FirstpublishedintheUnitedStatesin2014byChronicleBooksLLC

Textandcompilationcopyright©2005,2013byHarperCollinsPublishers.Photographsandillustrationscopyright©1995,1999,2005byInklink.Allartworksandpaintingscopyright©1995,1999,2005bytheindividualartists.

Allrightsreserved.Nopartofthisbookmaybereproducedinanyformwithoutwrittenpermissionfromthepublisher.

ISBN978-1-45213722-3(epub,mobi)

TheLibraryofCongresshaspreviouslycatalogedthistitleunderISBN:978-1-4521-2716-3(pb)Page10constitutesacontinuationofthecopyrightpage.

ChronicleBooksLLC680SecondStreetSanFrancisco,CA94107

www.chroniclebooks.com

CONTENTS

Introduction8Acknowledgements10

1/SUPPORTS122/DRAWINGMEDIA363/PAINTINGMEDIA624/WHERESHALLISTART?1225/DRAWING&SKETCHING1366/PAINTINGTECHNIQUES1607/COLOR&COMPOSITION2108/WHATSHALLIPAINT?2349/THESTUDIO34210/GALLERYOFART356

Reference384Index395

INTRODUCTIONRenoironceobservedthat“paintingisn’tjustdaydreaming,itisprimarilya

manualskill,andonehastobeagoodworkman.”Toooftenitisforgotten

thatpaintingisacraftaswellasanart–andadifficultcrafttomaster,atthat.

Atfirstsight,dippingabrushintopaintandapplyingittoasurfaceseems

easyenough.Buttherearetrapsfortheunskilled:aninadequatelyprepared

supportmaywarporbuckle;thewrongsupportcanadverselyaffecttheway

thepainthandles;ill-chosencolorsturnmuddywhenmixedtogether;poor-

qualityorfugitivecolorswillfadeintime.Byunderstandingthematerialsand

techniquesathisorherdisposal,theartistcanavoidsuchpitfallsandincrease

thepleasuresofmakingart.

Inrecentdecades,artschoolshavetendedtodismissbasicskillsand

techniquesas“irrelevant,”andtheyhavebeenneglectedinfavorof“freedom

ofexpression.”Insodoing,tutorshavethrownthebabyoutwiththe

bathwater,forwithoutathoroughtechnicalgraspofmaterialsandmethods,

studentsofarthavenorealfreedomtoexpresstheirideas–itislikeasking

someonewithnoknowledgeorconceptofgrammarorsyntaxtowriteanovel.

Thisisnottoimplythatagoodcraftspersonisnecessarilyagoodartist.

Manualdexterityandtechnicalknow-howaremeaninglessifanartist’swork

isdeficientinthoughtandfeeling.Alongwithalearninghand,onemust

developaseeingeye–andformanypeople,thisisthemostdifficultpart.In

thedesiretoproducea“finished”picture,theimpatientstudentoften

overlooksthetwothingsthatarefundamentaltoallart:drawingand

observation.Itisvitaltotrainyoureyesbyreallylookingattheworldaround

you,andtokeepsketchinganddrawingallthetime.Whenyoudrawwhatyou

see,youdevelopyourpowersofobservationandanalysis.Yourmindabsorbs

manydetails–forinstance,thewaylightandshadowcreateform,howtone

andcoloralterwithdistance–enablingyoutodrawasurprisingamountfrom

memoryandfromimagination.

Thepurposeofthismanual,then,istwofold.First,byprovidinganin-

depthexaminationoftheskillsandtechniquesinvolved,notonlyinpainting

anddrawingbutalsoinpreparingasupportandinchoosingandmixing

colors,itendeavorstoencourageaprideinthecraftsmanshipneededto

produceaworkofart.Second,byusingawiderangeofworkbyrespected

professionalartistsasasourceofinspiration,itaimstohelpyoudevelopyour

personalvisionoftheworldandtofindyourownvoiceininterpretingthat

vision.

ACKNOWLEDGEMENTSThisbookistheworkofmanyhands,andistheresultofseveralyears’

planningandpreparation.Thedesigners,editorsandproducersareindebted

toallwhohavecontributedandhavegivenfreelyoftheirtimeandexpertise.

Ourthanksgotothefollowing:

EditorialConsultantsDrSallyBulgin

EditorandownerofTheArtistandLeisurePaintermagazines.Authorofseveral

artinstructionbooksAngieGair

Authorofseveralartinstructionbooks

ArtandTechnicalConsultantsTrevorChamberlain,ROI,RSMACarolynnCooke

DavidCurtis,ROI,RSMAJohnDenahy,NEAC

JohnLloyd

JohnMartin

TerryMcKivraganIanRowlands

BrianYale

Withspecialthanksto:KenHoward,RA,ROI,RWS,NEAC

Daler-RowneyLtdEmmaPearce

Winsor&Newton

DemoArtistsAlastairAdams

RayBalkwill

DavidDay

JennieDunn

TimothyEaston

DavidGriffin

RobinHarris

NickHyams

DavidJackson

EllaJennings

SimonJennings

KenHoward

JohnLidzey

DebraManifold

AlanMarshall

KayOhsten

KenPaine

PeterPartingtonJackieSimmondsShirleyTrevenaValerieWiffen

ColinWilley

LaurenceWood

JohnYardley

Artists

Gratefulthanksalsogotothefollowingartists,whogenerouslyloanedsamples

ofmaterials,artworksandtransparencies,andwhoprovidedmuchtime,advice

andassistance:AlastairAdams

VictorAmbrus

NickAndrew

PennyAnstice

PaulApps

BarryAtherton

GigolAtler

RayBalkwill

ValerieBatchelorJoanElliottBatesRichardBell

JohnBlockley

JaneCamp

SarahCawkwell

TrevorChamberlainTerenceClarke

TomCoates

JillConfavreuxGrenvilleCottinghamEdwinCripps

JamesCrittendenFredCuming

DavidCurtis

DavidDay

JohnDenahy

SarahDonaldsonJennieDunn

TimothyEaston

SharonFinmark

RoyFreer

KayGallweyAnnabelGault

GeraldineGirvanPeterGraham

DavidGriffin

GordonHales

RoyHammond

RobinHarris

DesmondHaughtonAndrewHemingwayKenHoward

MichaelHyam

NickHyams

AlanHydes

DavidJackson

PaulineJacksonEllaJennings

SimonJennings

RonaldJesty

CaroleKatchen

SallyKeir

SophieKnight

ToryLawrence

JohnLidzey

AnnaMacmiadhachainPádraigMacmiadhachainDebraManifold

JohnMartin

JudyMartin

SimieMaryles

DonaldMcIntyreAlexMcKibbin

TerryMcKivraganJohnMonks

AlisonMusker

PatriciaMynottKeithNew

KayOhsten

KenPaine

PeterPartingtonElsieDinsmorePopkinPennyQuested

JohnRaynes

JacquelineRizviKeithRoberts

DennisMathewRooneyLeonardRosomanGeorgeRowlett

NaomiRussell

HansSchwarz

HilScott

BarclaySheaks

JackieSimmondsRichardSmith

MichaelStiff

SallyStrand

DavidSuff

RobertTilling

ShirleyTrevenaJacquieTurner

SueWales

ValerieWiffen

ColinWilley

AnnaWood

LeslieWorth

BrianYale

JohnYardley

RosemaryYoung

GalleriesArtSpaceGallery,LondonChrisBeetlesGallery,LondonBrowseandDarby,

LondonTheFineArtSociety,LondonFischerFineArt,LondonKentmere

HouseGallery,YorkLizardi/HarpGallery,Pasadena,CaliforniaLlewellyn

AlexanderGallery,LondonMontpelierStudio,LondonMuseumofModern

Art,NewYorkNationalGallery,LondonNewAcademyGallery,LondonNew

GraftonGallery,LondonOnLineGallery,SouthamptonPiccadillyGallery,

LondonRedfernGallery,LondonBrianSinfieldGallery,BurfordTateGallery,

LondonWestcottGallery,Dorking

CompaniesAcco-Rexel

ArnesbyArts

TheArtistmagazineBerol

Bird&DavisKenBromley’sPerfectPaperStretcherR.K.Burt&Co.

Canson

ChromaColor

ColArt

L.Cornelisson&SonDaler-RowneyLtdFalkinerFinePapersFriskProducts

Inscribe

IntertradeInternationalJakarInternationalKhadi

Koh-i-Noor

LetrasetUK

A.Levermore&Co.

LiquitexUK

DavidLloydPictureFramers

Martin/F.WeberCo.

Osborne&ButlerPentel

Philip&TraceyProArte

ProjectArt

Raphael&BergeC.Robertson&Co.

RotringUK

RoyalSovereignStCuthbert’sPaperMillsTateGalleryPublicationsTollit&

HarveyUnison

Winsor&Newton

PhotographersandpicturesourcesStudiophotographybyPaulChaveandBenJenningsOtherphotographyby:

Acco-RexelLtd;JohnCouzins;Daler-RowneyLtd;IkeaLtd;SimonJennings;

Raphael&BergeSA;andShonaWood

Chapter1

SUPPORTS

Beforestartingapaintingordrawing,itisworthspendingsometimechoosingandpreparingthe

surface,orsupport,asthiswillhaveagreatbearingonwhichmediumyouuse,andtheeffectsthatyou

areabletoachievewithit.Althoughtherangeofcanvases,panelsandpapersmayseemsomewhat

bewilderingatfirstglance,findingtherightsupportforyourpurposeisnotverydifficultwhenyou

understandthepropertiesofeachone.Aproperlypreparedsupportwillgreatlyincreasethelongevityof

aworkand,inaddition,youcanderivealotofpleasureandsatisfactionfromthisaspectoftheartist’s

work.

CANVASInpainting,canvasisstillthemostwidelyusedofallsupports.Stretched-and-

primedcanvasistautbutflexible,andhasauniquereceptivenesstothestroke

ofthebrush.Thetwomostcommonfibersformakingcanvasarelinenand

cotton,althoughburlapandsyntheticfibersarealsoused.Eachofthesefibers

differsintermsofdurability,evennessofgrain,easeofstretchingandcost.

Linenisconsideredthebestcanvasbecauseithasafine,evengrainthatisfreeof

knotsandisapleasuretopainton.Althoughexpensive,itisverydurableand,

oncestretchedonaframe,retainsitstautness.Good-qualitylinenhasatight

weaveofeventhreadswhichwillpersistthroughseverallayersofprimerand

paint;avoidcheaplinen,whichislooselywoven.

PreparinglinencanvasTheweavingprocessmakesrawlinencanvaspronetoshrinkingandwarping

whenitisstretched,andithasatendencytoresisttheapplicationofsize.

However,boththeseproblemscanbesolvedbytemporarilystretchingthe

canvas,wettingitandallowingittodry.Thenremovethecanvasfromthe

stretcherbarsandre-stretchit;thissecondstretchingcreatesamoreeventension

acrossthecloth.

CottoncanvasAgood-quality410–510gsm(12–15oz)cottonduckisthebestalternativeto

linen,andismuchcheaper.Cottonweavesofbelow410gsm(12oz)arefinefor

experimentingwith,buttheystretchmuchmorethanlinenand,oncestretched,

theyaresusceptibletofluctuationsintensionineitherhumidordryconditions.

Theweaveofcheapcottonquicklybecomesobscuredbylayersofprimerand

paint,leavingthesurfaceratherflatandcharacterless.

Wetthestretchedlinencanvasandallowittodry.

CanvasweightsTheweightofcanvasismeasuredingramspersquaremetre(gsm)orouncespersquareyard(oz).Thehigherthenumber,thegreaterdensityofthreads.Better-gradecottoncanvas,knownascottonduck,comesin410gsm(12oz)and510gsm(15oz)grades.Lighter-weightcanvasesofbetween268gsm(8oz)and410gsm(12oz)arerecommendedforpracticeonly.

Ready-preparedsupportsYoucanbuyready-primedandstretchedsupportswhichconsistofapieceofcanvasmountedonastretcher.Thesesupportsareconvenient,butareexpensivewhencomparedtothecostofstretching,sizingandprimingyourowncanvas.

Popularartist’scanvases1Ready-primedcotton-rayonmix2Ready-primedcottonduck3Ready-primedartist’slinen4Superfineartist’slinen5Cottonduck6Flaxcanvas7Cottonandjutetwill

BurlapBurlapisinexpensive,buthasaverycoarseweaveandrequiresalotofpriming.

Itisliabletobecomebrittleandlifelessintime.

SyntheticfibersSyntheticfabrics,suchasrayonandpolyester,arenowusedinthemanufacture

ofartists’canvas.Thesecanvasescomeready-preparedwithacrylicprimerand

areworthtryingout,astheyareexceptionallystronganddurable,flexiblebut

stable,andresistanttochemicalreaction.

Canvastextures

Ifyouusebold,heavybrushstrokes,canvaswithacoarselywoventextureisthe

mostsuitable.Asmooth,finelywoventextureismoresuitedtofine,detailed

brushwork.Anotherconsiderationisthescaleofyourpainting.Afine-grained

canvasisbestforsmallworks,asthetextureofcoarse-grainedcanvasmaybetoo

insistentanddetractfromthepainting.

Ready-primedcanvasReady-primedcanvascomespreparedwitheitheranoil-oranacrylic-based

primer.Itisbettertouseanoil-primedcanvasforoilpaintingandleaveacrylic-

primedonesforacrylicpaintings,butyoucanuseanacrylic-primedcanvasfor

oilsifyoupaintthinlyandonasmallscale.

Canvasmaybesingle-ordouble-primed.Thelatterismoreexpensive;ithasa

densersurface,butitislessflexiblethansingle-primedcanvas.

Canvastexture

Theformaleleganceofthisabstractpaintingisenhancedbythesubtletextureofthelinencanvas,whichappearsthroughthethinlayersofoilpaint.

PádraigMacmiadhachainBlueMorningOiloncanvas25×30cm(10×12in)BuyingeconomicallyBeforebuyinglengthsofcanvas,workouthowyouwilldivideupthefabrictomakeasmanypicturesaspossiblewiththeminimumofwastage(canvasrollscomeinseveralwidths).Whendoingyourcalculations,don’tforgettoallowa50mm(2in)overlapallroundeachpictureforattachingthecanvastothestretcher.

Acrylicandoildon’tmixMostoftheready-preparedcanvasesandboardsavailableinartshopsareprimedforusewithoiloracrylicpaint.Ifyoupaintinacrylics,takecarenottobuysupportswhicharepreparedspecificallyforoils.Thelinseedoilintheprimerrepelsacrylics,andthepainteventuallycomesawayfromthesupport.

OverlapRemembertoaddaminimumof50mm(2in)ofcanvasallround,forwhenyouattachittothestretcher.SEEALSOSTRETCHINGCANVAS16SIZINGFOROILS22

PRIMING24OILPAINTS64ACRYLICPAINTS110

STRETCHINGCANVASStretchingyourowncanvasnotonlyoffersasavingincost,butalsomeans

thatyoucanprepareacanvastoyourownspecifications.

StretcherbarsWoodenstretcherbarsaresoldinmostart-supplystoresandcomeindifferent

lengths.Theyhavepremiteredcornerswithslot-and-tenonjoints.Thefaceside

ofeachstretcherbarisbevelledtopreventtheinneredgeofthestretcher

creating“ridge”linesonthecanvas.Stretcherbarscomeinvaryingwidthsand

thicknesses,dependingonthesizeofsupportyouwishtomake.Forawork

under60×60cm(24×24in),use45×16mm(13/4×

5/8in)stretcherbars.For

largerworks,use57×18mm(21/4×

3/4in)bars.

WedgesYouwillalsoneedeightwedgesor“keys”foreachstretcher.Thesefitintoslots

ontheinsideofeachcorneroftheassembledstretcher;ifthecanvassagsata

laterdate,thewedgescanbedriveninfurtherwithahammertoexpandthe

cornersandmakethecanvastautagain.

Canvas-strainingpliersCanvas-strainingpliersareespeciallyusefulforstretchingready-primed

canvases.Theygripthefabricfirmlywithoutanyriskoftearing,andthelower

jawisbevelledtogivegoodleveragewhenpullingfabricoverastretcherbar;the

correcttensionisachievedbyloweringthewristasthecanvaspassesoverthe

backoftheframe.

OtherequipmentUseaheavy-dutystaplegunandnon-rustingstapleswithadepthofatleast

10mm(3/8in)tofixthecanvastotheframe.Youwillalsoneedaruleortape,a

pencilandapairofscissorstomeasureandcutoutthecanvas;awoodenmallet

totapthestretcherbarstogether;andaT-squaretocheckthattheframeis

square(oryoucanusealengthofstringtoensurethatthediagonal

measurementsbetweenthecornersarethesame).

LargecanvasesAsupportthatislargerthan80×100cm(32×40in)willrequireanextracrossbarbetweenthetwolongestsides,tosupportthemwhenthecanvascontractsduringpreparation,exertingagreatdealofforce.

TacksUsingahammerandnon-rustingcantackstofixthecanvastotheframeismoreeconomicalthanstapling,butmeansmorework.

PliersCanvas-strainingpliersstretchready-primedcanvasesfirmlyandwithouttearing.

CuttingthecanvasUsepinkingshearstocutcanvas;theyavoidtheneedtofoldtheedgesoveratthebackoftheframetopreventthecanvasfraying.

AssemblingthestretcherframeSlotthestretcherbarstogether,checkingthatallthebevellededgesareatthefront.Tapthecornersgentlywithawoodenmalletorapieceofwoodforaclosefit.

CheckingforsquareUseaT-squaretocheckthatallthecornersoftheassembledframemakerightangles.Double-checkbymeasuringthediagonalswithanexpandingtapemeasureoralengthofstring;theyshouldbeofequallength.Iftheframeisoutoftrue,correctitbygentlytappingthecornerswiththemallet.

StretchingthecanvasWorkingonalargetableorthefloor,laytheframebevel-sidedownonapieceofcanvas.Cutthecanvastofittheframe,allowingamarginofabout50mm(2in)allroundforstapling(1).

(1)CuttingoutthecanvasEnsurethatthewarpandweftthreadsofthecanvasrunparallelwiththesidesoftheframe.Foldthecanvasroundtotheback,andsecurewithastapleatthecenterofonelongstretcherbar(2).

(2)SecuringwiththefirststapleReversetheframe,pullthecanvasfirmlyandevenly,andsecureastapleoppositethefirstonesothatconsistentstrainingisobtained.Youcanusecanvas-strainingpliers,ifnecessary,togriptheclothandpullittautovertheframe(3).Ifgluesizeistobeapplied,thecanvasshould

betaut,butnotastightasadrum,toallowforpossibleshrinkage.Repeattheprocessonthetwoshortsides,sothatonestapleholdsthecanvastothecenterofeachstretcherbar(4).Checktheparallelalignmentofthecanvasweave.

(3)Tensioningthecanvas

(4)Continuingtostaple

SecuringthecanvasNowaddtwomorestaplestoeachofthefourstretcherbars–oneoneithersideofthecenterstaples–followingthesequenceshowninthediagram(5).Thestaplesshouldbeevenlyspacedat50mm(2in)intervals.Continueaddingpairsofstaplestoeachside,graduallyworkingtowardsthecorners.Insertthe

finalstaplesabout50mm(2in)fromeachcorner.Notethatworkingsystematicallyouttothecornerskeepseachsideinstepwiththeothers.Fasteningthecanvascompletelyononesidebeforedoingthenextstretchesthecanvasunevenly.

(5)Stretchingandstapling

(6)FixingthefirstcornerstapleFinishingoffThecornersshouldalwaysbefinishedoffneatly;iftheyaretoobulkyyouwillhavedifficultyinframingthepicture.Pullthecanvastightlyacrossonecornerofthestretcher,andfixwithastaple(6).Thentuckintheflapsoneithersidesmoothlyandneatly(7)andfixwithstaples.Takecarenottostapleacrossthemiterjoin,asthiswillmakeitimpossibletotightenthecanvaslateron.Thenfixthediagonallyoppositecorner,followedbytheremainingtwo.Ifnecessary,hammerthefoldsflattoproduceaneatcorner(8).Finally,inserttwowedgesintheslotsprovidedineachoftheinnercornersoftheframe;forcorrectfit,thelongestsideofeachwedgeshouldliealongsidetheframe(9).Tapthewedgeshomeverylightly.Thecanvasisnowreadyforsizingandpriming.

(7)Foldingtheflaps

(8)Thefinishedcorner

(9)InsertingthewedgesSEEALSOCANVAS14SIZINGFOROILS22

BOARDSANDPANELSMan-madeboardsarecheapertobuyandpreparethanstretchedcanvas;they

arealsoeasiertostoreandtransport,andtheywillprovideamoredurable

supportthancanvas.

WoodpanelsWood,forcenturiesthetraditionalsupportforoilandtemperapainting,canno

longerbereliedupontobewellseasoned,soittendstosplitandwarp.Itisalso

heavytotransport,andisnowlargelysupersededbyeconomicalcomposition

boards.

Hardboard(Masonite)Hardboardisinexpensive,strongandlightweight.Itisavailableintwoforms:

temperedanduntempered.Thetemperedvarietyissuitableforoilpaintsand

primers,anditdoesnotrequiresizing.Foracrylicpainting,however,use

untemperedboard,whichhasnogreasyresidue.Sundealaboard,grade“A,”is

particularlyrecommended,asitislightweightanditssurfaceisslightlymore

porousthanstandardhardboard,givingagoodkeyforsizeandprimer.

Hardboardhasonesmoothandoneroughside;thesmoothsideistheone

mostoftenused.Theroughsidehasatexturewhichresemblescoarsecanvas,but

itisonlysuitableforheavyimpastowork,asthetextureisverymechanicaland

over-regular.

Hardboardispronetowarping,particularlyinhumidclimates,butthisriskis

reducedbyprimingthefront,backandedgesoftheboard.Paintingslargerthan

45cm(18in)squareshouldadditionallybebracedwithaframeworkofwood

batteningacrosstheback(seebelow).

PlywoodPlywoodcomesinvariousthicknessesandhassmoothsurfaces.Itdoesnot

crack,butitcanwarp.Tokeepthesheetstable,sizeandprimeitonthefront,

backandedges.Largesheetsshouldbebattenedor“cradled”bygluingwooden

battenstothebackoftheboard(seebelow).

