Lena Rivera
Painting with smoke, also known as fumage, is an artistic technique that involves using smoke to create textures, patterns, and images on a canvas. This method has been employed by several notable artists, including the renowned surrealist, Salvador Dalí. When painting with smoke, it is crucial to be cautious due to the inherent fire risk. The process of creating smoke art involves lighting a candle and working from below the canvas to avoid burning it. The smoke produced by the candle leaves its imprint on the canvas, forming unique shapes and patterns. To enhance the artwork, additional media, such as oil paint, can be applied in layers over the smoke design. The contrast between the smoke and the paint adds depth and intrigue to the final composition.
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What You'll Learn
Using fumage with other media
Fumage is a technique that involves using smoke from a lit candle to create images on paper or canvas. It was popularized by Austrian-Mexican artist Wolfgang Paalen, who is often regarded as the father of fumage. The technique can be used as a standalone method to create hazy, cloudy images or in combination with other media, such as oil paint, gouache, and colour pencils, to add more form and meaning to the artwork.
When using fumage with other media, it is essential to consider the order in which the materials are applied. Some artists, like Wolfgang Paalen, start with fumage and then add layers of oil paint or other media to enhance the image and express their artistic vision fully. This approach allows the smoke to serve as a catalyst for the artwork, providing a foundation for the subsequent layers.
Before applying additional media, it is crucial to use a fixative to stabilize and preserve the smoke design. A fixative, such as varnish, prevents the smoke marks from smearing. Artists can experiment with different tools, such as brushes or their hands, to intentionally smear the soot marks before applying the fixative, creating unique textures.
It is important to note that the choice of media and the order of application can influence the final outcome. For example, using oil paint or gouache can add depth and vibrancy to the artwork, while colour pencils can provide finer details and subtle shading. Additionally, the thickness of the candle used in the fumage technique will also impact the result—thinner candles produce more delicate and transparent images, while thicker candles create darker and denser smoke marks.
Fumage can be a versatile technique when combined with other media. For instance, artists like Sheila Gallagher incorporate fumage with stencil cutting, resulting in ghostly images that evoke a sense of fragility and ephemerality. The contrast between the smoke marks and the other media used can create intriguing effects, adding depth, texture, and complexity to the artwork.
Experimentation is key when using fumage with other media. Artists should explore different media combinations, candle sizes, and angles to discover the effects that can be achieved. By embracing experimentation, artists can push the boundaries of their craft and create captivating artworks that showcase the unique interplay between smoke and other traditional media.
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Creating a gradient for smoke
Using an Airbrush or Water Blending Technique
Start by priming the surface and creating a gradient from the dark part of the plume to the lighter part. This can be done using an airbrush or by thinning paint with water in a 50/50 mixture. For a darker smoke colour, a mix of Agrax and Nun Oil can be used, with more Agrax on all surfaces and more Nun Oil in the darker parts. For a brighter smoke, a bit of golden titanium white can be added to the mixture.
Using a Base Coat
For a truly smoky effect, a softer transition between colours is ideal. Start with a darker base coat, such as Celestra Grey, and wash with a 1:1 mix of Nuln Oil and medium so the shading isn't too dark. Then, highlight with Celestra, Ulthuan, and finally a little White Scar.
Using Smoke
Another technique, known as "fumage", involves using smoke to create textures and patterns. This involves lighting a candle and holding it at various angles to the canvas to create different shapes and marks. Once the desired design is achieved, a fixative can be sprayed to keep it from smearing.
It is important to note that when working with fire, one should always be cautious to avoid getting burned. Additionally, it is crucial to work in a well-ventilated area and keep flammable items away from the workspace.
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Capturing movement and transparency
Understanding Transient Effects
Mist, fog, smoke, and other transient effects can be challenging to capture due to their fleeting and elusive nature. These effects are often made up of translucent, reflected, and local colours, so it's important to vary your use of colour accordingly. For example, be cautious not to overuse white, as it can interfere with our colour perception. Instead, try to see colour objectively and focus on colour relationships rather than absolute colours.
Breaking Down Forms
Break down the subject into basic shapes, forms, and movements. These shapes can be geometric, such as circles, triangles, and squares, which tend to be easier to measure and draw. For instance, when painting mist or fog, look for the underlying circular shapes that make up the hazy, indistinct forms.
Contrasting Techniques
Contrast plays a crucial role in capturing movement and transparency. In "Wanderer Above the Sea of Fog" by Caspar David Friedrich, the dark and rigid rocks in the foreground contrast powerfully with the soft sea of fog, creating a sense of depth. When working with lighter colours over darker shades, pay attention to the contrast ratio and colour opacity to achieve the desired effect.
Fumage and Other Media
Fumage, the art of painting with smoke, can create exciting textures and patterns. This technique, pioneered by Wolfgang Paalen, involves using smoke as a catalyst for the artwork, followed by the addition of other media, such as layers of oil paint, to fully express the artistic vision. You can experiment with different media before or after applying a fixative to the smoke design.
