Top Tips for Masking Fluid Magic with Watercolors

September 1, 2022

I LOVE using masking fluid. Once it’s dry it can be peeled off, revealing the untouched white paper underneath. It’s a bit like magic!

I first encountered this medium during my college days and since then have had a great relationship with it. I’ve just launched a Skillshare class on using this medium, which includes more in-depth tips and fun projects.

When I started filling a little moleskine sketchbook with masking fluid experiments, I got a deluge of comments and questions asking what my secrets were, as many just couldn't get their masking fluid to behave. Their paper was often torn when removing it or their colors smudged. Many ruined brushes. So it’s no surprise some give up after a few attempts. Before you abandon masking fluid entirely, here are some answers to frequently asked questions and some top tips for success with masking fluid.

What Is Masking Fluid Used For?

Sometimes called frisket or drawing gum, it’s basically a latex or rubber-based medium that can be applied to dry watercolor paper before you paint on it. The masking fluid will adhere to the paper, and once it is dry it can be painted over in watercolor or ink. When the whole painting is dry, the latex film can be carefully peeled off, leaving the white surface of the paper untouched.

How Do You Apply Masking Fluid?

It's most common to use an old or cheap brush to apply masking fluid. However, I use a variety of tools to apply the masking fluid to the paper, dependending on the effects that I want to achieve. Sometimes I allow masking fluid to build up on what I call a ‘grotty brush’ or ‘busted’ brush—that's when I leave the masking fluid to harden and use it like that to create some unique lines.

Some other applicators you might like to try are:

Dip pen
Q-tips
Cocktail sticks
Toothbrush
Twigs

How Do You Clean Masking Fluid from Paint Brushes?

To preserve the bristles, even on cheap brushes, it's advisable to wet them and then coat them with some soap or liquid detergent before you dip the brush into the fluid. This will protect the bristles and make the brush much easier to clean off by placing it under running water as soon as you’ve finished.

I sometimes use a dip pen for fine line application of masking fluid, and again you can either wash the nib under running water or if it dries onto the nib simply peel it off (which is quite satisfying, I find).

How Do You Remove Masking Fluid from Watercolor Paper?

Removing the masking fluid is my favorite part—it's like magic, the big reveal, when you pull it all off and see what's occurred.

There are several methods you might like to try and see which suits you best.

Fingers

Start by rubbing gently at one of the edges until it starts to lift. Once it starts to come away, gently and carefully pull it off.

Eraser

This is a popular method, however I’d recommend an eraser that's a neutral color rather than red or blue as you will also have to deal with leaving coloured eraser dust on your art.

Masking Fluid Remover Block

This is a new art supply that I’ve tried recently. It helps prevent you from pulling too hard and tearing your paper, and it doesn't leave crumbs behind like typical erasers.

Why Does Masking Fluid Tear My Paper?

There are a few reasons why this can occur. The most common mistake is not waiting until the watercolor paint is fully dry (after applying the masking fluid) and peeling off the mask too soon. Don't just hope it's dry—you have to be totally certain. Be patient!

Also, handmade papers or other softer papers are more prone to tearing. While very rough papers may be tricky as texture of bumps and crevices provides extra surface for the mask to grab onto, making it hard to remove without causing the paper to tear.

My Tips For Using Masking Fluid

Don't use too much—the masking fluid should be pretty flat, thin and smooth on the paper (when applied with a brush). Try not to apply it too clumpy, blobby or thick.
I’ve learnt the hard way NOT to use a hot hair dryer on your painting if it has masking fluid on it, as it’ll adhere to the paper even more making it trickier to remove.
ALWAYS test your masking fluid on a small piece of the paper you intend to use before committing to actual painting.
Don’t allow masking fluid to stay on your paper for more than two days, as again it will be harder to remove and could tear the paper.