Chipboard

Chipboardismadefromwoodparticlescompressedintoarigidpanelwithresin

glue.Thickpanelsofchipboardareasoundsupportastheydonotcrackorwarp

anddon’trequirecradling,buttheyareheavytotransport.Anotherdisadvantage

isthatthecornersandedgesmaycrumble,and,beingabsorbent,theyneedtobe

wellprimed.

Medium-densityfiberboard(MDF)MDFismadefrompressedwoodfiberandisavailableinawiderangeof

thicknessesandinstandardboardsizes.Itisadense,heavy,butverystable

materialandhasfine,smoothsurfaces.MDFiseasilycutbyhandorwith

machinetools.Large,thinpanelsmayneedtobecradledtohelpkeepthemflat

(seebelow).

KeyinghardboardBeforepaintingonthesmoothsideofhardboard,lightlysandthesurfacetoprovideakeyfortheapplicationofprimer.

PreparingapanelTosavetime,anartistwillperiodicallyprepareabatchofpanelsatonce,allcutfromonesheetofboard.Forexample,fromasheetofhardboardmeasuring120×240cm(4×8ft)youcancutthirty-two30.5×30.5cm(12×12in)panels,orthirty-eight25.5×30.5cm(10×12in)panels.Mostlumberyardscutboardforasmallfee,oryoucancutityourself.

CuttingpanelsMarkoutthesheetwitharuleandpencil,makingsureallthecornersaresquare,andsawalongtheselines.Now“dress”theedgesofeachpanelwithasandingblocktoremoveanyburrsfromthesawcuts.Toprovideakeyforthesizeorprimingcoat,lightlysandthesurfaceofeachpanel.Alwaysusealighttouch;toomuchdownwardpressuremaycreatedepressionsintheboard.

CradlingboardsCuttwobattens50mm(2in)shorterthanthewidthoftheboard.Chamfertheendsandthensecurethebattenstothebackoftheboard,usingwoodglueforman-madeboards,orwoodscrewsforsolidwoodorthickerboards.

CardboardDegasandToulouse-Lautrecpaintedonunprimedcardboardonoccasions;they

useditswarmbrowncolorasamiddletone,andproducedamatt,pastel-like

effectontheabsorbentsurface.However,afinishedpaintingmustbeframed

underglassifitistolast.Cardboardmustbesizedonbothsidesandonthe

edgestopreventwarpingandtostopimpuritiesinthecardboardfromleaching

intothepaint.

MountboardHeavymountboard,orpasteboard,isavailableinarangeofcolorsandhasa

smoothsurfacesuitableforpaintinginacrylicsandgouache,particularlywhen

thinwashesandglazesareapplied.Itisalsousedforpen-and-inkdrawing.

Alwayschooseconservationboardforworkthatisintendedtolast,asthisis

guaranteedacid-free.

WatercolorboardWatercolorboardconsistsofasolidcorefacedwithgood-qualitywatercolor

paper.Theboardprovidesextrastrengthandstability,anddispenseswiththe

needforstretchingpaperpriortopainting.Checkthatthecoreoftheboard,as

wellasthepaper,isacid-free.Watercolorboardsalsoperformwellwithpastel

andcharcoal.

PastelboardPastelpapermountedonboardisavailableinarangeofsizes,colorsand

finishes,fromsoftvelourtoahigh-tooth,abrasivesurface.

GessopanelsGessopanelsarethetraditionalsupportforegg-temperapainting.Theycanalsobeusedforoil,acrylicandwatercolorpainting,butarequitedifficultandtime-consumingtoprepare.Ready-preparedgessopanelscanbeboughtfromspecialistartstores,thoughtheyareexpensive.Gessopanelshaveanexceptionallysmooth,brilliantwhitefinishwhichparticularlyenhancesthetranslucenceoftemperacolors.

HenrideToulouse-Lautrec(1864–1901)WomaninProfile(detail)Oiloncardboard

TomCoatesAlfredDanielsPaintingOilonpanel25×20cm(10×8in)

CardboardandhardboardCardboard’swarmcolorbringsamellowharmonytoToulouse-Lautrec’soilsketch.Notehowthebrushdragsontheabsorbentsurface.Forhisbravurapainting,TomCoatesusedthereversesideofsomeunprimedhardboard.Thereisalivelyinterplaybetweenthickimpastosandthin,drybrushedmarks,withthepaintcatchingonthetoothoftheboard.

Marouflagingaboard

(1)Cuttingthefabrictosize

(2)Applyingsizetothefaceandedges

(3)Smoothingthefabric

(4)Trimmingthecorners

(5)Foldingthecorner

CanvasboardsandpanelsCommerciallypreparedcanvasboardsandpanelsconsistofacrylic-primed

cottoncanvasmountedonrigidboard.Theycomeinarangeofstandardsizes

andsurfacetextures,andareagoodchoiceforbeginners.Becausetheyare

compactandlightweight,theyareidealforpaintingoutdoors.Cheaper-quality

canvasboardswithanimitationcanvassurfacehaveanunsympathetic,

mechanicaltextureandaratherslipperysurfacepriming,andthebackingboard

ispronetowarping.

MarouflagingboardManyartistspreparetheirowncanvasboardsbycoveringboardswithcanvasor

muslin–amethodknownasmarouflaging.Fabricgluedtoboardprovidesa

surfacewhichcombinestheuniquefeelofworkingoncanvaswiththegreater

stabilityofafirmsurfacewhichisnotpronetomovementunderatmospheric

changes.Anynaturalfabriccanbeused,suchaswornlinen,cottonsheetsor

tablecloths,unbleachedcalico,buttermuslinorcanvasoffcuts.

MethodCheckthattheboardiscutsquareandtrue.Dresstheedgesandlightlysandthe

smoothsidetoprovideakeyfortheglue.Brushawayallsawdust.Laytheboard

overthefabric,thencutthefabrictosize,allowinga50mm(2in)overlapall

round(1).

Withahouseholdpaintbrush,applysizetothefaceandedgesoftheboard

(2).Smooththefabricovertheboardwithanequaloverlapallround(3).Ensure

thatthewarpandweftthreadsliestraightandparallelwiththeedges,asany

distortionintheweavewillshowinthefinishedpictureandbevisibly

distracting.

Applymoresizetothecloth,brushingfromthecenteroutwardsand

smoothingoutanycreasesorairbubbles.Whenthesizehasdried,turnthe

boardoverandtrimacrossthecorners(4).

Sizeamarginaroundtheedgeofthereverseoftheboard,wideenoughto

stickdowntheoverlappedcloth,whichshouldnotbepulledtootightasitmay

causetheboardtowarp.Smoothdowntheflapsofmaterialandfoldthecorners

overneatly(5).Addafinalcoatofglueoverthereversesidetopreventwarping.

Leavetodryflatovernightbeforepriming.

PrimingforoilpaintToprovideasympatheticsurfaceforoilpaint,primeamarouflagedboardwithalkydoracrylicprimer.Ifyoupreferaslightlyabsorbent,mattsurface,thintheprimerwithwhitespirit(about10percentbyvolume).

Time-savingWhenmakingupseveralsmallboards,youwillfinditquickerandeasiertogluethefabrictoalargepieceofboard.Leaveittodryandthencutitupintotherequirednumberofboards,usingabandsaw.Aslongasthefabricisglueddownfirmly,itwon’tmatterthatsomeedgeshavenooverlap.

PreparingcanvasboardIfyoudisliketheslipperysurfaceofsomecommerciallyprimedcanvasboards,youcansimplyapplyafurthercoatofalkydoracrylicprimer,inordertogiveamoreabsorbentsurface.Matthouseholdpaintmaybeusedforsketchesorpracticework.SEEALSOPRIMING24

PAPERSFOROILSANDACRYLICSPaperisaperfectlysatisfactorysupportforsmall-to-medium-sizepaintingsas

wellaspreparatorysketches,aslongasitisaheavy,good-qualityonewith

plentyoftoothtogripandholdthepaint.Thinpaperswillbucklewhenthey

aresizedorprimed.

PreparationPapermustalwaysbesizedbeforeoilpaintisappliedinordertopreventtheoil

binderbeingabsorbedandleavingthepaintfilmunderbound.Thepapermaybe

sizedwithrabbit-skinglue,PVAglueoracrylicmattmedium,orprimedwith

acrylicprimer.Sizingisnotnecessaryforacrylicpaints.

AcrylicsketchingpaperThiscomesintheformofspiral-boundpadsofembossed,acrylicprimedpaper,whichareveryconvenientforsmallpaintingsandsketches.

TypesofpaperWatercolorpaperHeavy,rough-surfacedwatercolorpaperorhandmadeIndianpapercanbeused

asasupportforoilandacrylicpainting.Thepaper’stextureshowstoadvantage

whenthecolorisappliedinthinwashes.Forextrastrength,thepapercanbe

mountedontohardboard.

Oil-paintingpaperSheetsofpaper,texturedtoresemblecanvasandprimedreadyforoilpainting,

areavailableinfineorcoarsegrades.Cheaper-gradeoil-sketchingpapercomes

inpadandblockform.Thisisconvenientforsketchingoutofdoorsandis

economicalforpracticework,butyoumayfindthatthesurfaceisgreasyand

unpleasanttoworkon,likethatofthecheaperpaintingboards.

PaperforoilpaintingSizethiswithrabbit-skinglue,PVAglueoracrylicmattmedium,orcoatwithacrylicprimer.

Indianpaper(top)andcanvas-texturepaper(above)

PaintingonpaperPaperisanexcellentandeconomicalsupportforpainting.Itwillacceptmostmedia,aslongasyoufollowtherulesofpreparation.Thispaintingisinacrylics,workeddirectlyontoagood-quality,heavy-weightwatercolorpaper.Atonedwashofthinnedacrylicwasappliedfirst,totonedownthewhitesurfaceandtoactasanextrasizeforthesupport.

DennisMathewRooneyHauntofAncientPeaceAcryliconwatercolorpaper38×53cm(15×211/4in)

SEEALSOSIZINGFOROILS22WATERCOLORPAPERS28OILTECHNIQUES162ACRYLICTECHNIQUES202

SIZINGFOROILSSupportsforoilpaintingmustalwaysbesealedwithathincoatofgluesize

beforetheapplicationofaprimingcoat.However,youshouldnotpreparethe

canvaswithgluesizeifyouaregoingtouseanacrylicgroundoracrylicpaints.

FunctionofsizeSizesealstheporesbetweenthefibersofthesupport,makingitlessabsorbent.

Thispreventstheoilbinderintheprimingandpaintlayersfromsinkingintothe

support,leavingthepaintfilmunderboundandliabletosinking,flakingand

cracking.

Rabbit-skinglueRabbit-skingluehastraditionallybeenusedforsizingoil-paintingsupports,

sinceithasgoodadhesivestrength.Itcomesintheformofgranules,andis

availableinmostart-supplyshops.Thegluesizeismadebymixingdrygluewith

waterandgentlyheatingit–butbewarnedthatitsmellsunpleasant!

PreparingsizeTheingredientsshouldbecarefullymeasuredtoproducetherequiredstrength.

Ifthesizeistoostrong,itformsabrittlelayerwhichcouldcausetheprimerand

thepaintingtopeelandcrack;toodiluteasizewillproduceaweakfilmwhich

allowsoilfromtheupperlayerstosinkintothecanvas.

Placethedrygranulesintothetoppartofadoubleboiler.Addthewaterand

leaveforabouttwohourstoswell.Heattheresultingsolutiongentlyinthe

doubleboileruntilithasmelted,stirringuntilallthegranuleshavecompletely

dissolved,andneverallowingthesizetoboil–thiswilldestroymuchofits

sizingqualities.Ifyoudon’thavetheuseofadoubleboiler,youcanheatthe

glueinabowlstandinginapanofwater(asshownintheillustration,below).

Setasidetheglueforacoupleofhours,tocoolandformajelly.Keepthe

containercoveredtopreventanylossofwaterthroughevaporation,andto

protectfromdustandflies.Testthestrengthofthegluewithafinger–the

surfaceshouldberubbery,yetjustsoftenoughtosplit.Thesplitformedshould

beirregular;ifitissmoothandclean,thesizeistoostrong.Ifthisisthecase,

justrewarmit,addwater,andallowittoreset.Ifthesizehasnotset,youcanstir

inupto10g(1/4oz)ofglueandthenleavetosoakfor12hours.

Rabbit-skinglueThisisthetime-honoredsizeforrenderingcanvasimpervious.Availableingranuleform,itisdissolvedinhotwater.

PreparingsizeinadvanceIfyouaremixingupabatchforlateruse,itisusefultonotethatgluesizecanbe

keptinarefrigeratorforuptoaweekbeforestartingtodecompose.

RecipesforgluesizeThesemeasurementsareagoodstartingguide,althoughyoumaywishtovarythemslightly.

Forsizingcanvas:Youneed55g(2oz)–tworoundedtablespoons–glueto1.1litres(2pints)water.(Alternatively,use1partbyvolumeofglueto13partswater.)

Forrigidpanels:

Useastrongersolutionof85g(3oz)glueto1.1litres(2pints)water.Thisrecipewillmakeenoughsizetocoverasupportmeasuringabout120×180cm(4×6ft).

ImproviseddoubleboilerAneffectivesubstitutecanbemadefromabowlorcleantincanheatedinapanofwater.

ApplyingsizeRabbit-skinglueisastrongadhesiveandmustbeusedthinly,oritwillcrack.

Onethincoatissufficienttosizeacanvas;toothickalayerformsacontinuous,

levelfilmonthesurface,andpreventsthesubsequentpriminglayerfrom

bondingwiththecanvas.Gentlyreheatthesizeuntilitisjustlukewarmand

almostjelly-likeinconsistency.Applyittothecanvasinathinlayer,working

quicklybeforethesizebeginstodry.Startfromtheedge,andbrushinone

directiononly–donotmakeaback-and-forthmotionwiththebrush,astoo

muchsizewillbeapplied.Sizethebackflapsandedgesofthesupportaswellas

thefront.Leavetodryinadust-freeplaceforabout12hoursbeforeapplying

primer.

TemperatureSizemaybeappliedhottopanelsandboards,butoncanvasitmustbeapplied

lukewarm.Iftoohot,itwillsoakthroughandgluethecanvastothestretcher

andyouwillneedtopriseitfreewithapaletteknife.Hotgluesizemayalso

causefabrictoover-tighten.

SizingboardsandpanelsForboardsandpanels,usetheslightlystrongersolutiondescribedonthe

oppositepage.Thinboardsshouldalsobesizedonthereverseandedges,to

preventwarping.Leavetodryfor12hours,thensandlightly.

KenHowardHomagetoLautrecOilonunprimedcanvas40×30cm(16×12in)

UnprimedsupportsThewarmbrowntoneofsurfacessuchashardboard,plywood,cardboardandlinencanvasprovidesamiddletonewhichcanbeincorporatedintothepainting.Tomakethemsuitableforpaintingon,whilemaintainingtheircolorandtexture,sealthemwithacoatofdilutegluesize(foroils)oracrylicmedium(forallmedia).Here,KenHowardusesverythin,turpentine-dilutedpaint,sothatthecanvascolorshowsthrough.Thisgivesamarvelousimpressionofreflectedlightonthemodel’sback.

Brushsizeinonedirectiononly

SizingimplementsThebestbrushforsizingisaflathogvarnishingbrush,withagoodwidthandlongbristles.Decorators’brushescanbeused,butpoor-qualityonesmayshedhairs.Someartistsuseanaturalsponge,whichgivesmorecontrol;gentlysqueezeoutmoregluewhenyoufeelthesurfacegoingdry.Itcanalsobeusedtomopupanyexcess.

AlternativegluesizeAmodernalternativetotraditionalgluesizeiscarboxymethyl/cellulose(CMC).Thisexpandsandcontractsatthesamerateasthecanvas,greatlyreducingtheriskofcracking.Itisalsoeasiertouse:justdissolvethegranulesineitherwarmorcoldwater(usingan8percentsolutionbyvolume),leavetoswellandapplywithastiffbrush.Thereisnoheatinginvolved–andnosmell.SEEALSOCANVAS14BOARDSANDPANELS18PRIMING24FAT-OVER-LEAN166UNDERPAINTING164

PRIMINGTheprimer,orground,notonlysealsandprotectsthesupport,butalso

providesabasethatwillreadilyaccepttheapplicationofpaint.

ChoosingprimerTherearevarioustypesofprimer,eachwithitsdifferentcharacteristics.Itis

importanttochoosetherightoneforyourneeds,asitaffectsthewaypaintis

“pulled”fromthebrush,anditsfinishedappearance.Forexample,ifyouliketo

workonasmoothsurface,youwillrequireadifferentgroundtosomeonewho

prefersaslightlytextured,dryishsurfacethatgivesthepaintamatt,chalky

appearance.

Inaddition,itisvitalthatyouselecttherighttypeofprimerforyourchosen

support.Canvasexpandsandcontracts,andthusrequiresaflexibleground;

thereforeaninflexiblegessogroundisnotsuitable.

Thegroundshouldbeabsorbentenoughtoprovideakeyforthepaint,but

notsoabsorbentthatitsucksoilfromit–acommoncauseofsinking(the

appearanceofdullpatchesofpaintacrossthecanvas).

OilprimerThetraditional,andbest,primerforoilpainting,particularlyonstretched

canvas,isoil-basedlead-whiteprimer.Thisisflexible,stretchingandcontracting

withthecanvasonchangesintemperatureandhumidity.Itdriestoforma

durablebase,whichwillnotabsorbtoomuchoilfromthepaint.

ApplyingoilprimerLead-whiteprimerisquitestiff,andshouldbeletdownslightlywithturpentine

sothatitcanbebrushedouteasily.Applyanevencoatasthinlyaspossible,

brushingitinwell(1).Finishoffwithalongsmoothingstrokeinlinewiththe

weaveofthecloth(2).Youshouldleavethisfirstcoattodryfortwodaysbefore

applyingasecondcoat.

Theprimedcanvasshouldeitherbeusedwhiletouch-dry(withinaweekor

two)orbelefttocureforfourtosixmonthsbeforeuse.Ifpaintisapplied

betweenthesetimes,theprimersucksoilfromthepaint,leavingitunderbound

andwithinsufficientadhesiontothesupport.

YellowingThelinseedoilinwhichleadwhiteisgroundturnstheprimingcoatyellowifthe

primedsupportisstoredawayfromthelightforanylengthoftime.The

whitenessisrestoreduponexposuretosunlight.

AlkydprimerThisisavalidalternativetooilprimer,asitisflexible,non-yellowingandfast-

drying;eachcoatcanbeoverpaintedafter24hours.Dilutealkydprimerwith

white(mineral)spirittotherequiredconsistency.

CheckingprimersCommerciallyproducedprimersmaybecomehardifkeptontheshelffortoolong,soitiswisetoshakeacanbeforebuyingittomakesurethatthecontentsarestillliquid.

Applyingprimer:

•Applyitinseveralthincoats–athincoatispliablewhileathickcoatislikelytocrackandmayevenflakeoffthesupport.

•Covertheentiresurfaceevenly.Don’tgobackoverbrushstrokes.•Makesurethateachcoatistouch-drybeforeanysubsequentcoatisapplied,andalsobeforestartingtopaint.

(1)Applyingathin,evencoat

(2)Finishingoff

AcrylicoverglueNeveruseacrylicprimeroveranimal-gluesize,asitwillpreventthepaintfromadheringproperlytothesupport.

PaintrollersItisagoodideatouseapaintrollertoapplyacrylicprimer.Arollerkeepsthepaintmovinganddeliversanevencoat;forsmallsupports,useasmallradiatorroller.

AcrylicprimerAcrylicprimerisflexible,durable,water-thinnable,fast-dryingandinexpensive.

Itcanbeusedtoprimecanvas,board,paperandothersurfaces,andcanbe

applieddirectlytothesupportwithouttheneedofanisolatinglayerofsize.It

driesinafewhours.

Acrylicprimeristheidealsurfaceforacrylicpaints,providingabright

undercoatwhichbringsoutthevividnessofthecolorsandgivesadded

luminositytothinwashes.Itcanalsobeusedwithoilpaintsonrigidsupports,

butthisisnotrecommendedforcanvaspainting,exceptinathinlayer:acrylicis

moreflexiblethanoil,andthedifferenttensionsmayeventuallyleadtocracking

ofthepaintsurface.

Acrylicprimerisoftenreferredtoasacrylicgesso,aconfusingtermasitisnot

agessoatall;traditionalgessoispreparedwithanimalglueandchalk,andisvery

absorbent.

ApplyingacrylicprimerWorkfromtheedgesandapplytheprimerquicklyinsections.Usealargebrush

orapaintroller,andkeeptheworkingedgemoving,asacrylicprimerdries

quickly.Leavetodryforafewhours.Thesecondcoatshouldbeappliedatright

anglestothefirst.

Whenprimingboard,youcanapplyasmanyasfivecoatsforgreater

whitenessandopacity.Forareallysmoothfinish,thinthelastcoatwithalittle

water.Foratexturedfinish,impressapieceofcanvas(oranytexturedfabric)

intothefinalcoatofprimerwhileitisstilldamp.Pullitaway,thenletthepanel

dry.

UsingprimercreativelyThelovely,matt,airyqualityofFredCuming’spaintisdueinparttothegroundheworkson.Aftermanyyearsofpainting,Cumingstillfindsthebestprimerisagood-quality,matt,whiteundercoat.Whentheprimeristhoroughlydry,heappliesathinlayeroflinseedoiltothesurfaceandwipesitoffimmediately,leavingjustatraceofoil.Whenthisisdry–aftertwoweeks–theresultingsurfaceprovidesasoundkeyforthepaint,andpreventsitsinking.

FredCumingBathers–CapeFerrettOilonpanel60×50cm(24×20in)BrianSinfieldGallery,Burford

WorkingsequenceWorkinsections;leaveprimertodrybetweencoats;applysubsequentcoatsatrightangles.

EmulsionpaintAneconomicalprimer,oftenusedbystudents,isordinarymatthouseholdpaint,whichprovidesasympathetic,semi-absorbentground.However,householdpaintshouldonlybeusedonrigidsupports,andnotonstretchedcanvas.Useonlygood-qualitypaint;cheapemulsionshavealimitedlifespan.