Digital Smoke Effects
Capturing smoke effects digitally, such as through custom brushes in Adobe Photoshop, can be a safer and more accessible alternative to traditional fumage. By adjusting the lighting, camera settings, and post-processing techniques, you can create elegant smoke trails that capture the fluid dynamics of our atmosphere.
Artistic Expression
Finally, remember that capturing movement and transparency is about more than technical skill. Art movements like Abstract Expressionism embrace vigorous physical activity and the dynamic qualities of modern life. Embrace the beauty of movement and transparency in your work, whether through the delicate brushwork of smoke or the bold gestures of abstract forms.
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Contrasting colours for maximum effect
When it comes to creating art, contrasting colours can be a powerful tool for achieving maximum impact. This is true whether you're painting with traditional media or experimenting with more unconventional techniques such as "fumage", a method pioneered by Wolfgang Paalen that involves using smoke to create intriguing textures and patterns.
In the case of fumage, the contrast between the dark, smoky hues and the brighter colours you layer on top can be striking. For instance, you might start with a base of dark smoke and then add layers of oil paint to fully express your artistic vision, as Paalen did. Similarly, when painting smoke and fire exhaust clouds, adding orange and red hues to the brighter parts of the fire can create a striking contrast.
If you're aiming for a truly smoky effect, a softer transition between colours may be preferable to a stark light-dark contrast. For example, when painting ghost smoke in Warhammer miniatures, a mix of Nuln Oil and medium can be used to shade a Celestra Grey base coat, creating a subtle transition between light and dark. This can be highlighted with progressively lighter shades of grey and white.
In general, when painting mist, fog, and smoke, it's important to avoid overusing white. While these phenomena are often associated with whiteness, in reality, they are composed of translucent, reflected, and local colours. Using light greys and other weak tones can create a more realistic effect, with pure white reserved only for the brightest highlights. For instance, in his painting "Wanderer Above the Sea of Fog", Caspar David Friedrich contrasted the dark, rigid rocks in the foreground with a soft sea of fog, creating a powerful sense of atmosphere.
By carefully considering the colour relationships and planning your composition before you begin, you can harness the power of contrasting colours to create captivating and dynamic works of art, whether you're working with traditional media or experimenting with innovative techniques like fumage.
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Using fixatives and erasers for detail
When painting with smoke, using fixatives and erasers can be a great way to add detail and create intricate patterns. Here are some tips on how to use these tools effectively:
Preparing Your Workspace
Before you begin, it's important to protect your workspace. Lay out a covering, such as an old tablecloth, to catch any wax drippings or soot marks. Prop up your canvas or board so you can work from beneath it, adjusting the angle as needed. This technique involves working with fire, so ensure your area is well-ventilated and keep flammable items away.
Using Candles for Smoke Patterns
For creating smoke patterns, slender candles work best. Experiment with varying candle and wick lengths to achieve different effects. Longer wicks allow for more fluid patterning, while shorter wicks are suitable for darker, more filled-in areas. Adjust the angle of the candle to create different shapes; for example, holding the flame perpendicular to the surface will make a circle.
Applying Fixatives
Once you're satisfied with your smoke design, it's time to apply a fixative to stabilize and preserve your work. Fixatives, such as varnish, prevent smearing and ensure your design lasts. Before applying the fixative, you may want to intentionally smear some soot marks with your hand, a brush, or another implement to create unique textures. Spray the fixative in a well-ventilated area, away from any flames, to complete the process.
Creating Detail with Erasers
Before applying the fixative, you can use different-sized erasers to create intricate patterns and detailed layering in your smoke design. This apply/erase method allows for a high level of precision and control over your composition. You can also experiment with smudging and blending the soot to achieve softer edges and transitions between light and dark areas.
Combining with Other Media
Smoke painting, or "fumage," can be combined with other media to create complex artworks. Artists like Wolfgang Paalen, the father of fumage, often used fumage as a starting point, later adding layers of oil paint to express their artistic vision fully. You can apply additional media before or after using the fixative, allowing for a wide range of creative possibilities.
By following these steps and experimenting with different techniques, you can create detailed and captivating artworks that utilize the unique qualities of smoke and fixatives. Remember always to work carefully when dealing with flames and protect your workspace to ensure a safe and enjoyable creative process.
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Frequently asked questions
The process of painting with smoke is called "fumage".
To paint with smoke, you will need a candle, a board or paper, a covering for your workspace, and a spray fixative.
The first step in painting with smoke is to protect your workspace. Lay out a covering, such as an old tablecloth, to catch any wax drippings.
To create contrast when painting smoke, you can use different colours such as dark purple, orange, red, light grey, or yellow. You can also use different techniques such as drybrushing, overbrushing, or the water blending technique.
Yes, smoke painting can be combined with other media such as oil paint. You can apply the other media to the canvas either before or after you apply the fixative.