Don't forget to check out my NEW Skillshare class on masking fluid for a fun deep dive

There are 10 demos, starting with some warm ups that will build up your practical knowledge and patience. Followed by some really fun projects covering florals, patterns, landscapes and food.

If you are new to using masking fluid, unsuccessfully tried it in the past or seeking to find fun ways of incorporating it into your watercolor practice then this class will provide many effective tips. Think beyond the brush to achieve an array of different textures and effects using masking fluid.

You will consider:

which papers work best
the different drying stages we have to be mindful of
successful removal of masking fluid after it’s dried

Six Years on Skillshare!

August 1, 2022

This August marks six years since I released my first Skillshare class as a teacher. Like many other teachers on the platform, I was a student first, way back in 2014. I’d been a stay-at-home mum for eight years, and my Photoshop and Adobe Illustrator skills were very rusty.

The first classes I took were on hand lettering and character design, which was an odd mixture, but it actually led to finding my style with food illustration. That's the other side of my business—as well as a teacher, I’m a food illustrator for major brands all over the world.

My first class as a teacher came in late August 2016, about creating a fruity illustrated recipe. At the time I was going through a tricky divorce and my finances were in disarray. Teaching on Skillshare was one of many routes I was trying, in order to boost my revenue as a single mum. I also tried Spoonflower and other print-on-demand sites, but something just clicked with Skillshare and I haven't looked back.

Now, six years later and working on my 28th Skillshare class (about masking fluid), I can reflect on the many ways that teaching on Skillshare has benefited my career

It fits in with my life purpose to inspire myself and help others do the same. Being paid to talk and demonstrate techniques that light me up as an artist is brilliant. When I’m really enthusiastic about loose watercolors for example, that comes across and the energy transmits across the screen. My aim has always been to provide students with tools to solve their own challenges—to give them ways to support their own creativity, which spreads that joy even more.

It’s been a great way of connecting with other teachers, and the built-in community of students that comes with it has been phenomenal. I’m so grateful to be in a position to nurture and support. Also it's always a fun challenge to find more ways to encourage and cheer on students . Being creative involves taking risks, so I try to make sure students feel supported and safe when taking leaps.

Teaching has become part of my brand—I’m now known as a Skillshare teacher along with the 25 sketchbooks I’ve been sharing from over the last several years. If I get a DM or email about something, I can often say—‘I’ve got a class for that!’ And it has led to other brilliant opportunities like art retreats in Morocco and Italy. I even have a book called ‘Go With The Flow Painting’ launching at the end of the year, which came about after the publishers saw my Organic Expressive Florals class.

In order to share, I have to be open and vulnerable as an artist. Being a teacher has helped me to be more authentic, a truer version of myself, as I share more of my story and tastes. I’m very much one of those teachers who says, ‘It’s highly likely you will produce crappy art and that's actually OK!!!’ A lot of learning happens within that discomfort. I hope it comes across in a very credible way from my own real life experience—it’s important to me to share in a realistic and honest way, because we live in the real world, not in Instagram ‘filterland’ where a great piece of art can seemingly be achieved in 30 seconds.

Skillshare was fundamental in building a stronger financial foundation as a single parent. I believe that passive income is always something to nurture when you're self-employed. It’s allowed me to have more choices and flexibility at this crucial time while my kids are growing up. It means I can be much more selective about the projects I take on. At the time of writing, I’m in a period of ‘semi sabbatical,’ when I’ll be a student again, refilling my creative cup. (For more on this, see my previous blog post.)

The act of sharing what I know has transformed my own art, illustration and sketchbook practice, which in turn has taken me to places I could never have predicted. The knowledge that I have now inspired over 140,000 students genuinely warms my heart. Meeting some of my students in person and hearing first-hand how it has shaped their creative output has been a life-changing and moving experience. Teaching on Skillshare really is the gift that keeps on giving and remains a wonderful and deeply satisfying adventure.