TexturedfinishForatexturedfinish,layandthenpressapieceoftexturedmaterial,suchasanoldpieceofsacking,intothefinalprimercoat.SEEALSOCANVAS14BOARDSANDPANELS18SIZINGFOROILS22TONEDGROUNDS27OILPAINTS64FAT-OVER-LEAN166TEMPERA108ACRYLICPAINTS110

MAKINGPRIMERSReady-madeprimersareadequateforgeneralneeds,butobviouslythey

cannotbetailoredtoindividualrequirements.Makingyourownprimeris

economicalandwillgiveyougreatercontroloveritsqualityandabsorbency.

Egg-oilemulsionThisgeneral-purpose,easilymadeprimerissuitableforcanvasandboard.Itis

readytopaintonaftertwodays’drying.

Breaktheeggintoajar.Usingtheeggshellasameasure,addthesamevolume

ofrefinedlinseedoilandtwicethevolumeofcoldwater.Screwthelidonthejar

andshakevigorouslyuntilanemulsionisformed.Grindalittleemulsionwith

titaniumwhitepigmentuntilitformsastiffwhitepaste;addtherestofthe

emulsiontobringthemixturetotheconsistencyofdoublecream.Thinthe

mixturetoamilkyconsistencywithlukewarmgluesizemixed1partto12parts

coldwater.Brushverythinlyontoasizedsupport.

Egg-oilingredients

•titaniumwhitepigment•oneegg•linseedoil•gluesize•water

TraditionalgessoBrilliantwhitegesso,isverysmoothandporous,andistheidealbasefor

paintingluminouscolorsanddetail.Gessoisbestappliedtoarigidsupport

preparedwithgluesize–itisnotflexibleenoughforuseoncanvas.Itismost

suitedtowater-basedpaints,suchastempera,acrylicsandChromacolors.

Heatthesize,mixed1partto8partscoldwater,gentlyinadoubleboiler.

Slowlyaddsomewarmsizetothewhitingandstiruntilitformsathickpaste.

Blendwithoutcreatingexcessbubbles.Graduallyaddtherestofthesizeuntila

smooth,creamymixtureisobtained.(Keepthepotofgessowarmandcovered,

otherwiseitwillharden,thewaterwillevaporateandthegluewillbecometoo

strong.)Toincreasethebrilliance,addpowderedwhitepigment.Leaveforafew

minutesbeforeusing.

Gessoingredients

•1partGilder’swhiting•1partgluesize

ApplyinggessoApplygessocarefullyinthinlayersandworkquickly:ifyougobackoveranarea,

streakswilldevelop.Dampenthebrushwithsomewatertopreventairbubbles

formingonthesurface.Applythefirstcoatofhotgessoinshort,evenstrokes

(1),keepingtheworkingedgemoving–whenthegessobeginstocool,moveon

toanadjacentarea.Applyuptosixcoatsforadense,whitefinish;addeachcoat

atrightanglestothelast(2),usingshortback-and-forthstrokes.Eachcoat

shouldbecompletelydrybeforethenextoneisapplied.Leveloffinone

direction(3).Lightlysandbetweencoatswithfinesandpaper(4),dustingoffthe

surfacebeforeapplyingthenextcoat.

(1)Applyingthefirstcoat

(2)Addingcoatsatrightangles

(3)Levellingoff

(4)Sandingbetweencoats

SealinggessoOnanabsorbentgessosurface,oilpainttakesonamatt,airyqualitywhichispleasingbutmakesthepaintquitedifficulttohandle.Inaddition,gessosoaksupmuchoftheoilfromsubsequentpaintlayers,leavingthembrittleandpronetocracking.Toovercomethis,thedrygessosurfaceshouldbepartiallysealedwithaweaksolutionofgluesize(abouthalfthestrengthusedtomakethegesso).SEEALSOPRIMING24ACRYLICPRIMER25TEMPERA108ACRYLICPAINTS110CHROMACOLOR116COLORHARMONY225

TONEDGROUNDSSomeartistsliketopaintonatonedorcoloredground,asawhitegroundcan

beinhibiting;bycoveringthecanvasorpaperwithawashofneutralcolor,you

immediatelycreateamoresympatheticsurfaceonwhichtowork.

“Reading”tonesandcolorsAwhitegroundcangiveafalse“reading”oftonesandcolors,especiallyinthe

earlystagesofapainting,whenthereisnothingtorelatethemto.Mostcolors

appeardarkeronawhitesurfacethanwhentheyaresurroundedbyothercolors,

andthiscreatesatendencytopaintintoolightakey.Ifyouworkonaneutral,

mid-tonedgroundyouwillfinditmucheasiertoassesscolorsandtones

correctly,andyoucanpainttowardslightordarkwithequalease.

Ifthecolorofthegroundisallowedtoshowthroughtheoverpaintingin

places,itactsasaharmonizingelement,tyingtogetherthecolorsthatarelaid

overit.

ChoosingagroundcolorThecolorchosenforatonedgroundwilldependonthesubject,butitis

normallyaneutraltonesomewherebetweenthelightestandthedarkestcolorsin

thepainting.Thecolorshouldbesubtleandunobtrusive,sothatitdoesnot

overwhelmthecolorsintheoverpainting.Dilutedearthcolors,suchasVenetian

red,rawsiennaorburntumber,workverywell,asdosoftgraysandgreens.

TransparentandopaquegroundsAtonedgroundcanbeeitheropaqueortransparent.Withatransparentground

(alsoknownasimprimatura),thepaintisheavilydilutedandappliedasathin

wash.Atransparentgroundallowslighttoreflectupthroughthesucceeding

colors,therebyretainingtheirluminosity,anditisusedwheretransparentor

semi-transparentcoloristobeapplied.Opaquetonedgroundsareusedwith

opaquepaintingmethods,wherethelight-reflectingqualitiesofawhiteground

arenotsoimportant.

Applyingtransparentgrounds

Dilutethecoloruntilitisthin,andthenapplyitwithalargedecorator’sbrush

Dilutethecoloruntilitisthin,andthenapplyitwithalargedecorator’sbrush

oralint-freerag.Loose,vigorousstrokesgiveamorelivelyeffectthanaflat

stainofcolor.Afterafewminutes,youshouldrubthewashwithacleanrag,

leavingatransparentstain.

MakingopaquegroundsMixalittletubecolorintothewhiteprimingorgessobeforeapplyingit.

Alternatively,youcanmixthecolorwithwhitepaint,diluteitalittle,andthen

brushathinlayeroverthepriming.Nevermixoilpaintwithanacrylicprimer,

orviceversa.

DryingtimesAtonedgroundmustbedrybeforeyoucanpaintoverit.Anoilgroundtakesadayortwototouch-dry;anacrylicgroundisdryinminutes.Solongasitisappliedthinly,youcanuseacrylicpaintforthetonedgroundandworkoveritwithoils.

GroundcolorsDilutedearthcolors,suchasVenetianred,rawsiennaorburntumber,aresubtleandunobtrusive.

JacquelineRizviTwoApplesWatercolorandbodycolorontonedpaper17.5×22.5cm(7×9in)

JacquelineRizvirarelyworksonwhitepaper.Therich,glowingeffectofthissimplestilllifeisenhancedbytheuseoftonedpaperasabasefordelicatewashesofwatercolorandbodycolor.

WATERCOLORPAPERSAwell-knownprofessorofpaintingusedtosaythatnoartistreallysucceeds

untilheorshehasfoundhisorheridealpaper.Todaythereareplentyof

excellentwatercolorpapersonthemarkettochoosefrom,anditiswellworth

experimentinginordertofindtheonethatbestrespondstoyourworking

method.

PaperproductionTherearethreewaysofproducingwatercolorpaper:byhand;onamold

machine;andonafourdriniermachine.

HandmadepaperTheverybestpapersaremadeof100percentcotton,andareusuallymadeby

skilledcraftsmen.Handmadepapersarelivelytouse,durable,andhavea

pleasingirregulartexture.Theyareexpensive,butworththecost.

Mold-madepaperEuropeanmillsproducewatercolorpaperoncylinder-moldmachines.Thepaper

fibersareformedintosheetswitharandomdistribution,closetothatof

handmadepapers.Thepaperisdurable,extremelystable,andresistantto

distortionunderaheavywash.

Machine-madepaperAlthoughinexpensivetoproduceandtopurchase,machine-madepapersareless

resistanttodeterioration,buttheymaydistortwhenwet.Somepapersalsohave

amechanical,monotonoussurfacegrain.

ChoosingpaperWatercolorpaperisanexcellentsurfaceforacrylics,pencil,ink,gouacheand

pastel,aswellaswatercolor.Thecharacterofthepaper,anditssurfacetexture,

playavitalroleinthefinishedpicture.Veryoftenitisthechoiceofpaperthatis

toblameforapaintinggoingwrong,ratherthananyinadequacyonthepartof

theartist.

Somepapersaresuperiorinqualitytoothers,butitdoesnotnecessarilyfollow

Somepapersaresuperiorinqualitytoothers,butitdoesnotnecessarilyfollow

thatanexpensivepaperwillgiveyoubetterresults.Theimportantthingisto

findapaperthatissympathetictowhatyouwanttodo.Forexample,itisno

goodusinganabsorbentragpaperifyourtechniqueinvolvesrepeatedscrubbing,

liftingoutandusingmaskingfluid;thesurfacewillsoonbecomewoollyand

bruised.

Popularpapersareavailableinlocalartshops.Specialistartshopsstockless

commonandhandmadeorforeignpapers;somearealsoavailablebymail-order

directfromthemillorthroughdistributors,whocansendsampleswatches,price

listsandorderforms.

Onceyouhavesettledonafavoritepaper,itpaystobuyinquantity.The

biggertheorder,themoreyousave.

TrybeforeyoubuyTrialanderrorcanbeacostlyaffair,giventhepriceoftheaveragesheetofwatercolorpaper.However,mostpapermanufacturersproduceswatchesorpochettes–bookletscontainingsmallsamplesoftheirranges.Theseprovideanexcellentandinexpensivemeansoftryingoutseveraltypesofpaper.

Papersizes

Sizesofpaperswilldifferfromcountrytocountry,anditisstillcommonpracticeforartsupplierstodescribepaperinimperialsizes.Thefollowingtableisaguidetoimperialsizesandtheirmetricequivalents.

Medium22×171/2in(559×444mm)Royal24×19in(610×483mm)

DoubleCrown30×20in(762×508mm)

Imperial301/2×221/2in(775×572mm)DoubleElephant40×261/4in(1016×679mm)Antiquarian53×31in(1346×787mm)

Smooth-texturepaper

Medium-texturepaper

Rough-texturepaper

ExperimentingwithwatercolorpapersTryoutdifferenttexturesandmakesofwatercolorpaperuntilyoufindone

whichsuitsyourpaintingstyle.Asyoubecomemoreknowledgeable,youwill

alsobeabletochooseapapertosuityoursubject.

Intheseexamples,theartisthaschosenasmoothtextureforthenudestudy

(below),whichisperfectlyappropriateforthetoneandtextureoftheflesh.The

winter-eveningsnowscene(center)isideallysuitedforamedium-texturepaper

whichconveystheeffectofmistylightandcapturesthesubtlegrainofthesnow.

Arough-texturepaper(bottom)communicatesthesolidityofthebuildingand

thedampnessoftheweathertotheviewer.

TrevorChamberlain

RecliningNude;Snow,Late-eveningEffect;ShoweryEvening,IsleworthAllwatercoloronpaperVariousdimensionsTextureTherearethreedifferenttexturesofwatercolorpaper:(fromtoptobottom)hot-pressedorHP(smooth),Notorcold-pressed(mediumgrain)andrough.Eachmanufacturer’srangeislikelytohaveaslightlydifferentfeel.

Hot-pressedpaper

Hot-pressedpaperhasahard,smoothsurfacethatissuitablefordetailed,precisework.Mostartists,however,findthissurfacetoosmoothandslippery,andthepainttendstorunoutofcontrol.

Cold-pressedpaperThisisalsoreferredtoas“Not,”meaningnothot-pressed.Ithasasemi-roughsurfaceequallygoodforsmoothwashesandfinebrushdetail.Thisisthemostpopularandversatileofthethreesurfaces,andisidealforlessexperiencedpainters.Itrespondswelltowashes,andhasenoughtexturetogivealivelyfinish.

RoughpaperThishasamorepronouncedtooth(tinypeaksandhollows)toitssurface.Whenacolorwashislaidonit,thebrushdragsoverthesurfaceandthepaintsettlesinsomeofthehollows,leavingothersuntouched.Thisleavesasparkleofwhitetoilluminatethewash.

ChoosingwatercolorpapersChoiceofwatercolorpapersisverymuchamatterofpersonalpreference;one

artist’sfavoritemaybeanotherartist’spoison.Thechartbelowisintendedonly

asaguidetoaversatileselectionofwidelyavailablepapers.Theyhaveallbeen

triedandtestedbyprofessionalwatercolorartists;however,yourownassessment

maybequitedifferent.

Handmadepapers

EsportazionebyFabriano

Surfaces:NotandroughWeights:200,315,600gsmContent:100%cottonrag,tub-sizedArobust,texturedsurfacethatstandsuptoerasureandscrubbingandcarrieswasheswithoutsinking.Fourdeckleedges.Watermarked.

RicharddeBasbyRicharddeBasSurfaces:HP,NotandroughWeight:480gsmContent:100%cottonrag,internallysizedAthick,robustpaperwithafibroustexture.Washesfuseintothepaperstructure.Fourdeckleedges.Watermarked.

IndianbyKhadiSurfaces:HPandNotWeights:200,300gsmContent:100%cottonrag,internallysizedAstrongpaper,abletowithstandwearandtear.Liftingoutcoloriseasy,andmaskingfluidrubsoffwell.

Artists’PaperSurface:NotWeights:175,250gsmContent:100%cottonrag,tub-sized,loft-dried;bufferedwithcalciumcarbonateGentlyabsorbent,butrobustandfirm.Alsoavailableincream,oatmealandgray.Fourdeckleedges.

Mold-madepapers

ArchesAquarellebyCansonSurfaces:HP,NotandroughWeights:185,300,640,850gsmContent:100%cottonrag,tub-sized,air-driedAwarmwhitepaperwitharobust,yetsoft,texture.Carrieswasheswithoutundueabsorption.Resistsscrubbingandscratching.Liftingoutisdifficult,andfiber-liftoccurswhenmaskingfluidisremoved.

LanaAquarelle

byLanaSurfaces:HP,NotandroughWeights:185,300,600gsmContent:100%cottonrag,tub-sizedAgood,texturedsurface.Liftingoutandremovalofmaskingfluidareeasy.Allweightsstandupwelltowasheswithoutunduebuckling.

BockingfordbyInvereskSurface:NotWeights:190,300,425,535gsmContent:100%cottonrag,internallysized,bufferedwithcalciumcarbonateAversatile,economicalpaper,robustyetabsorbent.Liftingoutiseasy;maskingfluidcomesawaycleanly.300gsmalsointints.

SaundersWaterfordbyStCuthbert’sMillSurfaces:HP,NotandroughWeights:190,300,356,640gsmContent:100%cottonrag,internallyandgelatinesizedAstable,firmpaper,whichisresistanttocockling,andwithasympatheticsurface.Scrubbing,liftingoutandmaskingareeasy.

WeightsofwatercolorpaperMetric Imperial

150gsm 72lb

180gsm 90lb

300gsm 140lb

410gsm 200lb

600gsm 300lb

850gsm 400lb

AcidcontentPapersthatcontainanacidpresence,suchasnewsprintandbrownwrappingpaper,areprone,intime,toyellowinganddeterioration.PaperacidityismeasuredbythepHscale.Anacid-freepaperdoesnotcontainanychemicalswhichmightcausedegradationofthesheet,andwillnormallyhaveapHofaround7(neutral).Allgood-qualitywatercolorpapersareacid-free,topreventyellowingandembrittlementwithage.Somearealsobufferedwithcalciumcarbonate,toprotectagainstacidsintheatmosphere.

PapercontentApartfromwater,themainingredientinmakingpaperiscellulosefibers,

derivedfromeithercottonorwoodpulp.Cottonisusedforhigh-gradepapers,

woodpulpforothers.Somepaperscontainablendofcottonandothercellulose

fibers,offeringacompromisebetweencostandquality.

CottonragThebestpaperismadefrom100percentcotton.Althoughtheterm“ragpaper”

isstillused,therawmaterialnowadaysisnaturalcottonlinters.Ragpapersare

verystrong,yetpliable,andwithstanddemandingtechniques.

WoodpulpWoodpulpproducesamoreeconomical,butlessdurable,paper.Confusingly,

papersmadeof100percentwoodpulparesometimesadvertisedas“woodfree”;

thisisatechnicaltermmeaningwoodbrokendownbychemicalmeans,rather

thanmechanicalones–itdoesnotsignifythatthepaperhasnotbeenmade

fromwood.Mechanicalwoodpulpstillcontainslignin,whichreleasesacidsinto

thepaperoveraperiodoftime,causingittoyellowandembrittle.Thechemical

woodpulpusedinwoodfreepaperisprocessedtoremoveallthelignin.

WeightTheweight(thickness)ofwatercolorpapertraditionallyreferstotheweightofa

ream(500sheets)ofagivensize,mostoftenimperial(about22×30inor56×

76cm).Forinstance,a72lbpaperisalightpaper,500sheetsofwhichweigh

72lb.Themoreaccuratemetricequivalentofgramspersquaremetre(gsm)is

nowcommon.Lighterpapers(lessthan300gsm/140lb)tendtobuckleand

wrinklewhenwashesareapplied,andneedwettingandstretchingonaboard

beforeuse.Heaviergradesdon’tneedtobestretchedunlessyouintendtoflood

thepaperwithwashes.

AbsorbencyandsizingAllwatercolorpaperisinternallysizedtovaryingdegrees,tocontrolits

absorbencyandproduceamorereceptiveworkingsurface.Heavysizing

producesahardsurfacewithlittleabsorptionandalongdryingtime;thisallows

youtopushthepaintaroundonthesurface.Colorsremainbrilliant,astheyare

notdulledbysinkingintothepaper.Lightlysizedpapersaresofterandmore

absorbent,withashorterdryingtime.Alterationsaremoredifficultbecausethe

paintsinksintothefibersofthepaper,butabsorbentpapersaresuitedtodirect,

expressivepaintingmethods.

InternalsizingInternal,or“engine”sizingmeansthatsizeisaddedtothepaperatthepulp

stage,andcontainedinthebodyofthepaper.Internalsizingrendersthepaper

robustandpreventscolorwashescross-bleedingbeneaththepapersurface,even

whenithasbeenabraded.

IncreasingsizingIfpaperistooabsorbent,paintsinksintoitandcolorsappeardull.Toremedythis,dissolveateaspoonofgelatingranulesin500ml(18floz)ofwaterandapplytothesurfacebeforepainting.

ReducingsizingIfaheavilysizedpaperdoesnottakepaintwell,thenpassadampspongeoverthesurfaceseveraltimes.Leaveitfor30minutes,thendampenagainbeforepainting.Somehandmadepapersmayneedtobesoakedforuptotwohoursinwarmwater.

TryingforsizeTheamountandqualityofsizingvariesaccordingtothebrandofpaper.Aquicktestistolickacornerofthepaperwiththeendofyourtongue:ifitfeelsdryanditstickstoyourtongue,youwillknowthatitisabsorbentpaper.

SurfacesizingManywatercolorpapersarealsosurface-sized,whichisdonebybeingpassed

throughatubofgelatinsize(hencetheterm“tub-sized”).Surfacesizingnot

onlyreducestheabsorbencyofthepaperbutitalsoproducesamoreluminous

wash(onabsorbentpapers,colorstendtodryfarpalerthantheyappearasawet

wash).Italsoreducestheriskoffiberliftwhenyouareremovingmasking

materialandliftingoutwashesofcolor.

TintedpapersMostwatercolorpaperiseitherwhiteoroff-white,inordertoreflectthe

maximumamountoflightbackthroughthetransparentwashesofcolor.Some

manufacturers,however,specializeinarangeoftintedpapers,andtheseare

oftenusedwhenpaintingwithbodycolororgouache.

Youshouldalwayscheckthatthetintedpaperyoubuyissufficientlylightfast.

Good-qualitypaperswillnotfadeundernormalconditions,butcheaperpaper

maynotbeaspermanentasthecolorsthatarelaidonit,andintimethechange

couldaffecttheoveralltoneofyourpainting.

Manyartistsprefertoapplytheirowntintbylayingaverythinwashonwhite

paper.

WatercolorsheetsWatercolorpaperismostcommonlysoldinsheetform.Inaddition,manymills

supplytheirpapersinrolls,whicharemoreeconomical,andpads.Spiral-bound

padsareparticularlyusefulforwhenyouareworkingoutdoors.Theyare

availableinawiderangeofsizes,althoughtheyusuallycontain300gsm(140lb)

Notpaper.

WatercolorblocksThesecomprisesheetsofwatercolorpaperwhichare“glued”togetherroundthe

edgeswithgum.Thisblockofpaperismountedonabackingboard.A

watercolorblockremovestheneedforstretchingpaper.

Whenthepaintingiscompleted,thetopsheetisremovedbyslidingapalette

knifebetweenthetopsheetandtheonebelow.Althoughmoreexpensivethan

loosesheets,watercolorblocksareconvenientandtime-savingforartists.

WatercolorboardsWatercolorboardisyetanotherwayofavoidingtheneedtostretchpaper.It

consistsofwatercolorpaperwhichismountedontoastrongbackingboardin

ordertoimproveitsperformancewithheavywashes.

SpiralpadsWatercolorpapercanalsobepurchasedintheformofspiral-boundpads,whichareconvenientforoutdoorsketching.Theygenerallycontain300gsm(140lb)Notpaper.SEEALSOSTRETCHINGPAPER33WATERCOLORPAINTS87WATERCOLORTECHNIQUES180ART-MATERIALSSUPPLIERS392

STRETCHINGPAPERWetpaintcausesthefibersinwatercolorpapertoswell,andthiscanleadto

buckling,or“cockling,”ofthesurface.Topreventthishappening,youshould

stretchpaperbeforestartingtoworkonit.

