife dipped into heavy gel medium to create impasto techniques.  The above example shows that you can even draw the medium on with a palette knife.  After drying, the artist can then add pigment.  The effect is that it will appear as if the painting used thick impasto paint, though the texture is, in this case, applied before the painted layers.

If you’d like to learn more about the various gel and texture mediums offered in art supply stores, visit either of the following links:

http://www.how-to-draw-and-paint.com/acrylic_mediums.html

http://www.goldenpaints.com/products/medsadds/gels/gels.php

Videos Related to Creating Textured Papers/Using Papers in Collage:

Creating texture with plastic wrap: http://www.youtube.com/watch?v=ukQwiqCFRKU

Fabric paper, using tissues, papers glued to muslin, with mica: http://www.youtube.com/watch?v=JlBvEj1SXDs

Acrylics with Alcohol Resist: http://www.youtube.com/watch?v=SUgNm5VVQMU (this can be done on a board, or to prep papers)

Brayer Techniques: http://www.youtube.com/watch?v=1LAzoV1SxcQ (several textures applied to paper or cardstock with a brayer)

liquid acrylic on plexiglass, transferred to transparency sheet, then to mulberry paper: http://www.youtube.com/watch?v=8GGRD4cOmqM

Painted Foil Textures: http://www.youtube.com/watch?v=4tr0wGIAcDQ (cool technique… turn down the music, though!)

Weathered Backgrounds for Art Journals and Mixed Media: http://www.youtube.com/watch?v=-ZxCEWi3y4s

Textures, Layers, Metallics: http://www.youtube.com/watch?v=gGs33VGCbPE (promotes a workshop video, but the brief demos can give some ideas)

Art Inspiration Articles:
View the index of all of my articles that are created specifically for class projects: www.eyeconart.net/blog/?page_id=540


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