Spattering is one of the easiest techniques to learn, but one of the hardest to completely control.  In my opinion, this is by far the most fun painting method ever.

Some Uses for Spatter

Back in the old days, spatter was used heavily on just about all scenery.  Scenery used to be more paint than real objects, and when trying to give the illusion of dimension, spatter can help that illusion seem more real and less cartoony.  It adds depth and texture.  Today, while this is sometimes still the case, spatter is usually used more sparingly for these techniques, as more and more real objects are used, especially in more intimate spaces. 

Spatter is the best technique for painting a faux granite.  Granite is generally just a bunch of dots, when it comes right down to it, so layers of spatter in the right colors and sealed correctly can be difficult to tell apart from the “real” texture.  It is also a great technique for breaking up otherwise flat surfaces in a less realistic setting.  I love to design floors with spattered textures, because when the colors are chosen and layered well, the lighting designer can literally change the entire coloring of the space for different scenes with minimal effort. 

Spattering Brush

I like to spatter with a long bristled 4” wide brush.  It doesn’t need to be a very pricey brush, but ideally it should be better than a chip brush and have soft, flexible bristles.  The longer bristles mean you won’t have to dip as frequently or snap your wrist as hard. 

Preparing the paint

Spatter paint wants to be thinned.  For most spatter effects, you will want the little dots to be translucent, because this creates greater depth.  The exact thickness you want the paint will vary depending on the desired effect, but the texture will be somewhere around 1% or skim milk.  When you plan on spattering over the course of a few days, mix the colors you want full strength, and only thin a little at a time.  If you thin it all, you will come back the next day and find it to be to thin on top, and a gunky mess on the bottom, because watering it down that far will actually start to break to composition of the paint. 

Preparing the surface

It is easiest to spatter on a horizontal surface, so lay the scenery down and make sure the surface is clear of clutter.  A vertical spatter will be extremely likely to run, and then your spatter will resemble bird poo on your windshield.  If your vertical surface is a soft-good, like muslin, you can get away with a light spatter, if you are careful, because it will soak in before running.  When spattering on a vertical surface, you may want a slightly thicker paint.  Spatter will be very likely to go all over, so make sure you cover anything nearby that needs to stay clean.

The Tap

When I teach people how to spatter, I often begin by showing them how to spatter by  holding the handle in their right hand and tapping the flat ferule (metal part) of the brush against either the palm of their left hand, or a small board held by their left hand, depending on how they seem more comfortable.  This technique is not recommended for long-term use, as it can be hard on your left hand, but it is much easier to control the spatter with the tap. 

The Wrist Flick

Most of the time, I spatter with a wrist flick instead of a tap.  The wrist flick is faster and easier on the muscles than tapping.  This is a technique that just takes practice to learn and I’m convinced that everyone does it with a flair all their own.  There is a muscle in your forearm that will get very sore if you are not in shape for spattering. 

Tips and Tricks

• If you are new to spattering, practice on scrap before trying out your technique on actual scenery.  Push the limits while you practice, and learn exactly what things cause goobers. 
• Until you’ve been doing this a long time, always test your first tap or flick after dipping your brush.  If there is too much paint in the brush, you will goober, even with the best technique.
• Always spatter by flicking or tapping in the direction of the wide side of the brush.  If you spatter toward the narrow side of the brush, you will goober.
• When you need an especially small spatter, or when you need extra control, tap, don’t flick. 
• Keep moving when you spatter to avoid “lines” in the spatter and to keep the spatter pattern as random as possible.
• The exact texture of your spatter is affected by how you tap or flick, the exact thickness of your paint, the surface you are spattering and how wet or dry that surface is.  If you are not achieving exactly the texture you are aiming for, try playing with these componants.  For example, if you are looking for a tight, small spatter, tap and let your spatter dry between layers. 

Alternative Spatter Option

If you need a loose spatter over a large amount of space, you can use a Hudson style sprayer to achieve this result more quickly.  There is less control to be had over this technique.

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