ChoosingthebestequipmentUseonlygummedbrown-papertapeforstretchingpaper–maskingtapeandself-adhesivetapewillnotadheretodamppaper.Acleanwoodendrawingboardistheidealsurfaceforstretchingpaper;tracesofpaintorinkmightstainthepaper.Plastic-coatedboardsarenotsuitable,becausegummedtapewillnotsticktothem.

ImmersiontimesThesedependontheweightanddegreeofsurfacesizingofthepaper.Thinpapersoakedfortoolongwillexpandgreatly,andmaytearasitcontracts;toobriefanimmersionmeansthepaperwillnotexpandenough,andwillbucklewhenwetpaintisapplied.Thecorrectsoakingtimeforeachpaperwillcomethroughtrialanderror,butingenerallightweightpapersandthosenotstronglysizedshouldbesoakedfor3–5minutes;heavilysizedpapersmayneed15–20minutes.(Ifafinelayerofbubblesappearswhenthepaperisimmersed,thisindicatesastronglysizedpaper.)

AchievingasmoothpaintingsurfaceThepaperiswettedandthensecurelytapedtoaboard.Ondrying,itwill

contractslightlyandbecometaut,givingasmoothsurfacethatislessproneto

cockling.Withheavierpapers(300gsmandover)thereislessneedfor

stretching,unlessheavy,saturatedwashesaretobeapplied.Lighterpapers

alwaysneedstretching.

MethodCutfourlengthsofgummedbrown-papertape50mm(2in)longerthanthe

paper.Dothisfirst,toavoidpanicatthecrucialmoment,whenwethands,

crumpledtapeandarapidlycurlingsheetofpapercouldcausechaos.

Immersethepaperincoldwaterforafewminutes(1),makingsureithas

absorbedwateronbothsides;heavierpapersmaytakeupto20minutes.Usea

containerlargeenoughtotakethesheetwithoutbeingcramped.Forlarge

sheets,useacleansinkorbath.

Immerseonlyonesheetatatimeinfreshwater,aseachsheetwillleavea

residueofsizeinthewater.

Holdthepaperupbyonecornerandshakeitgentlytodrainthesurplus

water.Placethepaperontotheboard(2)andsmoothitoutwardsfromthe

center,usingyourhands,tomakesurethatitisperfectlyflat.

Takeadryspongearoundtheedgesofthepaperwherethegummedtapeisto

beplaced,toremoveanyexcesswater(3).Youshouldmoisteneachlengthof

gumstripwithadampspongeimmediatelybeforeuse.Beginningwiththelong

sides,stickthestripsaroundtheouteredgesofthepaper,halftheirwidthonthe

board,halfonthepaper(4).

Leavethepapertodryflat,allowingittodrynaturally,awayfromdirectheat.

Donotattempttousestretchedpaperuntilitisdry.Leavethegummedstripsin

placeuntilthepaintingiscompletedanddry.

CommercialpaperstretchersForthoseartistswhofindstretchingpaperatime-consumingchore,theonly

previousalternativetothishasbeentouseexpensiveheavyweightpapersor

boards.However,therearenowvariouseffectivedevicesavailable,whichare

designedbywatercolorpaintersandwhichwillstretchlightweightpapersdrum-

tightinminutes.Amongtheingeniousdesigns,oneusesatwo-piecewooden

frametoholdthepaperfirmlyinplaceasitdries;anotheremploysasystemof

plasticgripperrodswhicharepushedintogroovesintheedgesoftheboard,to

holdthepaper.

(1)Immersingthepaper

(2)Smoothingthepaper

(3)Removingexcesswater

(4)Stickingthegummedstrip

SUPPORTSFORPASTELSSomepastelartistsliketoworkonprimedhardboard,muslin-coveredboard

orcanvas,butmostprefertopaintononeofthemanytintedpapersmade

speciallyforpastelwork.

EffectsThesubtletextureofpastelpapercatchesatthepastelparticlestojusttheright

degree.Whenthepastelstickispassedlightlyoverthesurface,thecolorofthe

papershowsthroughandgivesaninterestingbroken-coloreffect;whenthe

pastelispressedfirmlyintothetoothofthepaper,solidpatchesofcolorare

obtained.

TypesofpaperCansonMi-TeintesAmachine-madepaperproducedinFrance.Alightlysizedragpaperwitha

neutralpH,ithasafairlysoftsurface,suitableforpastel,charcoalandchalk.Itis

availableinawiderangeofcolors.

IngresAmold-madepaperproducedinItaly,Ingresisoneofthemostwidelyused

papersforpastelwork.Ithasahardsurfaceandalaidfinish,withaneutralpH.

Suitableforcharcoalandchalk,italsohasawideselectionofcolors.

VelourpaperAlsoknownasflockpaper,thishasasoftsurfacelikevelvetwhichproducesa

rich,mattfinishmorelikeapaintingthanadrawing.Itisbestnottoblend

pastelcolorstoovigorouslyonvelourpaper,asthismayspoilthenapofthe

surface.

Sand-grainpaperThishasapronouncedtoothwhichgripsthepastelparticlesandthereisenough

resistancetothedrawnlinetomakeitverypleasanttoworkon.Therough

surfaceissuitedtoaboldandvigorousapproach.Itis,however,anexpensive

surfaceforlarge-scalework,asitshavesoffthepastelfairlyrapidly.

SansfixTheuniquetoothofthispaper,similartothatofaveryfinesandpaper,ismade

fromathinlayeroffinecorkparticles,whicheliminatestheneedforusing

fixative.SimilarinfeeltoMi-Teintespaper,ithasalightcardbacking,andis

acid-free.Itisideallysuitedtopastelwork.

CharcoalpaperThisinexpensivepaperisusefulforroughpastelsketches.However,itisrather

thinandfragile,andyoumayfinditsregular,linearsurfacetexturetoo

monotonous.

TintingpapersTheremaybetimeswhenyouwishtotintyourpaperbyhand.Forinstance,youmayfindthecolorsofpastelpaperstooflatandmechanical,andpreferthemorepainterlylookofahandtintedground.Oryoumaywanttoworkonwatercolorpaperbecauseyoulikeitstexture,butwhitepaperdoesn’tshowthevibrantcolorsof

pasteltobestadvantage;itmakesthemlookdarkerthantheyactuallyare.

Usingateabag

MethodsfortintingpapersWatercolor,acrylicorgouachepaintscanbeappliedwithabrush,spongeorspraydiffusertoleaveapaletintofcolor.YoucanmodernizeanancientChinesemethodbyrubbingadampteabagacrossthesurfaceofthepaper;thiscreatesawarmundertone.Anothertechniqueistosavethebrokenendsofpastelsandcrushthemtoapowderwithaheavyobject.Dipadampragintothepowderandrubitoverthepaper.Whenthepaperisdry,tilttheboardandtapthesurpluspowderoff.

Usingcrushedpastels

ChoosingasurfaceApastelpaintingisverymuchamarriageofthemediumandthepaper.Thetwo

worksidebyside,creatinganexcitingfusionoftextureandcolor.When

choosingasurfaceforpastelpainting,therearethreefactorstobeconsidered.

Texture

Textureisavitalpartofpastelwork,andthechoiceofsurfacecanmakeormar

Textureisavitalpartofpastelwork,andthechoiceofsurfacecanmakeormar

thefinishedpicture.Smoothpapersallowyoutoblendcolorssmoothlyand

evenlywhereasoft,delicateeffectisrequired,whereasrougherpapersbreakup

thecolorandprovideavigorandsparkle.

ColorPastelpaperisavailableinawiderangeofcolors.Inpastelpainting,areasofthe

paperareveryoftenleftuntouched,andcontributetothepicture.Forexample,

thepapercanbechosentoharmonizewiththesubject,oritcanprovidea

contrast.

ToneThetoneofthepaperhasconsiderableimportanceinapainting.“Tone”refers

totherelativelightnessordarknessofthepaper,regardlessofitscolor.In

general,alight-tonedpaperemphasizesthedarktonesandcolorsinapainting.

Fordramaticeffects,uselightpastelsonadarkpaper.

DetailonroughMi-Teintespaper

CaroleKatchenAfricanSmilePastelonMi-Teintespaper

Detailonvelourpaper

AndrewHemingwayRedOilcan,Peaches,PlantPotsandEggsPastelonvelourpaper

DetailontonedIngrespaper

JamesCrittendenThroughtheOlivesIIPastelonIngrespaper

Detailonwatercolorpaperwithcolored-acrylictintJudyMartinDownsViewPastelonwatercolorpaperUsingroughpaperIfyouworkinabold,vigorousstyle,withthicklayersofcolor,choosearough-texturedpapersuchassand-grain,orarough-texturedwatercolorpaper.Thehollowsinroughpaperarecapableofholdingenoughpigmentforyoutoapplyseverallayersofcolorwithoutthesurfacebecoming“greasy.”Theroughtextureofthepaperalsocontributestothevisualeffectofthepainting:thepigmentcatchesontheridgesofthegrainandskipsthegrooves,creatingasparkling,broken-coloreffect.

UsingsmoothpaperSmoothpapersarebestsuitedtofinedetailsandlinearworkbecausetheshallowgrainquicklyfillsupwithpastelparticles,andthesurfacebecomesgreasyandunworkableiftoomanylayersofpastelareapplied.

Usingmid-tonedpapersThesearegenerallythemostsympatheticforpasteldrawings.Theymakeiteasytojudgehowlightordarkaparticularcolorshouldbe,andprovideaharmoniousbackdroptomostcolors.

WorkingonpastelpapersChoosingandexploitingthequalitiesofaparticularpaperisoneofthepleasuresofworkingwithpastels.Theseexamplesshowhowdifferenttextures,tonesandcolorsinteractwiththepastelpigment,therebycreatingarangeofexpressiveeffects.

SEEALSOWATERCOLORPAPERS28PASTELS48COLORHARMONY225

Chapter2

DRAWINGMEDIA

Anythingthatmakesamarkcanbeusedasadrawingtool,butovertheyearstheversatilityofcertain

materials–especiallypencil,pastel,charcoalandink–hasmadethemenduringlypopularamongartists

ofallabilities.Noonedrawingmediumisintrinsicallysuperiortoanother.Oneartistmayenjoythe

broadhandlingthatispossiblewithcharcoalorsoftpastel,whileanothermaypreferthecontroland

precisionofaharderpoint,suchaspencil.Thebestcourseistoexperimentwithdifferentmaterialsand

techniquesuntilyoudiscoverwhichonesallowyoutoexpressyourartisticvisionmostfully.

DRAWINGPAPERSNomatterwhatyourchosenmedium,thepaperyoudrawuponplaysan

importantroleinthesuccessofthefinishedwork.

CartridgepaperCartridgepaperisagoodgeneral-purposedrawingpaper.Poor-qualitypaperis

lightweight,withlittleornosizing,andtendstoyellowwithage;heavier

cartridgepaperismoreversatileandislikelytobeacid-free.

Thesurfaceofcartridgepapervariesbetweenbrands.Itisusuallyfairly

smooth,butwithafine-grainedtexture.Itscolorisvariable,too,rangingfroma

brightwhitetoamellowcream.

BristolpaperBristolpaper,orBristolboard,ismadefromtwoormorelayersofpaperbonded

togethertomakeathicksheet.Ithasasmoothsurfacewhichisidealforfineline

drawing,andisalsoperfectforpen-and-inkwork.

JapanesepapersSpecialistpapershopsofferarangeofJapanesehandmadericepaperswhichare

suitablefordrawing,watercolorandgouachetechniques.Thesepapersarevery

thinanddelicate,withsomeunusualsurfacepatterns.Japanesepapersarevery

absorbent;theytendtosoakupinkorpaint,creatinghazy,soft-edgedshapesof

adelicateandelegantnature.

IndianpapersHandmadeIndianpapersaremorerobustthanJapanesepapers,withasurface

similartoroughwatercolorpaper.Theyareinexpensiveandcomeinarangeof

tintsaswellaswhiteandcream.Theymakeanexcellentsupportforsoft

drawingmediasuchascharcoal,andforwashdrawings.

MichaelHyamusesJapanesepaperformanyofhispreparatoryportraitstudies.Thethin,absorbenttexturehelpshimtoachievegreatsensitivityoflineandwashtone.

MichaelHyamStudyofBernadetteInkonJapanesepaper25×17.5cm(10×7in)

SketchbooksSketchbookswithaspiralbindingcanbeheldinonehandwhiledrawing;somehavetear-off,perforatedsheets,whileotherscomeinbookformsoyoucanworkrightacrossthespread.Asmallsketchbook,about15×10cm(6×4in),fitsconvenientlyintoapocketandcanbetakenoutwheninspirationstrikes.Alargerbook,thoughbulkier,offersmorescopeforlarge-scalestudies,suchaslandscapes.

NaomiRussellSketchbookInkonpaper15×10cm(6×4in)

MakingpaperbyhandHandmadepapersareproducedbypulpingcottonfibersandsizingagentsinavatofwater.Thepaper-makerplacesawoodenframe,ordeckle,overaflatscreenmadeofwiremesh;thisisloweredintothepulpandliftedouthorizontally.Waterdrainsoutthroughtheholesinthewirescreen,leavingthefibersinthepulpdepositedasaflatsheetonthemeshsurface.Thedeckleisthenremoved;fiberstrappedundertheframeproducethe“deckleedge,”afeatureofmosthandmadepaper.Eachwetsheetistransferredontoapieceofwoollenfelt,andwhenanumberofsheetshavebeensandwichedintoa“post”theyarepressedtoremoveexcesswater.Thesheetsarethenlaidoutonscreenstodry(somemakersusethetraditionalmethodofdryingoverropes).Thisisknownasloftdrying,andresultsinpaperwithbetterdimensionalstabilitythanmachine-madepapersbecausehumidityisreleasedataslowerrate.

TextureThetexture,or“tooth,”ofthepaperhasadirectinfluenceonthecharacterand

appearanceofthedrawnmarks.Anuncoated,unpressedpaper,suchasIngres,

hasplentyofnaturaltoothtobiteandholdpowderydrawingmediasuchas

charcoal,chalkandpastel.Roughtexturesarealsosuitedtoboldwork,asthey

emphasizethedrawnmarksandbecomepartofthedrawing.

Forfinepencilworkandpen-and-inkdrawing,asmoothsurfaceispreferred;

pennibscansnagonaroughsurfaceandtheinkwillspread,preventingclean

lines.

ColorThechoiceofcolorandtonecanmakeapositivecontributiontothepicture

whenusingcoloreddrawingmaterialssuchaspastelandcoloredpencil.Toned

papersprovideagoodmiddlegroundfromwhichtoworkuptothelightsand

downtothedarks.

WeightHeavypapersmadeof100percentcottonarepreferredforpermanentwork,astheyaresturdyandcantakealotofworkinganderasingwithoutdamage.Theyarealsolesspronetowrinklingwhenusinginkandwatercolorwashes.Cheaperwoodpulpandlightweightpapers,someofwhicharenowmadefromeco-friendly,recycledpaper,arefineforsketchesandpracticework.

SupportsandmediaThesedrawingsondifferenttypesofpaperdemonstratetheimportanceofthesupport.

KayGallweyMrBillCharcoal,chalkandwashonpaper12.5×20cm(5×8in)

InKayGallwey’slivelysketch,beigeIngrespaperprovidesasoftmid-tonewhichshowsthroughthedrawnmarks,tyingthemtogether.

NaomiRussellLittleRedRoosterOilpastelandgoldinkontissuepaper39×49cm(151/2×191/2in)NaomiRussellusedcoloredtissuepaper,crumpledandthensmoothedout,forthischarmingstudy.

SarahDonaldsonStillLifewithPumpkinsWatercoloronIndianpaper40×28.5cm(16×111/2in)TheroughsurfaceofhandmadeIndianpaperimpartsanattractivetexturetowatercolorwashesinSarahDonaldson’sstilllife.SEEALSOWATERCOLORPAPERS28DRAWING&OBSERVATION138SKETCHING154

PENCILSEquallycapableofproducingaquicksketchorafinelyworkeddrawing,the

pencilisthemostimmediate,versatileandsensitiveofthedrawingmedia.It

canbeused,ononehand,forgreatsubtletyanddelicacy,and,ontheother,for

strikingboldnessandvigour;youcanproduceasoft,velvetyqualityoracrisp

sharpness.Oneofthepencil’smostattractivecharacteristicsistheeasewith

whichlineandtonecanbecombinedinonedrawing.

HowpencilsaremadeIngraphite,or“lead”pencils,naturalgraphiteisreducedtoapowderand

blendedwithclayinexactproportions,thenkneadedintoastiffpaste.Tomake

theleads,thepasteiscompressedandextrudedintothinstrips,whicharedried

beforebeingfiredinakiln.Afterfiring,theleadsareimpregnatedwithwaxesto

ensurethattheydrawsmoothly.Theyarethenencasedinshaftsofcedarwood

whicharefinishedwithoneormorecoatsofpaint.

GraphitepencilsDrawingpencilscomeinarangeofgrades,from“H”forhardto“B”forsoft.

Thehardnessoftheleadisdeterminedbytherelativeproportionsofgraphite

andclayused:themoregraphite,thesofterthepencil.Typically,hardpencils

rangefrom9H(thehardest)toH,andsoftpencilsrangefrom9B(thesoftest)to

B.GradesHBandFaremidwaybetweenthetwo.

Averysoftleadwillproducerich,blackmarks,andisanexcellentchoicefor

rapidsketchesandexpressiveline-and-tonedrawings,especiallyontextured

paper.Hardleadsmakegray,ratherthanblackmarks.Theyaresuitablefor

preciselinesanddetailsbecausetheycanbesharpenedtoafinepoint.Although

asinglepencilofgradeHBor2Bgivesyouconsiderablescopeforexpression,

manyartistsuseseveralgradesofpencilinonepieceofwork,creatingarich

interplayoflineandtone.

GraphitesticksThesearemadeofhigh-gradecompressedandbondedgraphiteformedintothick,chunkysticks.Theyglidesmoothlyacrossthesurfaceofthepaper,lendingthemselvestoboldandexpressivedrawing,andtolarge-scalework.Themarkscanbevariedbyusingthepoint,theflattenededgeofthepoint,orthelengthofthestick.

LinearmarksTheweight,qualityandnuanceofapencillinecanbevariedandcontrolledbythegradeofpencilchosen,itssharpness,thedegreeofpressureapplied,andthetextureofthepapersurface.Asoftgraphiteleadgivesconsiderablecontroloverthetoneandthicknessofaline,whichmaybegradedtodescribethecontoursofaformandtheplayoflight.

ShadingContinuousgradationsoftonecanbecreatedbyshadingwithsoftpencils.Theseareasarefirstdrawninbroadly,usingtheedgeofthelead,workingfromthelightesttothedarkesttonesorviceversa.Themarksarethencarefullyblendedtogetherusingapaperstump,ashere,thefingers,oraneraser.

ValerieWiffenPortraitI;PortraitIIGraphitepencilonpaper12.5×12.5cm(5×5in)

ValerieWiffenModelandartistGraphitepencilonpaper21×14.5cm(81/2×53/4in)HatchingandcrosshatchingAreasoftonecanbebuiltupwithhatching–roughlyparallellinesdrawnclosetogether.Thesecanbestraightandmechanicalorfreeandsketchy.Alteringthedirectionofthelinesdescribesshapeandform.Incrosshatching,linesarecrisscrossedontopofoneanothertocreateafinemeshoftone.Thelinesmayruninanydirection:vertical,horizontalanddiagonal.Thedensityoftonecanbevaried,asisdemonstratedabove:thecloserthelines,theblackerthepencilused,andthemorepressureapplied,thedeeperthetone.Builduphatchedandcrosshatchedlinesgradually;toomuchdeepeningoftoneearlyoncanmakethefinisheddrawingdarkandheavy.

PaulineJacksonSneakersGraphitepencilonpaper34×25cm(131/2×10in)DrawingwithaneraserEraserscanalsobeusedasdrawinginstruments.Inthislivelystudy,lineandareasoftonewerelaidonthepaperwithasoftpencil,thendrawnintoandmodifiedwithakneadedputtyeraser.Thisisaformof“negative”drawing,inwhichtheimageemergesgraduallyfromdarktolight.SEEALSOSUPPORTS13ACCESSORIES61

COLOREDPENCILSColoredpencilsaremadefromamixtureofpigment,clayandfiller,bound

togetherwithgum.Thecoloredsticksaresoakedinwax,whichgivesthem

theirsmooth-drawingproperties,beforebeingpressedintorodsandencased

inwood.SinceDavidHockneysetaprecedentinthe1960swithhisseriesof

coloredpencildrawings,thismediumhasbecomeincreasinglypopularwith

fineartists.

ChoiceandvarietyOflate,therehasbeenanenormousincreaseinthevarietyofcoloredpencils

availableonthemarket.Notonlyhastherangeofcolorsbeenvastlyexpanded,

butthecolorsthemselvesarenowmuchmoreconsistentlylightfastthan

previously.Youcanalsoobtainwatercolorpencilswhichallowyoutodissolveor

partiallydissolvethecolorsonthepaperwithwater.

Clean,quickandportable,coloredpencilsareveryusefulsketchingand

drawingtools.Theyallowyoutoworkwiththeaccuracyofpencilwhile

involvingcolor;theyaresoftenoughtoallowdelicateshading,andtheycanbe

sharpenedtoapointforcontrolledlines.

BuyingcoloredpencilsColoredpencilsareavailableindividuallyorinsumptuous-lookingsetswith

dozensofcolors.Brandsvaryconsiderablyintherangeofavailabletonesandin

thequalityandproportionofpigments,binders,claysandwaxestheycontain.

Somebrandshavehard,waxy“leads”thatcanbesharpenedtoalong,finepoint;

othersaresoftandcrumbly,producingabroader,moregrainymark.

FineorbroadMostpencilshaveacolorcore3.5mm(3/8in)indiameter,whichisparticularlysuitableforfinelydetaileddrawings.Somerangesalsocarrypencilswitha4mm(5/32in)diametercolorstrip,whichallowsforbroadstrokesandstronglines.Aswithordinaryleadpencils,theycanbeobtainedinroundorhexagonalwoodenshafts.

