Bone dry washes can be wetted in a local area to allow non-staining pigment to be removed. Wash over the area in question with clean water to loosen the dried paint. After a short interval of time, lift out the softened wet pigment. Use either a natural damp sponge, an old round brush or a bristle brush depending on the size of the planned or offending area to be removed. Stroke the brush hairs over the area, adding a little pressure if necessary. At each repetition regularly swish out the brush in clean water and damp dry to prevent pigment transfer from brush back to paper. A ghost image may remain.

Synthetic chemical dye colours such as Sap Green, Hookers Green and a number of others permanently stain the paper fibres in a matter of seconds. This can be an advantage if a mixed or superimposed non-staining paint is later required to be removed to give certain cloud effects. Used sparingly the lift off technique on a dark overcast sky is able to suggest light breaking through cloud.

Modifications should not be obvious. There is always a slight possibility of a ghost image remaining on the paper. Whatever method or device is employed, provided there is little or no final evidence of it on the finished painting, then it is acceptable as a valid process. The final artistic result should supercede technique.

To maintain an even graded sky wash behind light coloured silver birch tree trunks and larger branches. For example, do not attempt to paint around them. Paint over and use the broadside tip of a palette knife, the corner of a plastic card or any chisel-shaped utensil to push the paint away (aside) to represent the trunk areas. The sharpened end of a paint brush handle, broadside, is commonly used. When the paint in the wash is half dry, literally push the paint aside to indicate the narrow trunks (boles) left white for silver birch trees. In practise it calls for time judgement. If the paint is too wet it will seep back into the cleared white areas. As a subtractive device, a palette knife blade may also be employed to push away wet paint to represent light reflective grasses and weeds in the foreground. Short strokes edgewise, end on, will dent or scratch the paper. The wet pigment creeps into the minute grooves to form distinct, very fine lines to suggest grass in the foreground. Stagger this effect to avoid monotony across the sheet.

Where it is impractical to paint objects to be left white such as yacht masts and irregular-shaped structures, masking fluid brushed over the area. Left to dry it will form a rubber cement water seal. Mix a little water into the masking fluid first for easier application. Experiment first on scrap paper. It is convenient and simple after it is dry to paint a sky or ground wash over it instead of trying to paint around the area, found to be somewhat problematical. When the painting is bone dry, the rubber cement can be gently rubbed off with a fingertip to leave an even washed area around a structure or mast without ugly 'breaklines' on the background skywash.

Care must be taken in case the surface of the paper becomes roughened or torn. Use an old or cheap brush or a dip pen as an applicator. Immediately afterwards clean the applicator in hot water and detergent to remove the residue.

PEEL-OFF MASKING FILM (TRANSPARENT AND STICKY ON ONE SIDE)

An optional alternative to masking cement fluid. Masking film is especially good at the centre of interest for sharp-edged structures. First trace around the area to be left white on a small piece of tracing paper. Remove to a hard board and retrace the outline on the reverse side of the peel-off masking film and cut through it with a scalpel knife. Position and press the film to the watercolour sheet. Peel off the backing to reveal the transparent masking film. Paint around and over the film and peel it off when the paper is bone dry. For further information, apply at your dealer.

CANDLE WAX OR WHITE CRAYON (WATER RESISTANT)

Employed for texturing to represent moss-covered or granite rocks in the foreground. Also for light reflections on rippling water. Rub the stubbed end of a candle firmly over the area to be textured. Go to the edge but not over the boundary limits of the area concerned. Employ a cut-out paper template to prevent waxing beyond the boundary area. The water repellent wax displays a slight speckling when painted over in one or more colours, similar to dry brush effect. Paint mixture may be of watery consistency.

A medium to fine spray of paint spots may be produced with an old toothbrush dipped in paint. The first finger tip of the non-brush hand, quickly run under the bristles a few inches above the paper makes a fine spray. . Test on scrap paper first. The result will be close spots on dry paper, mottling and blurring on wet paper. It is very effective for gravel or sand beach effects in the foreground. Lay scrap paper over the edge of the background to prevent overspray beyond the foreground area concerned.

On finished and completely dry paintings. A few small highlights such as wave tops and thin branches of trees in mid-distance. Foreground highlights may be carefully scratched out of a dark background with the tip of a sharp cutting instrument.

Rough sea or waterfall. When a painting is completely finished and bone dry, sandpaper gently rubbed over a local area will give the effect of spray breaking over rocks on rough ocean water. Do not over-use these methods for they are likely to appear gimmicky.

On bone dry paper, move a sharp knife or scalpel horizontally over the dark painted surface of the water. Guide the knife with a straight edge. Scrape the textured surface of the paper to remove the outstanding peaks to give broken lines of light, a sparkle effect of skylight on the calm sea. Experiment first on scrap Bockingford or any scrap-textured watercolour paper. Make lost and found edges, wet in wet and dry brush effects on a foreground beach. Distinction is made between dry brush and knifed abrasions. For the exercise, make similar outline drawings in pencil and choose your own colours, three only.

On dry paper. Fine sandpaper the top white edge of a breaking wave on rocks. Note and make dry brush effects on the top of sunlit rocks and also on the spilling seawater in the foreground. Establish lost and found edges of merging foam on rocks

1. OVERCAST SKY. Heavy and grey. First, a pale flat wash of Raw Sienna feathered out close to the horizon. While the paper remains wet colours are entered, mainly soft-edged. Colour mixtures, Paynes grey and a little Raw Sienna with a touch of Red. Sky painted quickly without guidelines.
2. STORM SKY. First brush all over sky area, damp dry, matt finish. Small central open sky of Cerulean Blue that granulates. Whilst remaining wet complete the sky with a mixture of Ultramarine Blue and Burnt Sienna giving a granulated mottled effect. Use a less intense mixture. More water to pigment ratio. A good example of granulation.

SURF BREAKING ON ROCKS. Try this for yourself, choosing your own colours. Read the guidance for the prevention of spoiling 'backruns'