Fruit and Flowers Art Retreat in Italy 2021

January 6, 2022

Myself and Victoria Johnson had dreamed about an in person art event for a while so when the opportunity presented itself we knew a retreat would allow us to channel our collective teaching and art business experience into a course that would help fellow creatives. As a creator and teacher of online classes the week long art retreat in Le Marche Italy was wonderfully immersive on many levels.

Many of us work alone from home, learning online. Being present and able to discuss the concept of embracing happy accidents and simply diving in without knowing the outcome was refreshing for both me and the guests.

It was a pure joy and privilege to have 15 amazing ladies who had journeyed far to take part in the Creative Fruit And Flowers art retreat run by Uptrek. Place these exceptional ladies on the 8 acre luxury Villa Oliveto Estate with uninterrupted views of the Adriatic coast, a dedicated chef, an airy studio, two committed teachers and we had the makings of a magical week.

The guests were from all over the world - Europe, UK, and the USA.They were a mixture of artists with well established art careers and keen hobbyists. Bearing this in mind, it was important for Victoria and I to approach the art creation process with a fun perspective but also build firm foundations where everyone could achieve fascinating results. The theme of fruit and flowers provided a great launch pad for explorations in watercolour, gouache and other mixed media methods. Many of our guests were trying techniques which were totally new to them, yet they incorporated them seamlessly.

Truly, the main event was seeing the wonderful transformations that transpired over the 7 days for many of the artists, if not all of them. The results were a myriad of art pieces that were unique and distinctive to each individual. It's kudos to each artist, that they trusted the process and overcame any doubts or fears they had about art making.

Victoria and I will be holding our next retreat in a beautiful location in Morocco in May/ June 2022 and would love you to join us. Please take a look HERE for more details

I’m going to dedicate the rest of the post to some of the artists who contributed to the incredible rapport and camaraderie we all felt. They have very kindly allowed me to share some thoughtful insights to how the retreat has positively supported and expanded their creative horizons.

Retreat guest Krystin Mann says:

‘This retreat was exactly what I needed: focusing on process, play and creativity with no specific knowledge on what the end would be. I think as artists we get caught up rushing to the end and the known and forget the middle bit.

If you're looking for a ‘paint like this artist’ course this is not that kind of retreat. This is a ‘get uncomfortable’, ‘try new things’ and ‘finding your voice’ course with loads of creative support and tremendous generosity and insight from the instructors.’

Kristina Hunter is looking forward to a more happy creative life:

‘Before the retreat I felt a bit blocked artistically. However being amongst new friends and teachers I’ve admired helped m to break out of my block; new perspectives and approaches to creating art helped me fill my creative cup’

Sujanitha Sambasivan felt there were many ways the retreat bolstered her creative outlook:

‘ The retreat helped me to push through my work: be comfortable with the uncomfortable. To be a kid again and have fun with creating. And letting go of my own fear of the unknown. As well as trusting myself and my inner guidance’

Carla Maria a fellow sketchbook keeper had this to say:

‘ The retreat is a gift that keeps on giving after returning home. My new friends continue to inspire me everyday with their art and creative community we have created. I’m trying new things in my art and pushing myself to work outside of my comfort zone. I’m seeing patterns and creations in places I had never looked before’

Kelly - Wild Azure Studios who has recently open her first Etsy shop

It has me thinking how I approach the whole creative process - to be less fearful and have more fun and play. Really what it means to live a creative life. When you’re open and present, those happy accidents are everywhere and honestly the best part of life. It was a truly magical week’

These words only capture a tiny essence of the sense of connection that were forged. There were palpable shifts in energy and perspective in the studio as beautiful artwork emerged. It will forever be etched in my heart as a vital cornerstone in my evolution as a teacher, learning a great deal by becoming a student again. Also, sharing the vulnerable side of our personality, that is sometimes filtered out through the lens of social media, made us feel less alone and part of a compassionate group of like minded individuals. It was truly a magical event that made many of us feel the best is yet to come.