BuythebestForfineartwork,lookforthebestqualitypencils.Theyshouldhavestrong,lightfastandrichcolorsthatcomeoutuniformlyandvividly,withnofeelingofgrittiness.

OpticalcolormixingYoucanusehatchingandcrosshatchingtechniquestocreatecolorsandtones.Justlaylinesofdifferentcolorsside-by-side,oroverlaylinesatrightanglestooneanothertocreatetheillusionofathirdcolor.

ToothedpaperColoredpencildrawingsarecharacterizedbyacertaindelicacy,softnessandclarity,duetotheeffectofthegrainofthepaper.Unlessyoupresshardwiththepencil,thepigmentparticlescatchonlyontheraisedtoothofthepaper,leavingtheindentsuntouched;thesetinyflecksofwhitepaperreflectlight,andthislendstranslucencytothecolors.

MakingthepaperworkAswithwatercolors,thesecretistomakethewhiteofthepaperworkforyou.Ratherthanapplyingdenselayersofcolor–whichquicklymakesthesurfacegreasyandunworkable,preventinganyfurtherbuild-upofcolor–deepenthecolorbydegrees,allowingplentyofwhitepapertoshowthroughthelines.

LighthatchingColoredpencilsproduceatranslucenteffectthatallowsyoutolayercoloredmarkstocreatesubtletonesandhues.Here,thefigure’ssolidityisachievedthroughlightlyhatchedlines.Theilluminationissuggestedbyhighlights,usingthewhitepaper.

SarahDonaldsonSeatedNudeColoredpencilonpaper42×30cm(163/4×12in)

BuildingupcolorInmanyways,coloredpencilsworklikewatercolors.Whentheyareusedonwhitepaper,themarkstheymakearetransparentorsemi-transparent,whichmeansyoucanputdownonecolorontopofanother,buildinguphues,tonesandintensitiesuntilyouachievetheresultyouwant.

MaintainingthebestpointUsingthenaturalbackwards-and-forwardsmotionofthearm,workspeedily,fractionallyrotatingtheshaftofthepencilinyourfingersfromtimetotime,tofindthebestshadingedgeandtomakethetipflatterorsharperasrequired.SEEALSOSUPPORTS13PENCILS40WATER-SOLUBLEPENCILS44MIXINGCOLORS220

WATER-SOLUBLECOLOREDPENCILSTheseofferalltheadvantagesofcoloredpencils,butincludeawater-soluble

ingredientinthelead,sothatitispossibletothinouttheircolorintoa

transparentwash.

Usingwater-solublepencilsYoucanapplythecolordry,asyouwouldwithanordinarycoloredpencil,and

youcanalsouseawetwatercolorbrush,awetsponge,orevenawetfinger,to

loosenthepigmentparticlesandcreateasubtlewatercoloreffect.Whenthe

washeshavedried,youcanthenaddfurthercolorandlineardetail,usingthe

pencilsdry.Ifyoudampenthepaperfirst,themarksmadebythepencilwill

bleedslightlyandproducebroad,softlines.

Thisfacilityforproducingtightlycontrolledworkandloosewashesmakes

water-solublepencilsaflexiblemedium,andtheyareveryappropriatefor

renderingnaturalsubjects.Theyareoftenusedincombinationwithwatercolors,

felt-tippedpens,pencilorpenandink.

TechniquesApplythecolorswithlight,hatchedstrokes,thenuseasoftbrush,rinsed

regularlyincleanwater,togentlyblendthestrokesandproduceasmooth

texture.Thiscantakealittlepractice,astoomuchwaterwillfloodthepaint

surfaceandmakeitblotchy,whileinsufficientwaterwillpreventthecolorsfrom

blendingwell;theidealresultresemblesawatercolorwash.Heavypencilstrokes

willpersistandshowthroughthewash.

TexturesInterestingtexturescanbecreatedbybuildingupthepicturewithmultiplelayers

ofdrypigmentandwater-dissolvedcolor.Whenaddingdrycolorovera

dissolvedbase,however,thepapermustfirstbecompletelydry;ifitisstilldamp,

itwillmoistenthepencilpointandproduceablurredline,andthepapermay

eventear.

Colorapplieddry

Dissolvedwithwetwatercolorbrush

Dissolvedwithwetsponge

Dissolvedwithwetfinger

Drypointonwetpaper

Pointdippedinwater,ondrypaper

Combinedwithothermaterials

Coloredandwater-solublepencilsThesepencilsofferasurprisinglyvariedrangeoftechniquesandeffects.

MichaelStiffDetail,Greek-ThomsonChurch,GlasgowColoredpencilandpastelonpaper25×20cm(10×8in)

MichaelStiff’sworkhasasimilarsenseofheightenedreality.Heblendspasteldustintoasmoothlayertoproducethebasictonalareas,overwhichheappliesfinelyhatchedstrokesofcoloredpencil.

AnnaWoodTomatoesWater-solublepencilonpaper50×35cm(20×14in)

AnnaWooduseswater-solublecrayons–whicharethickerandjuicierthanpencils–whichsuitherspontaneouswayofworking.Suggestionsofform,textureandspaceemergefromtheaccidentalmarksleftasthecolorwashesspreadanddry.

DavidSuffTheHistoryGarden(TwaCorbies)Coloredpencilonpaper90×90cm(36×36in)

TheastonishingdetailandbeautifultextureinDavidSuff’sdrawingarebuiltuppainstakinglywithtinystrokes,appliedlayeronlayer.SEEALSOCOLOREDPENCILS42WATERCOLORTECHNIQUES180

CHARCOALCharcoalhasbeenusedfordrawingsinceprehistorictimes:usingsootand

sticksofcharredwoodfromthefireasdrawingtools,earlycavemencovered

thewallsoftheircaveswithimagesoftheanimalstheyhunted.Sincethen,

charcoalhasneverlostitspopularity.

Auser-friendlymediumCharcoalisanexcellentmediumforbeginners,asitencouragesthestudentto

treatsubjectsinbroadtermsandnotbecomelostindetail.Atthesametimeitis

aforgivingmedium,whichisveryeasytoeraseandcorrectbyrubbingmarksoff

withafingerorawadoftissue.

CharcoalsticksStickcharcoalismadefromvine,beechorwillowtwigscharredathigh

temperaturesinairtightkilns.Willowisthecommonesttype;vineandbeech

charcoalaremoreexpensive,butmakearichermark.Lengthsupto15cm(6in)

areavailableinboxes,andvaryinthicknessesanddegreesofhardness.Soft

charcoalismorepowderyandadhereslesseasilytothepaperthanhardcharcoal,

soitisbettersuitedtoblendingandsmudgingtechniquesandcreatingbroad

tonalareas.Thehardertypeofcharcoalismoreappropriatefordetailed,linear

work,asitdoesnotsmudgesoreadily.Theonlydrawbackwithstickcharcoalis

thatitisverybrittleandfragile,andtendstosnapwhenusedvigorously.

CompressedcharcoalThisismadeoutofpowdergroundfromcharcoal,mixedwithabinderand

pressedintoshort,thicksticks.Compressedcharcoalisstrongerthanstick

charcoalanddoesnotbreaksoeasily.Itproducesdense,velvetyblacks,butisless

easytodustoffthannaturalcharcoal.

CharcoalpencilsThesepencilsaremadefromthinsticksofcompressedcharcoalencasedin

wood.Theyarecleanertohandleandeasiertocontrolthanstickcharcoal,and

haveaslightlyhardertexture.Onlythepointcanbeused,sotheycannot

produceabroadside-stroke,buttheymakefirmlinesandstrokes.Charcoal

pencilscomeinhard,mediumandsoftgrades;thetipcanbesharpened,like

graphitepencils.

VersatilityCharcoalisawonderfullyliberatingmedium,soimmediateandresponsiveinuse

thatitisalmostlikeanextensionoftheartist’sfingers.Simplybytwistingand

varyingthepressureonthestick,youcanmakefluidlinesthatvaryfromsoftand

tentativetoboldandvigorous.Richtonaleffects,rangingfromdeepblacksto

mistygrays,areachievedbysmudgingandblendingcharcoallineswiththe

fingersorwithapaperstump,andhighlightscanbepickedoutwithakneaded-

puttyeraser.

Vine,beechandwillowcharcoal

DetailedworkEasilysharpened,pencilsareperhapsthebestformofcharcoalfordoingdetaileddrawing.

WorkingatadistanceCharcoalworkswellforlarge-scaledrawingsexecutedattheeasel.Youneedtostandwellbackfromtheeasel,sothatyourdrawingarmisnotcrampedandyoucanviewthedrawingasawholethrougheachstageofprogress.

AttachingcharcoaltoacaneWorkingatadistanceismadeeasierbysecuringthecharcoalsticktotheendofacane–amethodusedbyRenaissancepainterswhendrawingimagesforfrescoes.Cutapieceofcanetotherequiredlength.Atoneendofthecanemaketwo25mm(1in)cutsatrightangles.Pushthecharcoalfirmlyintotheend,leavingareasonablelengthprotruding,andthensecurewithtapewoundroundthecane.

TonaleffectsThemosteffectivemethodofachievingtheseisbysmudgingandblendingcharcoallineswithfingersorwithapaperstump.

RosemaryYoungRecliningNudeCharcoalonpaper35×45cm(14×18in)Charcoalisapainterlymedium,allowingarichpatinaofmarkstobebuiltupwithlineandtone.Bothoftheseartists’drawingsevolvegradually,thefinalimagebeingenrichedbythepreviousalterations.RosemaryYoungworksataneasel,usingcharcoalattachedtoalengthofcanetoallowhergreatermobility.

SarahCawkwellHairPieceCharcoalonpaper147.5×118.7cm(59×471/2in)

HighlightsThesecanbepickedoutwithakneadedputtyeraser.

ExploitingthegrainofthepaperOneofthemostinterestingofcharcoal’scharacteristicsisthatitissympathetictothetextureandgrainofthepaper,allowingittoshowthroughandcontributetothesurfaceinterestofthedrawing.Thisisespeciallythecasewhenthecharcoalstickisusedonitssideandsweptlightlyoverthesurface.

FixingcharcoalThesoftnatureofcharcoalmakesitmessytohandle,andthestrokesmaybeaccidentallysmearedwiththeheelofthehand.Keepadampraghandy,andwipeyourfingertipsregularlytoavoidleavingprintsonthepaper.Itisadvisabletosprayfinishedcharcoaldrawingsfairlyliberallywithfixativetoprotectthemfromsmudging.

SEEALSOACCESSORIES61

PASTELSPastelsaremadefromfinelygroundpigmentsmixedwithabasesuchaschalk

orclayandboundtogetherwithgumtoformastiffpaste.Thisisthencutand

shapedintosticksandallowedtoharden.Therearefourtypesofpastel

available:softandhardpastels,pastelpencilsandoilpastels.Theyare

availableindifferentshapes–roundorsquare,thinorchunky.

TintsandshadesPastelsaremadeinawiderangeoftintsandshades,derivedfromaselectionof

full-strengthpigmentcolors.Thetintsareachievedbyaddingmorebaseand

whitepigmenttotheoriginalcolor,andbyrepeatingthisprocesstoproducea

seriesofincreasinglylightershades.

Thetonalrangeofeachpastelcolorisusuallyindicatedbyasystemof

numberingwhichcorrespondstothevariousstrengthsofeachcolor;for

example,insomerangesburntumberhasNo.1againstitslightestshade,and

No.8againstitsdarkest.Thissystemofnumbering,however,isnot

standardizedfromonemanufacturertoanother,soitisworthchecking

cataloguesandcolorcharts.

SoftpastelsSoftpastelsarethemostwidelyusedofthevariouspasteltypes,becausethey

producethewonderfulvelvetybloomwhichisoneofthemainattractionsof

pastelart.Theycontainproportionallymorepigmentandlessbinder,sothe

colorsarerichandvibrant.

Thesmooth,thickqualityofsoftpastelsproducesrich,painterlyeffects.They

areeasytoapply,requiringlittlepressuretomakeamark,andcanbesmudged

andblendedwithafinger,aragorapaperstump.

Theonlydrawbackofsoftpastelsistheirfragility.Becausetheycontainlittle

bindingagenttheyareapttocrumbleandbreakeasily,andtheyaremoreprone

tosmudgingthanothertypesofpastels.Alightspraywithfixativeaftereach

stageoftheworkwillhelptopreventsuchsmudging.

Hardpastels

Thesecontainlesspigmentandmorebinderthanthesofttypeofpastels,so

Thesecontainlesspigmentandmorebinderthanthesofttypeofpastels,so

althoughthecolorsarenotasbrilliant,theydohaveafirmerconsistency.Hard

pastelscanbesharpenedtoapointwithabladeandusedtoproducecrisplines

anddetails.Theydonotcrumbleandbreakaseasilyassoftpastels,nordothey

clogthetoothofthepaper;theyareoftenusedinthepreliminarystagesofa

painting,tooutlinethecomposition,ortoadddetailsandaccentsinthelatter

stages,sometimesincombinationwithotherdrawingandpaintingmedia.

LetthebuyerbewareSincethedegreeofsoftnessvariesnoticeablyfromonebrandofsoftpasteltoanother,youshouldtryoutindividualsticksfromdifferentmanufacturersuntilyoufindtheonethatsuitsyoubest.Onlythenbuyafullrange.

Pastelpencils

Thinpastelsticksareavailableencasedinwoodenshafts,likepencils.Pastelpencilsarecleantouse,donotbreakorcrumbleliketraditionalpastels,andgivegreatercontrolofhandling.Theyaresuitableforbothlinesketchesanddetailedorsmall-scalework,andcanbeusedinconjunctionwithhardandsoftpastels.

PermanenceReputablemanufacturersprovidethenamesoflightfastpigments,suchasburntumber,thatareusedinpastels.Pastelsincheaperrangesoftenaregivenromanticallydescriptivenameswhich,however,givenoindicationofthenatureorpermanenceofthepigment.

Workingwiththeside

VersatilityPastelsarebothapaintingandadrawingmedium.Workingwiththesideofthecrayoncreatesbroad,painterlystrokesthatcanbeblendedandsmudgedorbuiltupinthicklyimpastedlayers,withthesolid,butteryappearanceofanoilpainting.Workingwiththetipofthecrayon,youcanmakethinlinesandcrispmarksthatcreateaverydifferentfeel.

Workingwiththetip

BlendingwithafingertipBlendingOneoftheattractionsofapowderymediumsuchaspastelisthatitiseasilyblendedtocreatesoft,velvetytonesandsubtlegradationsfromdarktolight.Blendinghasmanyuses–softeningfinelinesanddetails,suggestingsmoothtextures,modellingformwithdegreesoflightandshade,lighteningtones,andtyingshapestogether.Tocreateanareaofblendedtone,eitherapplylightlyscribbledstrokeswiththepointofthestick,orusethesideofthesticktomakeabroadmark,butdonotpresstoohard–ifthemarkistooingraineditwillbedifficulttoblend.Thenlightlyrubthesurfacewiththetipofyourfingerorarag,tissueorpaperstump,toblendthemarkstogetherandcreateaneventone.Repeattheprocessifadarkertoneisrequired.

LinesoversoftblendingLineandtoneYoucanuseblendedtonesalone,ormixblendedandlineartechniquestoaddvarietyandtexture.Anotherapproachistocreateanareaofsoftblendingandthenoverlayitwithlinearstrokes.Here,theblendedtonesactsomewhatlikeanunderpainting,addingextradepthandsubtletytotheimage,whilethestrokestietheimagetogether.

Scumbling

ScumblingScumblingmodifiesthecolorofatintedpaperoralayerofpastelbyapplyingathin,semi-opaquelayerofanothercoloroverit.Loose,circularstrokesareappliedwiththesideofthepastelsticktocreateathinveilofcolorwhichdoesnotentirelyobliteratetheoneunderneath.Scumblingnotonlycreatessubtlecoloreffects,butitalsogivesaveryattractivesurfacetexture.Useittogivedepthandluminositytoyourcolors,andtosoftenandunifydifferentareasofthedrawing.

JamesCrittendenWindyDayPastelonpaper65×75cm(26×30in)

JackieSimmondsTheGlassTablePastelonpaper45×60cm(18×24in)Amongthemanywaysofapplyingpastel,the“painting”and“drawing”disciplinescanbeusedalongsideeachothertocreateabreathtakingrangeofeffects.Thesetwopicturesshowsomeofthevariedtexturesthatcanbeproduced,frombroken,grainystrokestodelicate“washes.”SEEALSOSUPPORTS34ACCESSORIES61

OILPASTELSOilpastelsaremadebycombiningrawpigmentswithanimalfatandwax;this

makesthemsomewhatdifferentincharacterfromsoftpastels,whichare

boundwithgum.Whereassoftpastelsareknownfortheirvelvetytextureand

subtlecolors,oilpastelsmakethick,butterystrokes,andtheircolorsaremore

intense.Oilpastelsarealsostronger,harderandlesscrumblythansoft

pastels;sincetheytendnottosmudge,theyrequirelittleornofixative,but

theyaremoredifficulttoblend.

UsingoilpastelsWorkingwitharobustmediumsuchasoilpastelswillencourageaboldand

directapproachwhichisofenormousbenefitindevelopingconfidenceinyour

drawingandusingcolors.Infact,oilpastelsarenotideallysuitedtosmall-scale,

detailedwork;thesticksaretoochunkyforthis,andfineblendingisnot

possible.Itisfarbetterpracticetoexploitthetactilequalitiesofthemediumand

toworkonalargescale,usingvarioustexturalstrokesandbuildinguparich

patinaofwaxycolor.

Aswiththeothertypesofpastelsandcrayons,opticalcolormixturescanbe

createdbytechniquessuchashatching,crosshatchingorgentleshadingwith

superimposedcolors.

DiluentsforoilpastelsTurpentineandwhite(mineral)spiritdissolveoilpastelandcanbeusedforblendingcolorsandobtainingpainterlysurfaceeffects.Yourinitialdrawingcanbemodifiedusingabrushwhichhasbeendippedinadiluentandworkedoverthesurface.

Oilpastelsworkparticularlywellincombinationwithothermedia.Here,theartistemphasizedtheskyandthedramaticsweepoftheriverwithlinesandflecksofoilpastel,whichwerethenblendedwithturpentine.Thedetailsofthebuildingsintheforegroundwereaddedwithgraphitepencil,whichglidesoveranoilpastelground.

SimonJenningsUpstreamGreenwichOilpastelandgraphitepencilonpaper41×57.5cm(161/2×23in)

Dryoilpastelonblendedpastel

BlendingandmixingBecauseoftheirwaxytexture,onlyaminimalamountofblendingispossible

withoilpastels.Thecolorscan,however,beappliedtothesupportandthen

spreadandblendedwithabrush,ragortissuewhichhasbeendippedinwhite

(mineral)spiritorturpentine.Asthepastelmixeswiththeturpentineitdissolves

andtakesonthequalityofthinnedoilpaint,andthecolorsbecomericherand

darker.Whentheyaredry,youcanworkoverthe“painted”areaswithlinear

strokesofdryoilpasteltoaddtexturalvariety.

Blendedwithawetfinger

FingerblendingThedrawnsurfacecanbesmoothedandblendedwithawetfinger.Becauseoil

andwaterareincompatible,adampenedfingerwillnotpickupthecolorfrom

thepaperbutwilljustsmoothandblendthesurfaceoftheoilpastel.

Scratchedbackorsgraffito

SgraffitoAlayerofsolidcolorcanbebuiltup,andthewaxysurfacescratchedintowitha

sharptooltocreatelivelypatternsandtextures–atechniqueknownassgraffito.

Furtherinterestisaddedbyapplyingonecoloroveranotherandthenscratching

backthroughthetoplayertorevealthecolorbelow.

Waxresist

WaxresistOilpastelcanbeusedwithwatercolorpainttobuildupalivelysurfaceorto

suggestnaturaltextures.Thepaintadherestothepaperbutisresistedbythe

waxypastelmarks,andresultsinarandom,mottledeffect.Amorepronounced

patterncanbeachievedbyworkingonrough-surfacedpaper.

Blendedoilpastel

SimonJenningsPortraitofaTulipOilpastelonpaper58.7×41cm(231/2×161/2in)Apainterlysurfacewasbuiltupintheimageabovebyusingoilpainting

techniques,whichincludedblendingintothicklayersofcolor,scrapingbackwithaknife,blendingandsmudgingwithfingersandscratchinginlineswithapointedpaintbrushhandle.Theoil-paintshinethatresultedcanbeseeninthesurfacereflection.

SEEALSOMIXINGCOLORS220

CONTÉCRAYONSThesecrayonswereinventedbytheFrenchmanNicolas-JacquesConté,who

wasalsoresponsibleforinventingthemodernleadpencilintheeighteenth

century.Madefrompigmentandgraphiteboundtogetherwithgumanda

littlegrease,contécrayonsaresimilartopastelsintheirconsistencyand

appearance,butareslightlyharderandoilier.Theyareavailableinpencil

form,andintheoriginalformofsquare-sectionsticksabout75mm(3in)long.

TypesandcolorsContécrayonsaresimilarineffecttocharcoal,butbecausetheyareharderthey

canbeusedforrenderingfinelinesaswellasbroadtonalareas.Althoughconté

crayonsarenowavailableinawiderangeofcolors,manyartistsstillfavorthe

restrainedharmonyofthetraditionalcombinationofblack,white,grayandearth

colors–sepia,sanguine(terracottared)andbistre(coolbrown).Thesecolors

impartauniquewarmthandsoftnesstoadrawing,andareparticularly

appropriatetoportraitsandnudefigurestudies.Thetraditionalcolorsalsolend

todrawingsanantiquelook,reminiscentofthechalkdrawingsofLeonardoda

Vinci,Michelangelo,RubensorClaude.

FineandbroadstrokesAswithpastels,themostpracticalmethodofusingcontécrayonsistosnapoff

smallpiecesabout25mm(1in)long.Thisway,youcanrapidlyblockintonal

areaswiththesideofthestickanduseasharpcornerattheendfordrawing

expressivelines.

BlendingcontéContéissoftenoughtoblendcolorsbyrubbingthemtogetherwithafinger,a

softragorapaperstump.However,becausetheyarelesspowderythanchalk

andcharcoal,contécolorscanbemixedbylayingonecoloroveranother,sothat

thecolorsbeneathshowthrough.

