A demonstration of the artist's technique and use
of materials using the latest painting of Dungeness old lighthouse at night
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| Stage 1: Linen sized with added Crimson
powdered pigment. Then thin glazes of Van dyke Brown and Ultramarine to
lay in the composition. |
Stage 2: Ultramarine, White and Raw Umber
mixed with Beeswax, turps & linseed oil reinforcing composition and
building up a textured surface. |
Stage 3: Glazes of Hookers Green, Prussian
Blue mixed with Beeswax, turps & linseed oil darkening and blending
to create dramatic contrasts. |
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| Stage 4: Use a clean rag and Turpentine
to remove some colour to create lyrical passages and reveal underpainting
colour. |
Stage 5: Glazes of Yellow Ochre, White,
Prussian Blue and Black with Beeswax, turps & linseed oil to reinforce
elements of the new composition. |
Final Stage: Shift away from lyrical to
emblematic. Pinks, Orange, Yellow Ochre with White and final glazing with
Prussian Blue. |
Progression of an oil painting
- Stage 1: Size mix with added pigment (Crimson) - Earthy
brown used to describe the elements that will eventually appear to be Black
the rest roughly laid in with thinned Ultramarine Beeswax, turps & linseed
oil.
- Stage 2: Chiaroscuro phase, composition is described
with texture and colour mixed with white or white itself three tones lighter
than the colour will appear in the final stage. Leave the painting to dry
thoroughly.
- Stage 3: Glaze of pure colour mixed with beeswax, turps
& linseed oil over the chiaroscuro phase when dry.
- Stage 4: Using a clean rag with turpentine wipe away
some of the dark tones to create interest and useful lyrical passages to
build upon.
- Stage 5: Chiaroscuro and darkening. Reinforce composition
by working in separate areas leaving enough interest to show through the
final glaze.
- Stage 6: I decided to simplify the composition prior
to a final glaze of Prussian Blue mixed with beeswax, turps & linseed
oil, highlights are added after the glaze - as a general rule keep small
brushwork to a minimum.
Top Tip: When embarking on a dark painting of a tangible
subject always allow your painting to dry between glazes. Take your time to
mix colour and work from dark tones to mid-tones to bright colour being aware
that a subtle suggestion of light on an object or colour contrast is your
aim.
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