ColoredcontéThereisnowawiderangeofcontécolorsavailable,inadditiontothetime-honoredones.

Modern,pencil-formcolors

Snapoffsmallpieces

Blendingbylayingandrubbingcolors

ContéworkLikepastels,contécrayonsareusedtotheirbestadvantageontintedpaperwith

atexturedsurface,whichbringsoutthedistinctivequalitiesofthemarks.

JohnRaynesuseswhitecontéskillfullytocapturecrisphighlightsonhismodel’swhiteshirt.

JohnRaynesPortraitofaGirlColoredandwhitecontécrayonontintedpaper51×34cm(201/2×131/2in)

ThetwodrawingsbyVictorAmbrusshowthesurprisingrangeoftexturesthatcanbeachievedbyusingonlycoloredorblackcrayonsonacreamcoloredpaper.

VictorAmbrusDorothy’sDog,LallaBlackcontécrayon,onpaper76×56.5cm(30×221/4in)

VictorAmbrus

MoragColoredcontécrayononpaper56.5×76cm(221/2×30in)SEEALSOSUPPORTS13PASTELS48ACCESSORIES61

PENANDINKPenandinkisadelightfulandflexiblemediumwhichhasbeenpopularwith

artistssinceAncientEgyptiantimes.Themediumiscapableofanenormous

rangeoftechniquesandeffects,butthematerialsrequiredareverysimple.

Thechoiceavailableofdrawingpensandnibsislarge,butfallsintotwo

distinctcategories:dippensandreservoirpens.

DippensReed,quillandmetalpens(metalnibssetintoholders)areallclassifiedasdip

pens,astheyareloadedbybeingdippeddirectlyintotheink.Thenibretainsa

smallamountofink,whichisheldinplacebyitsownsurfacetension.Dippens

produceveryexpressivelineswhichswellandtaperaccordingtotheamountof

pressureappliedtothepen.

NibsThenibitselfisknownasthe“pen,”andthemainshaftisthe“penholder.”Agreatvarietyofnibshapesandsizesisreadilyavailable.Eachnibmakesadifferentrangeofmarks,andthemoreflexiblethenib,themorevariedthethicknessoflineitmakes.Sincetheyaresoinexpensive,itisworthtryingseveralbeforebuying.

MetalpensDippenswithmetalnibshavelongbeenthetraditionaltoolofpen-and-inkartistsandillustrators.Inexpensiveandversatile,thesepensconsistofaholderandaninterchangeablesteelnib.

MappingpensMappingpenshaveaveryfine,straightpointfordetaileddrawings.Becausethemetalnibsareflexible,youcanvarythethicknessoflinetoaconsiderabledegree.

Crow-quillpensCrow-quillpens(atypeofmappingpen)alsohaveadelicatepointforproducingdetailedwork,butcanbelessflexiblethanmappingpens.

BambooandreedpensBambooandreedpensmayhavedeclinedinpopularitysincetheavailabilityofmoresophisticatedpens,butmanyartistsstillusethem.Theirblunt,coarseandslightlyirregularstrokesmakethemidealforboldlinedrawings,andtheirappealoftenliesinthesheerpleasurethatcanbederivedfromdrawingwithsucha“primitive”instrument.

Makingaquillpen

Useastout,roundfeather,preferablygoose.Trimthebarbsback(1),tomakethefeathereasiertohold.Shapethetipofthequillwithasharpknife.Makeacurved,diagonalcut(2),thenremovethekeratinfillingfromthequill.Makeasinglecut,runningupfromthetip,tomakeachannelforink(3).

InkformetalpensMetalpenscanbeusedwithanytypeofink–waterprooforwater-soluble–becausethereisnomechanismtoclogup.However,thenibsshouldbecleanedregularlyunderrunningwatertopreventtheinkfromcaking.

QuillpensQuillpensaremadefromthewingfeathersofbirdssuchasgeese,turkeysorswans.Theyareoftenanidealchoiceifyouwanttomakefine,responsivelines.However,thenibisfragile,sotheyarebestsuitedtosmallsketchesanddetaileddrawings.

Technicalpens

Originallydesignedforusebyprofessionalillustratorsanddesigners,technicalpensdeliverinkdownanarrowtubeinsteadofanib.Thisproducesaveryevenlineofaspecificandunvaryingwidth,regardlessofthedirectioninwhichthepenismoved.Thefine,fragilestrokesmadebytechnicalpensaremostappropriateforacontrolled,graphicstyleofdrawing.Likefountainpens,technicalpensareeasilyportableandcontaintheirownsupplyofink.But,unlikefountainpens,theinkflowisfineandeven,andlastsmuchlonger,soyounolongerhavetocarrybottlesofinkwhichcanbreak,leakorspill.Thenarrowtubularnibsfortechnicalpens,availableinanincreasingvarietyofpointsizes,areinterchangeablewithineachrange,andcanbequicklyswitched.

ReservoirpensReservoirpenscarryinkinaspecialholderorcartridgeandneedonlytobe

refilledfromtimetotime,butingeneraltheirnibsarelessflexiblethanthoseof

dippens.

NibunitsfortechnicalpensFormostdrawings,youwillneedonlyoneholderandseveralnibunitsinarangeofdifferentsizes.

InkfortechnicalpensTechnicalpensshouldonlybeusedwithinksdesignedforthem.Theseareusuallylightfast,butarenotwaterproof.Theinksupplyisheldinareservoirandcanbetoppedupwithadropper,orfromapurpose-madefillerbottle.Thenibsshouldnotbeleftuncovered,astheinkwilldryinitschannel,andtheymustbecleanedregularlywithwarmwater.Ifthepensarenottobeusedforsometime,theyshouldbeemptiedandcleaned.

FountainpensFountainpensfeelmuchsmoothertodrawwiththandippens,andbecausetheyproduceasteadyflowofinktothenib,theydon’tneedtobedippedfrequently.Thismakesthemusefulforimpromptusketching.However,sincefountain-pennibshavelittleflexibility,itisnotveryeasytovarythethicknessofyourlines.Thenibrangeisalsoquitelimited.

InkforfountainpensTopreventthemclogging,mostfountainpensrequirenon-waterproofink,drawnintothebarrelbysuctionthroughthenib.AnexceptiontothisruleisIndianinkpens,whicharemadespeciallyforusewiththistypeofinkandhaveachoiceoftwosketchingnibs,graded“ordinary”and“bold.”

SketchingpensAlsoknownas“artpens,”thesecombinetheexpressivequalitiesofadippenwiththeconvenienceofareservoirpen.Inappearancetheyresembleanordinaryfountainpen,buttheyhaveflexiblenibsdesignedspeciallyfordrawing,whichdeliverinksmoothlytothepaperviaapre-filledinkcartridge.

ColoredsketchingpencartridgesFilleradaptors“Artpens”alsohaveafilleradaptorwhichenablesyoutofillthemwitharangeofliquidcolors.

DRAWINGINKSFormonochromedrawings,Indianinkisstillthefavoritechoiceofmany

artists,asitisbothpermanentandwaterproof.Sepiaandblue-blackinksalso

havetheirownappeal,andallcanbedilutedwithwatertoproducearangeof

light-to-darktonesinonedrawing.

WaterproofcoloredinksWaterproofcoloredinks,alsocalledartists’drawinginks,comeinarangeof

about20colors.Waterproofinksareessentialifyouintendtoapplyawashor

tintontopofalinedrawing,otherwisethelineworkwillrun.Theseinksare

denserthannon-waterproofvarieties,dryingtoaslightlyglossyfinishthatgives

theworkaprecise,paintedquality.Unfortunately,theshellacthatisaddedto

theinktomakeitwaterproofalsomakesitclogupeasily,sobesuretoclean

brushesandpensthoroughlyafteruse.Neverusewaterproofinkinfountain

pensortechnicalpens.

Non-waterproofcoloredinksThesecontainnoshellac,andtheyareprimarilyusedforlayingwashesover

waterproof-inkdrawings.Theyarefineforlinedrawings,too,aslongasyou

don’toverlaythemwithwashes.Non-waterproofinkssinkintothepapermore

thanwaterprooftypes,andtheydrytoamattfinish.

SolubleinksIfyouwanttheflexibilitytobeabletodissolveandblendlines,youshould

chooseasolubleinksuchasChineseink,whichisalsomoredelicatethanIndian

ink.

DilutingcoloredinksColoredinksmaybedilutedwithdistilledwater,notonlytoimprovetheirflow,butalsotoproducearangeoflightertones.Theinkscanalsobemixedwitheachother,butitisadvisabletosticktotherangeofasinglemanufacturer,becausebrandsofinkvaryinconsistencyandinthesurfacefinishtheyproducewhendry.Pigmentininksettlesatthebottomofajarifleftunusedforsometime,sothejarshouldbeshakenbeforeuse.

OrientalinksChineseandJapaneseinkscomeinsolid-stickformandareusuallysuppliedwithaninkstone.Theinkstickisrubbeddownonthestone,withalittlewaterbeingaddeduntilitisthedesiredconsistency.

RestoringflowIfinkevaporatesslightlywhileitisuncorkedduringaday’swork,thecolorbecomesdeeperandtheinkthicker.Addingalittledistilledwaterwillthinitandrestoreanevenflow.

PermanenceofinksOnlyblackandwhiteinksarepermanent.Coloredinksconsistofsolubledyesratherthanpigments,andarenotlightfast.Tominimizefading,alwaysprotectyourfinisheddrawingsfromprolongedexposuretolight.

LineworkPen-and-inkdrawingsareusuallycomposedoflines;hatching,crosshatching,

stippling,dotsanddashes,spatteringandscribblingarejustsomeofthe

techniquesthatcanbeemployedtoconveyformandvolume,texture,lightand

shade.

FirststrokesDonotbeginpen-and-inkworkuntilyouhavetrieddrawingandpracticing

movementandlinewithapenorabrush.Workonasmoothpaper,andlearnto

useaminimumofpressuretogetanevenflowofinkfromthenibontothe

paper.Ifyouarepracticingwithadippen,learntojudgewhentheinkwillrun

out,sothatyouarenotinthemiddleofalongunbrokenlinewhenithappens.

SpontaneityItisagreatadvantagetomakeaverylightpreliminarydesignwithasoftpencil

ifyouwantanaccuratepen-and-inkdrawing,ratherthanaquicksketch.But

oncethetechniqueofpen-and-inkdrawingbecomesmorefamiliar,spontaneous

free-flowinglinesandobservationstranslatedinstantlyontopaperwilloften

makeafarmoreexcitinginkdrawingthanonewhichispremeditated.Anink

drawingmustbecompletelydrybeforepreliminarypencillinesareerasedorany

washesadded.Dryingtimeisatleast12hours,andevenlongerforathicklayer

ofink.

Pen-and-inkworkmustbepositivetolooksuccessful:onceaninkmarkhas

beenmadeonpaper,itisverydifficult(andsometimesimpossible)toerase,so

thereisnoroomforhesitation.Ideally,youneedtohavehadenoughdrawing

practicetoknowexactlywhatyouwanttoputdownbeforeyoustart.

LeslieHarris(1906–89)PreparatoryStudiesInkandwashonpaperVariousdimensions

EdmundJ.Sullivan(1869–1933)BeardedManPenandinkonpaper15×12.5cm(6×5in)

TheillustratorEdmundJ.Sullivanwasregardedbyhiscontemporariesasoneofthefinestdraftsmenofhisday.Thissketchdisplaysgreatcontroloflineandtone,alliedtoaremarkablesensitivitytothesubject.Itisatriumphofpenmanship,alltoorarelyfoundtoday.

PendrawingUsingthetechniquesmentionedearlier,youcancreateareasoftone,volume,

textureandtheillusionoflightandshadewithjustpenandink.Increaseyour

optionsbyaddingwashesofinkorwatercolor–anexcitingfusionofdrawing

andpaintingwhichallowsyoutobuildupexperienceofbothdisciplines.

LineandwashLine-and-washdrawingsarehighlyexpressive,suggestingmorethanisactually

revealed.Thesecretistoworkrapidlyandintuitively,allowingthewashesto

flowoverthe“boundaries”ofthedrawnlinesandnotbeconstrictedbythem.

Thecombinationofcrisp,finelydrawnlinesandfluidwasheshasgreatvisual

appeal,capturingtheessenceofthesubjectwitheconomyandrestraint.Line

andwashalsohelpstoimproveyourdrawingskillsbecauseitforcesyoutobe

selectiveandtodevelopadirect,fluidapproachtoyourwork.

Line-and-washmethods

Thetraditionalmethodistostartwithapendrawing,leaveittodryandthenlay

Thetraditionalmethodistostartwithapendrawing,leaveittodryandthenlay

inlight,fluidwashesofinkorwatercolorontop.Alternatively,washescanbe

appliedfirsttoestablishthemaintones,withtheinklinesdrawnontopwhen

thewasheshavedried.Themostintegratedmethodistodevelopbothlineand

tonetogether,sothattheyemergeasanorganicwhole.Youmightbeginwitha

skeletonoflines,addsomelighttones,thensomebolderlinesandstronger

tones,andsoonuntilthedrawingiscomplete.

HilScottSquattingNudePen,brushandinkonpaper43×33cm(17×13in)

Inthisvigorousline-and-washstudy,HilScottcombinescalligraphiclines,drawnwithareedpen,withfluidtonalwashesofChinesebrushandink.Withhersurenessoftouchsheisabletoconveyawealthofinformation–formandmodelling,gestureandmood–withbreathtakingsimplicityandconfidence.

RichardBellCatSketchesSketchingpenandwater-solublepencilonpaperVariousdimensions

BrushdrawingBrushestendtobeoverlookedasinstrumentsfordrawing,astheyareusually

associatedwithpaintingtechniques.Yetmanygreatartistsofthepast–

Rembrandt,GoyaandClaudeamongthem–producedsomeoftheirfinest

drawingswithbrushandink.

SoftbrushesThebrushisanincrediblyflexibledrawingtool.Asablebrushwithagoodpointcan,inasinglestroke,conveyline,rhythm,andeventheplayoflightonasubject.Itcanchangedirectioneasily,twistingandroundingcornerswhereapenorpencilmightfalter.Sableandothersoft-hairbrushesaresuitableforinkdrawing;experimentwithvarioustypesofbrushonbothsmoothandtexturedpapers,andcomparethedifferentmarkstheymake.

ChinesebrushesChinesebamboo-handlebrushes,whichwereoriginallydesignedasawritingtool,areversatile,inexpensiveandextremelyexpressive.Thebellyholdsalotofink,andcomestoafinepointfordrawingrhythmic,flowinglines.

GordonHalesOntheEstuaryBrushandinkonwatercolorboard15×22cm(6×9in)

Speedandfastattackarebothvitalincapturingthetellinggesturesofamovingsubject.GordonHalesdistilledtheessentialsofthesceneabovewithhisconfidentbrushwork,usingdilutionsofinktoconveylightandmovement.RichardBellsketchedhissubjectwithanexpressivebamboopenoutline,filledinwithadenseblackmassofink.

RichardBellCarrionCrowsPenandinkonpaperVariousdimensionsSEEALSODRAWINGPAPERS38WATERCOLORBRUSHES96WATERCOLORWASHES182

MARKERSANDFIBER-TIPPENSThoughnormallyassociatedwiththegraphicdesigner’sstudio,penswithfelt,

fiberorplastictipsarenowwidelyusedbyfineartistsaswell.

VersatilityThelargerangeofmarkersandfiber-tippensavailablemakesthemextremely

usefulforrenderingbothfree,spontaneoussketchesandsophisticated,detailed

drawings.Coloredmarkersareespeciallyconvenientforoutdoorsketching,

becausethecolorsareconsistentandreadytouse,anddryalmostinstantly.

Markersareidealforon-the-spotsketching,givingarapidimpressionofform,colorandatmosphere.

Water,spiritsandalcoholSomemarkerscontainwater-basedinkandarewater-soluble;otherscontainspirit-oralcohol-basedinksandarewaterproofwhendry.Ifyouwanttooverlaycolors,choosesolvent-basedmarkers,whichareeasilydistinguishedfromwater-basedmarkersbytheirsmell(alcohol-basedinkhasless

odorthanspirits).Onasketchpad,thecolorsmaybleedthroughontothenextpage,butyoucanbuymarkerpadsinwhichthepaperisformulatedtoresistcolorbleeding.

Solvent-basedwaterproofmarkers

Water-basedsolublemarkers

Ordinarypaper

Bleed-proofpaper

Colorpermanence

Markerscomeinmanycolors,withintensityandpermanencevaryingaccording

Markerscomeinmanycolors,withintensityandpermanencevaryingaccording

tobrand.Sincemarkercolorsconsistofdyesandnotpigments,theytendtofade

intimeorwhenexposedtostrongsunlight.Thisdoesn’tmatterforrough

sketches,butforpermanentartwork,makesureyoubuyalightfastbrand.

GigolAtlerSketchbooksVariousmarkersonpaper15×10cm(6×4in)MarkertipsTheserangefromsoftfelttohardtungstencarbide.Softertipsmakesmootherlines;hardoneskeeptheirshapelonger.

Fiber-tipmarkersarefairlyfirmandsmooth-flowing,andcomewithtipsofallshapesandinmostsizes.

Plastic-tipmarkersarehardanddurable.Theirtipsmakethefinestlines.

Brushpenshaveresintips.Theyarequiteflexibleandidealforsketchesandcolorwashes.

Rollerpensareextremelytough,keepingtheirshapewell.Theyproduceasmooth,fineline.

Tipshapes

Colored-markertipsvaryfrombroadwedgestofinepoints.

Wedge-shapetipscoversolidareaswell.Drawingwiththethinedgewillproducefairlyfinelines.

Bullet-shapetipsareappropriateforboldstrokesandsolidareas,aswellasdotssuitableforstippling.

Fine-pointtipsaresimilartotechnicalpens,inthattheyproduceeven,finelines.

ACCESSORIESOneofthebestthingsaboutdrawingmediaisthatyouwillrequireveryfew

accessories.Thedrawingaidsdescribedhereareallinexpensiveandeasily

purchasedinspecialistartshops.

SharpeningpencilsPencilsharpenersareveryconvenient,butusingacraftknifeorscalpelwillproducealonger,taperingconethatexposesenoughleadfordrawingbroadlywiththeside.

SharpeningwithsandpaperSandpaperblocks,whichconsistofsmall,tear-offsheetsofsandpaperstapledtogether,areveryhandyforputtingfinepointsongraphitesticks,pastels,crayonsandlengthsofcharcoal.

Erasers

Plasticorputtyerasersarebest,asIndiarubbertendstosmearandcandamage

Plasticorputtyerasersarebest,asIndiarubbertendstosmearandcandamage

thepapersurface.Puttyerasersareverymalleable;theycanbebrokenoffinto

smallerpiecesandrolledtoapointtoreachdetails.Youcanalsopresstheputty

eraserontothepaperandliftoffunwantedmarksbypullingitaway.Useiton

softgraphite,charcoalorpasteldrawings,bothtoeraseandtocreatehighlights.

PaperstumpsPaperstumps,alsocalledtorchons,areusedforblendingorshadingcharcoal,

pastelorsoft-graphitedrawings.Theyaremadeoftightlyrolledpaper,with

taperedendsforworkingonlargeareas,orasharppointforsmalldetails.

KnivesandsharpenersYouwillneedasharpcraftknifeorpenknifeforsharpeningpencilsandcutting

paper.Knivesorotherbladesarealsoveryusefulforsgraffitowork–scratching

linesintoanoilpasteldrawing,forexample,tocreateinterestingtextures.

Blowingfixativethroughanatomizer

DrawingboardYouwillneedafirmsupportfordrawingonsheetsofloosepaper.Drawing

boardsareavailablefromartshops,butitisfarlesscostlytogetagoodpieceof

smoothboard,suchasMDF,fromalumberyard.Iftheboardfeelstoohard,

placeafewextrasheetsofpaperunderthetoponetocreateamoreyielding

surface.

FixativeThebestwaytopreservedrawingsistospraythemwithfixative,whichbinds

theparticlesofpigmenttothesurfaceofthepaper.Fixativeisavailablein

aerosol-sprayformormouth-typeatomizers.Aerosolspraysgiveanevencoat,

andarethemostconvenienttousewhencoveringalargearea.Anatomizerisa

metaldiffuserwithaplasticmouthpiece,whichisstoodinabottleoffixative.

Blowingthroughtheatomizerwilldistributeafinesprayoffixativeontothe

drawing.Atomizersareidealforsprayingsmallareas,butittakespracticetoget

accustomedtousingthem,andtheyalsoneedregularcleaningtoprevent

clogging.

SEEALSODRAWINGPAPERS38PENCILS40CHARCOAL46PASTELS48OILPASTELS50

Chapter3

PAINTINGMEDIA

Paintingisatactileandvisualexperience;inallgoodpicturesthereisafascinatingdialoguebetweenthe

subjectandthewaythepaintitselfisappliedandmanipulatedtoexpressthatsubject.Whetheryou

preferthedelicacyofwatercolors,therichnessofoils,theversatilityofacrylics,theintricacyoftempera

ortheimmediacyofgouache,theexperienceofworkingwitharangeofpaintingmediawillwidenthe

scopeofyourartisticexpression.Visitart-supplyshopstostayintouchwithwhatisnewonthemarket,

anddon’tbeafraidtoexperimentwithunfamiliarmaterialsandtechniques.

OILPAINTSArtshopsstockanoverwhelmingrangeofpaints,brushes,mediums,

varnishesandassortedoil-paintingparaphernalia.Theequipmentfor

paintinginoilscanbecostlybut,ifyouchoosewiselyandaccordingtoyour

ownrequirements,itneednotbeso.Thebasicessentialsareabout10or12

tubesofpaint,afewbristlebrushes,abottleofthinnersorapreparedpainting

medium,apaletteandasurfaceonwhichtopaint.Thepaintingsurface,or

support,canrangefromasheetoftop-qualitylinencanvastoapieceof

hardboard.

OilpaintconstituentsOilpaintconsistsofdrypigmentsgroundinanaturaldryingoilsuchaslinseed,

orasemi-dryingoilsuchassafflowerorpoppy.Somebrandsofoilpaintare

maturedandthenremadewithmorepigmentinordertoachievetheright

consistency,butmostaregivenadditives,suchasplasticizers,driersandwax,to

improvetheirflexibilityandmakethemconsistentintextureanddryingspeed.

Stabilizersmayalsobeaddedtopreventtheoilandpigmentseparatinginthe

tubesduringstorage.Mostmanufacturersofferatleasttwogradesofpaint:

artists’,orfirstquality,andstudents’,orsketchingquality.

Artists’colorsArtist-qualityoilpaintsofferthewidestrangeofcolorsandthegreatestcolor

strength.Theycontainahighconcentrationofpigment,whichisveryfinely

groundwiththefinest-qualityoils.

Students’colorsStudents’colorsarecheaperthanartists’colors,becausetheyaremadeinlarger

quantitiesandthecolorrangeismorelimited.Themoreexpensivepigments,

suchascadmiumsandcobalts,arereplacedwithsomecheaper,butequally

permanent,alternatives,andthesecolornamesaresuffixedwiththeword“hue.”

Students’colorsmayhavelowerpigmentlevelsandcontainsmallamountsof

fillers,suchaschalk,whichwillslightlyweakenthecolorstrengthofthepaint.

Combiningpaints

Students’colorsareperfectlyadequateforthebeginnertopractisewith,anditis

evenpossibletocutcostsbycombiningthetwotypes:forexample,usingartists’

paintsforthepure,intensecolorsandstudents’paintsfortheearthcolors,which

areoftenjustasgoodasintheartists’range.Someartistsusestudents’colorsfor

underpainting,beforeaddingartists’paintsforthefinallayers.

CaringforyourpaintsPaintstendtosolidifyinthetubeifleftuncapped.Replacethecaponceyouhaveusedthepaint,andmakesurethethreadsonthecapandneckremainclean.Stuckcapscanbeopenedwithpliers,orbyholdingthetubeunderhotrunningwater.Asalastmeasure,standthetubeupsidedowninturpentineorwhitespiritforafewminutes,sothatthecapandtopofthetubearecovered.Alwayssqueezeatubeofpaintfromthebottomupwards,thusensuringthatthereisaslittleairaspossibleinsidethetube.

AvoidingwasteOilpaintsareexpensive.Apaletteknifeheldatanobliqueangleandscrapedalongafinishedpainttubewillhelptoremovethelastscrapofpaint.

Aselectionofartists’oilpaints

Aselectionofstudents’oilpaints

SizeandpriceOilpainttubesrangefrom5ml(0.17USfloz)toagenerous200ml(6.66USfl

oz).Themostusefulsizeofallisprobably37ml(1.25USfloz),andalarger

tubeofwhite–say56ml(1.86USfloz)–worksoutmoreeconomical,since

whiteisusedmorethanmostothercolors.

Artist-qualitypaintsvaryinpriceaccordingtotheinitialcostofthepigment.

Insomebrands,theyareclassifiedaccordingto“series,”typicallyfrom1(the

cheapest)to7(themostcostly).Theearthcolorsaretheleastexpensive,while

thecadmiumcolorswillcostfourtimesmore.Somepigments,suchas

vermilion,areprohibitivelyexpensive,andmostmanufacturersnowreplacethem

withmodernsyntheticpigments.Student-qualitycolorsaresoldatauniform

price.

DryingtimesThespeedatwhichoilpaintdriesdependsonthecolor.Somepigmentsact

uponthedryingoilsinwhichtheyarebound,speedingupthedryingprocess;

othersslowitdown.Earthpigmentsdryrapidly,acquiringaskinovernight,

whereasalizarincrimsonmayneedupto10daystobecometouch-dry.

Toaccommodatetheseextremes,somepaintmanufacturersadddryingagents

totheslower-dryingpigments;othersgrindfast-dryingpigmentswithslower-

dryingoils,toobtainapaintrangewithmoreconsistentqualities.Othersaddno

dryingagents,allowingtheartisttodecidewhethertousefast-dryingmediums.

Tintingstrength

Thereisavariationinthetintingstrengthofdifferentpigments.Forexample,

Thereisavariationinthetintingstrengthofdifferentpigments.Forexample,

Prussianblueandalizarincrimsonwillproducevividcolorswhenaddedineven

verysmallquantitiestowhite,whereasterreverteandrawumberbecomevery

palewhenmixedwithonlyalittlewhite.Whenmixingapaletintusingstrong

color,alwaysaddittothewhiteandinverysmallquantities–otherwise,you

maygetthroughagreatdealofpaintforlittleresult.

DifferencesManufacturersdonotformulatetheirpaintsinthesameways,soalthough

colorsindifferentbrandsmayhavethesamenames,theircontentsvarynotonly

intheappearanceofthecolorbutalsointheircost,consistency,handling

qualities,permanenceanddryingrates.

DryingspeedsofoilpaintThefollowingisaguidetoapproximatedryingspeedsofpigmentsboundinlinseedoil.Thedryingratesmayvarybetweenbrands,andcolorsboundwithsafflowerorpoppyoilarerelativelyslow-drying.Whencolorsaremixedtogether,theirdryingratesmaybealtered.

Fast-drying(approximatelytwodays)

Medium-drying(approximatelyfivedays)

Slow-drying(fivetoeightdays)

PigmentstrengthNotethecontrastintintbetweenthetwopigmentsontheleftandthoseontheright(below),whentheyhaveallbeenmixedwiththesameamountofwhite.

FlakewhiteAlsoknownasleadwhiteorsilverwhite,thisisacomparativelyquick-drying,durableandflexiblepaint,widelyusedinunderpainting.Itacceleratesthedryingofcolorsmixedwithit.Flakewhitelackstheopacityoftitaniumwhiteandthewhitenessofzincwhite.Itisharmfulifitisswallowed,asitcontainslead,sokeepitoutofthereachofchildren.

TitaniumwhiteAlsoknownaspermanentwhite,thisisthewhitestandmostopaquewhite,whichdriesveryslowlytoasoft,chalkyfilm.Itsstrongcoveringpowerisusefulformixingtints,andforhighlightsandfinalpainting.Itisclassedasnon-hazardous.

ZincwhiteThishasapure,coldwhiteappearancewhichdoesnotdarkenwithtime.Itissemi-opaque,andissuitablefortintingandglazing,butnotforunderpainting.Zincwhitedriesveryslowlytoahard,brittlefilm.Itisclassedasnon-hazardous.

Whichwhite?Themostimportantpigmentintheoilpainter’spaletteiswhite,becauseitis

usedmorethananyothercolor.Itisthereforeessentialtousegood-quality

whites;evenifyouareusingstudent-qualitypaints,itisworthbuyingalarge

tubeofartist-qualitywhite,asithasbettercoveringpowerthanthestudent

grade.

Severalwhitesareavailable,eachwithdifferentproperties,althoughasa

generalruletitaniumwhiteisthemostreliableandversatile(seeabove).

Whitesgroundinpoppyorsaffloweroilshouldnotbeusedforprimingor

extensiveunderpainting.Theyareslow-drying,andcancausecrackingof

subsequentpaintlayersunlessallowedtodrythoroughly.Useflakewhite,which

isquickandthorough-drying,oroneofthealkydorunderpaintingwhites.

AlkydpaintsThesearemadefrompigmentsboundinanoil-modifiedsyntheticresin.They

handleinthesamewayastraditionaloilpaints,buthavetheadvantageofbeing

muchfaster-drying–innormaluse,thepaintsurfaceisgenerallydrywithinan

hour.Alkydsmaybemixedwithoilpaints,whichhastheeffectofspeedingup

theoils’dryingtimeandretardingthatofthealkyds,sothatallthecolorsdryat

arelativelyevenrate.Anysupportsthataresuitableforoilandacrylicpaintsmay

beusedforalkyds,onceprimedwithoiloracrylicprimer.

Water-friendlyoilpaints

Inrecentyears,afewmanufacturershaveproducedrangesofoilpaintsinwhich

theoilbinderhasbeenmodifiedtomixwith,ratherthanrepel,water.Thisdoes

notprecludetheuseoftraditionaloil-basedmediumsanddiluents,butmeans

thatthinningpaintandcleaningbrushescanbedonewithwater.Theadvantage

isthatthiseliminatestheuseofsolvents,towhichmanypeopleareallergic,and

avoidsapossiblebuild-upofpotentiallydangerousvapors.

Aselectionofalkydandwater-friendlyoilpaintsSEEALSOMIXINGCOLORS67BASICPALETTE72UNDERPAINTING164PIGMENTS92HEALTH&SAFETY386

MIXINGOILCOLORSOilpaintisexpensive,butdonotbemeanwithit.Alwayssqueezethepaint

outingenerousmounds,oryouwillbeconstantlyunscrewingtubecapsand

mixingupfreshbatchesofpaint,whichcanbecomeachore.Anypaintthatis

leftoverattheendofthesessioncanalwaysbereusedinonewayoranother.

KeepcolorscleanTrytoavoidusingmorethantwoorthreecolorsinanyonemixture.Anymore

thanthis,andthecolorsbecomelifelessandmuddy.Alwayshavealargejarof

turpentineandaragnearby,sothatwhenyouhavefinishedwithaparticular

coloryoucancleanthebrushorpaletteknifethoroughlyandnotcontaminate

thenextcolor.

MixingmethodsWhenmixingoilpaintsonthepalette,useeitherabrushorapaletteknife.A

knifeispreferableformixinglargequantitiesofpaint,anditwillcertainlysavea

lotofwearandtearonyourbrushes.Whenworkingfastandmixingsmall

quantitiesofcolor,however,abrushismoreconvenient.Old,wornbrushesare

usefulforthispurpose–nevermixpaintwithsablebrushes,asitquicklyruins

them.

AddingdiluentsMediumsanddiluentsshouldbeaddedtopaintgradually,andinsmallamounts.

Includinganexcessofthinningagentmayresultinanunderboundpaintfilm

thatispronetoflaking.

MixingpaintFullymixingtwocolorsproducesasolidthirdcolor(top);partlymixingthemallowsthetwooriginalcolorstostillbepartofthemixture(bottom).

ReusingoilcolorScrapepaintoffthepalettewithaknifeandstoreinanairtightcontainerforusenexttimeround.Even“palettemud”(thedullcolorleftwhenmanycolorshavebeenmixed)canbeuseful–thinitdownwithturpentineanduseitfortintingcanvasesandboards.Paintwhichhasbeenexposedonthepaletteforlongperiodswillhavebeguntooxidize,andisthereforenotstableenoughforuse.Ifthepaintfeelsgummyoritrequiresalotofthinnerstomakeitworkable,thenitshouldbediscarded.

Palette-knifemethod

Apaletteknifeisconvenientformixinglargeamountsofpaintandavoidsdamagingyourbrushes.Useascoop-and-slideactiontomixthecolorsthoroughly.

BrushmethodWhenmixingpaintwithabrush,usegentlesweepingandrotarymotionsinordertominimizeexcessivewearandtearonthebristles.SEEALSODILUENTS75MEDIUMS76BRUSHES78ACCESSORIES86

MAKINGOILPAINTSUntilthenineteenthcentury,oilpaintsweremadebyhandintheartist’sown

studio.However,sincethen,artists’colormenhaveperfectedthewayinwhich

oilpaintsaremanufacturedtosuchadegreethat,intermsofqualityand

handlingproperties,theyarenowconsideredfarsuperiortothoseofhand-

groundpaints.Buthomepreparationofoilcolorsisaquitestraightforward

process,anditallowstheartisttohavecompletecontrolovertheingredients

inthepaint.

HomepreparationItismuchcheapertobuytherawmaterialsthantheready-madetubecolors,and

thelargerart-supplystorescarryawiderangeofrawpigmentsfromwhichyou

canmixcolorstoyourspecificrequirements.Finally,thereisundoubtedlyalot

ofsatisfactionandpleasuretobegainedfromworkingwithcolorsthatyouhave

preparedyourself.

MethodSpoonahandfulofpowderedpigmentontoaglassslab,andmakeawellinit.

Pourinaspoonfulofoil,andmixtoastiffpastewithapaletteknife(1).Ensure

thatallthepigmentisthoroughlywetted,butdotrytousetheminimumofoil

toproducethestiffestworkablepaste.Toomuchoilmayresultinyellowingand

wrinklingofthepaintfilm.

MullingGrindthepigmentandoilmixtureontheslabwithaglassmuller,using

reasonablepressureandacontinuoussmooth,circularorfigure-of-eightmotion

(2).Yourweightshouldbewellbalancedoverthemuller.Theobjectiveisto

dispersethepigmentparticlesevenlythroughthebinderandtoachievea

smooth,glossypaint,freefromgrittiness.Bewarned–mullingpainttotheright

consistencycantakeuptoanhour,dependingonthepigment!Itisbesttomull

asmallamountofpigmentatatime,movingeachfreshlymulledbatchtothe

edgeoftheslab.

Theresultingpaintshouldbestiffenoughtobeworkablewhilecontainingthe

minimumofoil.Ifthepaintdoesn’t“peak”whenliftedwiththetipofapalette

knife,itprobablycontainstoomuchoil;addmorepigmentandmullagain.

UsinglightweightpigmentsThosepigmentsthatarefluffyorflyaway,duetotheirlightweightandfine

particlesize(forinstance,alizarinandthequinacridones),needwettingbefore

theycanbegroundwithoil.Saturatethepigmentwithwhitespirituntilallthe

powderiswet,thenleavetodryoutalittleonabsorbentpaperbeforemixingto

apastewithoil.

(1)Mixthepigmentandoiltoastiffpastewithapaletteknife.

(2)Grindthepigmentandoilmixturewithasmoothfigure-of-eightmotion.

(3)Packthefreshlymulledpaintinemptycollapsibletubes.Firstloosenthecapofthetubealittlesothataircanescape.Holdthetubeuprightandfillfromtheopenendwithapaletteknife.

SafetyprecautionsWhenhandlingdrypigments,wearadustmask,toavoidbreathinginthepigmentparticles.Donothandletoxicpigmentswithoutamaskandgloves.Disposablefacemasksarenotadequate;respiratorymasksdesignedforusewithtoxicdustsareavailablefrommajorart-supplystoresandsafetyequipmentcompanies.Donoteatordrinkwhenworkingwithdrypigments.Keepallmaterialsoutofreachofchildren.Labelalldrypigmentssothattheycanbeidentifiedincaseofaccident.

FillingthetubesThefreshlymulledhandmadepaintcanbestoredinemptycollapsibletubes

whichareobtainablefrommajorart-supplystores.Asaguide,roughly300g

(10.6oz)ofpaintshouldfilla150ml(5USfloz)tube.Loosenthecapofthe

tubealittlesothataircanescapeasyoufillit.Holdthetubeuprightandscoop

thepaintintotheopenend,usingapaletteknife(3).Fillthetubetowithin

about25mm(1in)oftheopenend,occasionallytappingthetubeonthetableto

settlethepigmentanddisperseanyairbubbles.

Pinchthetube30–40mm(11/4–1

1/2in)fromtheendtoexpelanyair.Wipe

thetubeclean,thenmakeadoublefoldattheendbyfoldingitoverthebladeof

acleanpaletteknife.

ImprovingtextureSomepigments,suchasultramarine,viridianandzincwhite,makearatherstringypaint.Toimprovethetexture,use4partslinseedoilto1partpoppyoilasabinder.

AmountsofoilSomepigmentsrequirequitealotofoiltomakeasmoothpaste–alizarincrimson,forexample,needsfarmoreoilthanflakewhite.

ShelflifeWithouttheadditionofanystabilizersandpreservatives,handmadepaintshouldalwaysbeusedwithinafewmonthsofmaking.SEEALSOBINDERS74MEDIUMS76HEALTH&SAFETY386

OILSTICKSAfewmanufacturersarenowproducingoilpaintsinstickform,whichare

fundamentallydifferentfromoilpastelsorcrayons.Theyaremadeby

combiningartist-qualitypigmentswithhighlyrefineddryingoils,intowhich

areblendedspecialwaxeswhichenablethemtobemoldedintostickform.

UsingoilsticksThesestickscanbeconsideredaseitheradrawingorapaintingmedium.They

combinetherichnessofoilcolorwiththefreedomanddirectnessofpastelsor

charcoal.Thechunkysticksglideacrossthesupport,makingexpressive,flowing

lines.Somebrandsarethixotropic–theybecomemorecreamyintexturewhen

appliedwithslightpressure,andhardenagainonthesupport.Thelightfastness

ratingisthesameasfortubeoilcolors;therangeofcolorsissmaller,butthe

basicoilspaletteissufficient.

BlendingandbrushingDifferentcolorscanbeblendedtogetheronthesupport,usingabrushora

paintingknife.Alternatively,specialcolorlesssticksareavailable:theseaidthe

blendingprocessandincreasethetransparencyofthecolors.Thepaintcanalso

bebrushedoutonthesupport,usingthesamesolventsandmediumsemployed

withtubeoilcolors.Theendofthestickmaybedippedintothemediumor

solventbeforeworkingonthesupport,therebyimprovingtheflowofcolor.You

canevenapplythepaintinthicklyimpastedlayersandmodelitwitha

paintbrushorknife.Thepaintsremainworkableforseveralhours.

CompatibilityOilsticksarecompatiblewitharangeofpaintinganddrawingmedia,including

conventionaloil,alkydandacryliccolors,oilpastelsandpencil.Theycanbeused

onprimedcanvasorhardboard(Masonite),acid-freesizedpaper,fabrics,and

othersurfaces.

First-timeuseBrand-newoilsticksmusthavethefilmremovedaftertheprotectivewrapperhasbeentakenoff.

ProtectiveskinAninvisible,dryfilmformsonthesurfaceofthestick,andhelpstokeepitcleanwhennotinuse.Thefilmisremovedfromthetipofthestickbyrubbingitwithacloth,andre-formsinadayortwoafterusetokeepthepaintfromdryingoutwhilebeingstored.

UsingdiluentsYoucanworkonasupportthathasbeengivenaliberalwashofturpentine,ordipthetipoftheoilstickintodiluentormedium,tocreateamoreliquidline.

OutdoorusesSticksareparticularlyusefulwhenyou’repaintingoutdoors,astheyremovetheneedtocarrysomeoftheaccessoriesassociatedwithtubeoilpaints.

Differentbrands

Aswithtubeoilcolors,therearevariationsinthetexture,handlingpropertiesanddryingratesbetweenonebrandofpaintstickandanother,andthusitisadvisabletosampledifferentbrands.However,donotintermixbrandsinthesamepainting,asthechemicalsmaybeincompatible.

TypesofstickTheselectionofoilsticksshownhereincludessomeoftheiridescentcolorsavailable.

DryingtimesTheactualdryingtimedependsontemperatureandthetypeofsurfacebeing

painted,butonthewholeoilpaintinstickformdriesmorequicklythantubeoil

paints.Itisimportanttonote,however,thatpaintsticksshouldnotbeusedfor

underpaintingiftubepaintistobeappliedontop.Thereasonisthatalthough

paintsticksdryfasterthantubepaints,theydrytoamoreflexiblefilm,dueto

theirhighwaxcontent;iflessflexiblepaintisappliedontop.Thismaylead

eventuallytocrackingofthepaintsurface.

Oil-stickversatilityThefivesquare-formatexamples(aboveleft)showsomebasicoil-sticktechniques.Thetwosketchbookpaintings(aboveright)usedoilsticksandoilpastels,brushedoutwithturpentine.Theframedpicture(top)wasworkeddirectlywithoilsticksandthenblendedandbrushedoutwithturpentine.SEEALSOSUPPORTS14BASICPALETTE72DILUENTS75MEDIUMS76KNIFEPAINTING174

BASICPALETTESFOROILSThe12colorsfeaturedhereformthebackboneofmostprofessionalpainters’

palettes.Thispaletteisversatileenoughtocopewithawiderangeofsubjects,

andthecolorsarealllightfast.

Starterpalette

Titaniumwhite

Permanenceexcellent(ASTMI).Averybrightopaquewhite,withhightintingstrengthandslowdryingtime.Mixeswell,maintainsitsintensity.

FrenchultramarinePermanenceexcellent(ASTMI).Atransparentcolor,withhightintingstrength,medium-to-slowdryingtime,andadeep,warmbluehue.Themostversatileoftheblues;mixwithburntumbertomakeinterestingdarkshades.

CobaltbluePermanenceexcellent(ASTMI).Atransparentcolor,withweaktintingstrengthandafastdryingtime.Itisgreenerandpalerthanultramarine.Usefulforskiesandformixinggreens;veryexpensive,butgoodforglazing.

YellowochrePermanenceexcellent(ASTMI).Afairlyopaquecolor,withweaktintingstrength,medium-to-slowdryingtime,andadarkyellowhuevergingonbrown.Indispensableforlandscapepaintingandfortoningdownmixtures.

RawsiennaPermanenceexcellent(ASTMI).Atransparentcolor,withweaktintingstrengthandfast-to-mediumdryingtime.Awarmerhuethanyellowochre.Mixeswell,andisexcellentforglazing.

BurntsiennaPermanenceexcellent(ASTMI)Atransparentcolor,withstrongtintingstrength,fast-to-mediumdryingtime,andarich,reddish-brownhue.Itisusefulformodifyingskycolors,andisagoodglazingcolor.

PermanentrosePermanenceexcellent(ASTMI).Averytransparentcolor,withveryhightintingstrength,slowdryingtime,andabrightpink-redhuewithaviolettinge.Alightfastalternativetoalizarincrimson;thoughexpensive,alittlegoesalongway.

ViridianPermanenceexcellent(ASTMI).Atransparentcolor,withgoodtintingstrength,slowdryingtime,andbright,deepgreenhuewithabluishtinge.Mixwithwhitetomakecoolgreens.

Cadmiumred

Permanenceexcellent(ASTMI).Anopaquecolor,withgoodtintingstrength,slowdryingtime,andabright,warmredhue.Astrong,purepigment.

CadmiumyellowPermanenceexcellent(ASTMI).Anopaquecolor,withgoodtintingstrength,slowdryingtime,andawarmhuewithahintoforange.Mixwithcadmiumredtoformcadmiumorange.

LemonyellowPermanenceexcellent(ASTMI).Atransparentcolor,withgoodtintingstrength,mediumdryingtime,andacool,paleyellowhue.Formsdelicate,coolgreenswhenmixedwithblues.

WinsorvioletPermanenceexcellent(ASTMI).Atransparentcolor,withhightintingstrength,mediumdryingtime,andastrong,warmhue.Veryusefulformodifyingbluesinskies,andmakinggrayswithyellows,brownsandgreens.

TheASTM(AmericanSocietyforTestingandMaterials)codesforlightfastness:ASTMI:excellentlightfastnessASTMII:verygoodlightfastnessASTMIII:notsufficientlylightfast

Variations

Pigmentsmayvarybothintheirhueandhandlingcharacteristics,accordingtothemanufacturer.Thisappliesparticularlytotheearthcolors–ochres,umbersandsiennas–whicharenaturalpigmentsandvaryinhueaccordingtosource.Someburntsiennas,forexample,areyellowish,whileothershaveareddishtint.

RoyFreerBluePathwaysOiloncanvas100×120cm(40×48in)

RoyFreer’sworkusesrich,saturatedhues.Heseeshissubjectsintermsofcolor,ratherthantone.Thispaintingemployshis“spectrumpalette,”whichconsistsoflemonyellow,cadmiumyellow,yellowochre,cadmiumorange,vermilion,rosemadder,cobaltblue,cobaltvioletandviridian.

TerrevertePermanenceexcellent(ASTMI).Atransparentcolor,withlowtintingstrength,medium-to-slowdryingtime,andapalegreenish-grayhue.Anexcellentgreenforlandscapes,itisbestappliedinthinglazes.

RawumberPermanenceexcellent(ASTMI).Atransparentcolor,withgoodtintingstrength,fastdryingtime,andagreenish-brownhue.Rawumberisaveryusefulcolorforunderpainting,asitdriesrapidly.

PhthalocyaninebluePermanenceexcellent(ASTMI).Atransparentcolor,withaveryhightintingstrength,medium-to-slowdryingtime,andaverybright,deepbluehue.MorepermanentandmoreintensethanPrussianblue.

AlizarincrimsonPermanenceveryweak(ASTMIII).Averytransparentcolor,withhightintingstrength,veryslowdryingtime,andacool,slightlybluish-redhue.Ittendstofadeinthinwashes,orwhenmixedwithwhite.

IvoryblackPermanenceexcellent(ASTMI).Anopaquecolor,withgoodtintingstrength,veryslowdryingtime,andaslightbrowntinge.Mixingivoryblackwithyellowmakesaversatilegreen.

AuxiliarycolorsShouldyouwishtoaugmentyourbasicpalettewithadditionalcolorsforparticularsubjects,youmayfindsomeofthecolorsshownhereuseful.

BINDERSFOROILSBinders,mediumsanddiluentsarethevariousfluidsthatareeithercombined

withthepigmentatthemanufacturingstageoraddedtothetubecolorto

facilitatetheapplicationofpainttothesupport.

BindercompositionPigmentsforoilpaintsaregroundintoadryingvegetableoil,whichisknownas

avehicleorbinder.Whenbound,thepigmentparticlesaresuspendedintheoil

andcanbeeasilybrushedontothepaintingsurface.Whentheoilhasdriedby

absorbingoxygen,itsealsthepigmenttothesurface.

LinseedoilThisoil,pressedfromtheseedsoftheflaxplant,isavailableinseveralforms,

andactsbothasabinderandasaningredientinoil-paintingmediums.Linseed

oildriesquicklyatfirst,butthecompletedryingprocesswilltakemanyyears.It

oxidizesintoatough,leatheryfilmwhichhardensandbecomesmore

transparentonageing.

PoppyandsaffloweroilsThesearesemi-dryingoilswhichareusedtoslowdownthenaturallyfastdrying

timesofsomepigments.Palerthanlinseedoil,theyarealsousedforgrinding

whiteandlightcolors,astheyarelesspronetoyellowing.

OilsforunderpaintingPaintsgroundwithpoppyorsaffloweroilshouldnotbeusedforunderpainting,becausetheyaresoslowtodryandarepronetocracking.Dryingpoppyoil,however,isfaster-dryingandissafetouseforthispurpose.

Cold-pressedlinseedoilThepurestformoflinseedoilisextractedcoldfromtheseedandhasagolden-yellowcolor.Itmaximizeswettinganddispersionofpigmentparticlesduringmanufacture,andislesslikelytoembrittlewithage.

RefinedlinseedoilAlkali-refinedlinseedoilwetspigmentlesseasilythancold-pressedoil.Refinedlinseedoilisperfectlyacceptableasabinder,however,andischeaperthancold-pressedoil.

Sun-thickenedlinseedoilSun-thickenedoildriesquickly,butislessflexibleandmorepronetoyellowingthancold-pressedandrefinedoils.

SelectionofbindersAtypicalassortmentofbindersthatcanbeusedformostoil-paintingpurposes.Topshelf,fromlefttoright:cold-pressedlinseedoil;purifiedlinseedoil;sun-thickenedlinseedoil;assortedbrushes;turpentine.Bottomshelf,fromlefttoright:poppyoil;saffloweroil;rags;low-odorthinners;white(mineral)spirit.SEEALSOMAKINGOILPAINTS68UNDERPAINTING164VARNISHES350

DILUENTSFOROILSDiluents,or“thinners,”areliquidsusedtothindownpaintstoaidtheir

applicationtothesupport.Theymaybeusedalone,ormixedwithoilsand

varnishestocreatemediumsforspecificpurposes.Theyallevaporatequickly

onexposuretoair,andtheydonotalterthecharacteristicsofthepaint.

RectifiedturpentineAlwaysusedouble-distilledorrectifiedturpentineforpaintingpurposes.

Ordinaryhouseholdturpentine,soldinhardwareshops,isnotsuitable,because

itleavesagummyresiduewhichyellowsbadlyandrendersthepaintstickyand

non-drying.Turpentineevaporatesfrompaintmixturesatarelativelyslowrate,

andgivesamoreviscousmixthanwhite(mineral)spirit.

White(mineral)spiritThisrefinedpetroleumspiritdriesmorequicklythaneitherformofturpentine.

Whitespiritisnowbecomingmorepopularthanturpentineasadiluent,asit

hasseveraladvantages:itislessharmful,itdoesnotdeteriorateinstorage,its

smellislesspronouncedthanthatofturpentine,anditismuchcheaper.Inthe

past,whitespirithadatendencytocauseawhitebloomonthesurfaceofoil

paintings,butwithimprovedformulationthisproblemhasnowbeeneradicated.

DisposingofsolventsItisillegaltodisposeofsolventsbypouringthemdownasink,toiletoroutsidedrain.Theyshouldbetakentoagaragefordisposalbyspecialistwaste-disposalcompanies.

StoringturpentineTurpentinethickensanddiscolorsonexposuretoairandlight,andshouldbestoredinclosedmetalcansordarkglassbottlesfilledtothetop.Avoidlong-termstorage.

OdorlessthinnersTheseareavailableasanalternativetoturpentine.Theyhavethesameevaporationrate,butdonotdeteriorateinstorageandhavelowflammability.

KeithRobertsWindowsOiloncanvas150×120cm(60×48in)NewAcademyGallery,London

Thisartistintentionallykeepshispaintingsinastateoffluxuptothelastmoment.Here,theoveralltonalityisestablishedbyaloosebutvigorousunderpaintingofthinpaintdilutedwithturpentine.Inthefurtherlayers,whicharescrubbedonquickly,KeithRobertsmixesthepaintwithamediumofturpentine,linseedoilanddammarvarnish.

Usingdiluentssafely

Turpentinehasacharacteristicstrongsmell,andisthemostharmfulofoil-colorsolvents.Ifitirritatesyourskinorgivesyouaheadache,usewhitespiritinstead.Evensmallquantitiesofsolventsandthinnerscanbehazardousifnotusedwithcare,becausetheirfumesarerapidlyabsorbedthroughthelungs.Manysolventscanalsobeabsorbedthroughtheskin.Whenusingsolvents,avoidinhalation,anduseinawell-ventilatedroom.Wearrubberglovesorabarriercream,anddonoteat,drinkorsmokeinthestudio.

RecyclingsolventsDirtysolventscanbefilteredandreused.Leavetheusedsolventtostandforafewhours,toallowthepigmenttosettle.Pourtheliquidintoacleanjarthroughacoffeefilterpaper,takingcarenottodisturbthesediment.Leavetostandagain,toallowthepigmentthatmayhavepassedthroughthefiltertosettle,thentransfertoacleanjar.Repeattheprocessifnecessary.SEEALSOWATER-FRIENDLYOILPAINTS66MEDIUMS76HEALTH&SAFETY386

MEDIUMSFOROILSOilpaintusedstraightfromthetube,ordilutedwiththinners,producesthe

moststablepaintfilm.However,variousdryingoils,resins,waxesand

diluents,usedaloneorincombination,allowtheartisttoalterorenhancethe

characteristicsofthetubecolor.

PreparedpaintingmediumsInthepast,itwasgeneralpracticeforartiststomixtheirownmediumsfor

painting,particularlysincetheygroundandmixedtheirownpigmentsaswell.

Today,almosteverythingwebuycomespre-packagedforourconvenience,and

paintingmediumsarenoexception.

Mostmanufacturersofferseveraltypesofmedium,somebasedontraditional

recipes,otherstheresultofmodernlaboratoryresearch.Dependingonthe

ingredientsused,thesemediumsarevariouslyformulatedtoimprovetheflowof

thepaint,alteritsconsistency,andproduceeitheramattoraglossfinish.Some

areslow-drying,whereasotherscontainagentstospeedupthedryingrate.

Bearinmindthatpreparedpaintingmediumsarenotstandardized;different

brandsofglazemedium,forexample,mayvaryintheirformulation.Reputable

manufacturersincludetechnicalnotesonthecontentsandusesforspecific

paintingmediumsintheircatalogues.

Manufacturedmediums

AlkydmediumsAlkydisatranslucent,syntheticresinwhichhasbeenoil-modifiedtomakeitsuitableasapaintmedium.Good-qualityalkydmediumsspeedthedryingprocessandformaflexible,virtuallynon-yellowingfilm.Theycomeinvariousconsistencies,fromaliquidgelwhichissuitableforglazingandsubtleblending,toastiffgelspecificallyforimpastoandtexturework.Alkydmediumsmaybethinnedwithturpentineorwhitespirit.

UsinglinseedoilItisnotadvisabletouselinseedoilundiluted,asthereisariskthatthepaintlayermaywrinkle.Inaddition,thepaintbecomesso“fat”thatitisdifficulttoapplyanddriesslowly.

Usingmediums

Mediumsareadditivesandshouldbekepttoaminimumwithinyourtechnique,asanexcessmaybedetrimentaltothepaintfilm.Whenapplyingpaintinlayersandusingmediumsanddiluents,observethegoldenruleofoilpaintingandwork“fat-over-lean,”usinglessoilinthelowerlayersthantheupperones.

WilliamNicholson(1872–1949)WhiteTulips,1912Oiloncanvas60×53.7cm(24×211/2in)BrowseandDarbyGallery,London

Whereaspaintdilutedwithturpentinehasquiteadry,mattappearance,theadditionofapaintingmediumaddsarichnessandlustertothepaintsurface.Thisbeautifulstudyisreminiscentoftheseventeenth-centuryDutchschoolofstill-lifepaintinginitsuseofrich,creamypaint,softlyblendedformsandlustrousglazes.

SEEALSODILUENTS75FAT-OVER-LEAN166GLAZING170IMPASTO172

MAKINGMEDIUMSSomeartistsstillliketomixtheirownmediumsbecauseitisaneconomical

process.Mixingalsogivesthemmorecontrolovertheingredientsemployed,

whichareobtainablefrommostart-supplystores.

TurpentinemediumThemostcommonlyusedmediumisaslow-dryingmixtureofrefinedlinseedoil

andwhitespiritordistilledturpentine.Thetwoliquidsarepouredintoseparate

containerssothattheartistcanaddmoreoilaspaintlayersarebuiltup.The

normalproportionsare1partoiltoatleast2partsdiluent,withincreasing

amountsofoilbeingaddedinthefinallayers,toamaximumof50percentoil.

Glazemedium(resin-oilmedium)Thisgivesclarityandbrilliancetoglazes.Itusesstandoil,athick,viscousform

oflinseedoilwhichdriesslowly(fivedaysormoreinathinlayer),levelsoutwell

anddriestoadurable,elasticfilmthatyellowslessthanlinseedoil.

BeeswaxmediumThismakesoilpaintsgofurther,andprovidesathicktexturewhichissuitable

forimpasto.Usepurifiedbeeswaxwithanaturalcolor;refined,bleachedbeeswax

yellowswithage.

MakingdammarvarnishThisvarnishimpartsarich,glassyeffecttoglazes.Becauseitisresoluble,donotuseitneat;cutwithstandoilandsolvent.Ready-prepareddammarvarnishisavailable,butyoucanmakeyourownwithsmalllumpsofdammarresin.Crushtheresin,placeinamuslinbagandsuspendfortwoorthreedaysinajarofturpentine(use1partbymeasureofcrushedresinto4partsofturpentine).Whentheresinhasdissolved,strainagainthroughacleanmuslinbag,anditisreadyforuse.

MethodforglazemediumMix1partstandoiland1partdammarvarnish,andthenadd5partsturpentine.Stirtheglazeeachtimeitisused.Ifamoreviscidmediumisrequired,uselessturpentine.

MethodforbeeswaxmediumMelt100g(31/2oz)beeswaxinadoubleboiler(ortwocansasshownbelow)overlowheat;donotoverheat.Removefromtheheat,add85ml(3USfloz)rectifiedturpentine,andstir.Leavetocoolandsolidify,thenstoreinasealedjar.

Medium-makingmaterialsTheselectionofmaterialsthatareshownabovewillenableyoutomakethetwomediumsdescribed.Clockwisefromtopleft:cleancans;linseedoil;turpentine;beeswax;glazeoil;ready-madestandoil;home-madedammarvarnish.SEEALSOGLAZING170IMPASTO172

BRUSHESFOROILSOilpaintingrequiresresponsivebrusheswhicharedurableenoughto

withstandbothrepeatedscrubbingagainstthecanvas,andtheeffectsof

solventsusedincleaning.Best-qualitybrushesarealwaysworththeextra

expense,astheyholdthepaintwellandproduceamoresatisfyingmarkthan

cheaperbrushes.Theyalsoretaintheirworkingedgefarlongerandquickly

springbacktotheiroriginalshapeafteruse.

BuyingbrushesWhenbuyingbrushes,alwayscheckthatthebrushhairisfirmlyattachedinside

theferrule.Ifthereistoobigagapbetweenthehairandtheinsideoftheferrule,

paintcangetlodgedinthespaceandmakecleaningthebrushmoredifficult.

Thereshouldbenolooseorsplayedhairs,andthebrushhandleshouldbe

balancedtofeelcomfortableinuse.

BristlebrushesHard-wearing,toughandspringy,bristlebrushesareparticularlysuitableforoil

painting,astheycancopewiththethick,heavytextureofthepaintandare

robustenoughtobeworkedagainstthetexturedsurfaceofcanvas.Eachstrand

ofahog-bristlebrushsplitsintoseveralmicroscopicpoints,called“flags,”atits

tip;thesehelpholdthepainttothebrush.Bristlebrushesareexcellentfor

ladlingonthepaintandmovingitaroundonthesurface,andforapplyingthick

dabsofcolorinwhichthebrushmarksremainvisible,addinginteresttothe

surfaceofthepainting.Whenproperlycaredfor,thesebrushescanactually

improvewithage,astheysoftenandbecomemoreresponsiveafteraperiodof

use.

HogbristleThemajorityofbrushesusedinoilpaintingaremadefromhogbristle.The

finestbristlecomesfromtheChunkingregionofChina,andishand-picked

fromanarrowstriponeithersideofthehog’sspine.

Sablebrushes

Sablebrushesaresoftandspringy,similartothoseusedinwatercolorpainting,

Sablebrushesaresoftandspringy,similartothoseusedinwatercolorpainting,

butwithlongerhandles.Soft-hairbrushesarenotvitalinoilpainting,butare

usefulforpaintingfinedetailsinthefinallayersandforapplyingthinlydiluted

color.Sablebrushesareexpensive,however,andforoilpaintingsomeartistsfind

syntheticbrushesquiteacceptable.

TestingabristlebrushTotestanewbrush,pressanddrawitfirmlyagainstaflatsurface.Theferruleendofthebristlesshouldnotbendtooclosetotheedgeoftheferrule.

HouseholdbrushesGood-qualitydecorator’sbrushescanbeusedforseveraltasksotherthanapplyingpaint.Usewidebrushesforapplyinggluesizetostretchedcanvas,andnarroweronesforprimingthesupport.

BrightsWithshorter,stifferbristlesthanthoseonflats,brightsaremostlyusedfortexturaleffects,suchasapplyingheavyimpastoorforscrapingoffwetpaint.

FitchbrushesOnlower-gradebristlebrushesthebrushheadisshapedbycuttingandtrimmingthebristleends,thuslosingtheflags,sothebrushhaslessshapeandholdslesscolor.Thesearecalled“fitch”brushes,andtheyareperfectlyadequateforblockinginlargeareasofcolorintheinitialstagesofapainting.

FlatsandfilbertsFlatsaregoodgeneral-purposebrushes,andareespeciallyusefulforwashesandpaintinginlargeareas.Thesofterfilbertshelpsoftenedges.Bothtypesalsoproduceveryfinelineswhenturnedontheiredges.

RoundsRoundsareextremelyversatile;theycanbeusedforsoftstrokesinbasicunderpainting.

Syntheticbrushes

Bothsoftandstiff-hairtypesofsyntheticbrushhavebeenconsiderablyimproved

Bothsoftandstiff-hairtypesofsyntheticbrushhavebeenconsiderablyimproved

inrecentyears,andmakeaneconomicalalternativetotraditionalnatural-hair

brushes.Themostrecentdevelopmentinsynthetic-hairbrushesisthe

introductionofinterlockingfiberswhichmimicthemake-upofnaturalhog

bristles,givingthembetterpaint-holdingcapacitythanthenylonfilamentsthat

wereformerlyused.Syntheticbrushesareeasilycleanedandcanwithstand

repeatedscrubbingagainstthecanvas,butthecheaperonestendtolosetheir

shapemorequicklythannatural-hairbrushes.

SEEALSOBRUSHSHAPES80WATERCOLORBRUSHES96

BRUSHSHAPESBrushesforoilpaintingcomeinawiderangeofsizesandshapes.Eachis

designedtomakeadifferentkindofmark,butsomearemoreversatilethan

others.Selectingabrushdependsontheeffectsyouwishtoachieve,andwith

experienceyouwilldiscoverwhichonesarebestsuitedtoyourownpainting

style.Roundsandflatsarethemostusefulandversatiletobeginwith;brights

andfilbertscanbeaddedlater.

RoundbrushesRoundbrusheshavealarge“belly”withgoodpaint-holdingcapacity,and

smooth,taperedends.Withthinlydilutedpaint,theymakesoftstrokesthatare

idealforblockinginthebasiccompositionintheinitialstageofapainting.

Whenloadedwiththickpaint,theymakebold,vigorousmarksandcoverlarge

areasofthesupport.Roundsableandsoft-hairbrushescometoafinepoint,

usefulfordelicatelinesanddetails,butfinepointsareimpossiblewithhog-hair

brushes.

FlatbrushesLongflatbrusheshavesquareendsandlongbristlesthatareflexibleandholda

lotofpaint.Usedflat,theymakelong,fluidstrokes,andareextremelyusefulfor

fillinginlargeareasandforblending.Usingtheedgeortipofthebrush,they

makefinelinesandsmalltouches.

BrushsizesMosttypesofoil-paintingbrushcomeinarangeofsizes,from000(thesmallest)toaround16(thelargest).Brushsizesarenotstandardbetweenmanufacturersworldwide,andthereisnorelationshipbetweensizesinsableorsofthairandsizesinbristle.Thewidthofthehandleisproportionaltothesizeofthebrushhead,sothatthehandleofabiggerbrushisthicker.Thecharacteristichandleshape,withthewoodthickeningjustbelowtheferrule,isdesignedtokeepthewethairsofseparatebrushesfromtouchingwhenyouareholdingmorethanonebrush.

Householdbrushes

Decorator’sbrushesareinexpensive,hard-wearingandextremelyusefulforapplyingbroadwashesofcolorinthepreliminarystagesofalarge-scalepainting.Good-qualitybrushes,althoughmoreexpensive,willnotshedhairsasreadilyascheapones.Shavingbrushesareanalternativetousingsoftblendingbrushes.

BrightsShortflatbrushesareoftenreferredtoas“brights.”Theyarethesameshapeas

longflats,butwithshorter,stifferbristlesthatdigdeeperintothepaintand

leavestronglytextured,rectangularmarks.Theyareusefulforapplyingthick,

heavypainttoproduceimpastoeffects.Becauseoftheirshorterbristles,brights

areeasiertocontrol,makingthembetterthanlongflatsforpaintingdetails.

FilbertsFilbertsareacompromisebetweenflatandroundbrushes,beingshapedtoa

slightcurveatthetiptoproducesoft,taperedstrokes.Thecurvedtipallowsyou

tocontrolthebrushwell,andisusefulforfusingandsofteningedges.

FanblendersFanblendersareavailableinsable,synthetic,badgerhairandhogbristle.Where

asmooth,highlyfinishedresultisrequired,fanblendersareusedtofeatherwet

painttosoftenbrushstrokesandtoeffectsmoothgradationsoftone.Fan

blendersareparticularlyusefulforpaintingsoftedgesonclouds.

RiggersRiggers,namedaftertheiroriginaluseinexecutingthefinedetailofriggingon

marinepaintings,haveverylong,flexiblehairs.Thesecarryagoodamountof

paintintheirbelly,yetcometoaveryfinepointforpaintinglong,thinlines.

Theyareavailableinsable,oxorsynthetichair.

Bright

Filbert

Rigger

Fanblender

Flatbrush

Roundbrush

SelectingoilbrushesThenumberofbrushesyouuseandtheirsizeswilldependonthescaleandstyle

ofyourpaintings.Whereasoneartistmayuseadozenormorebrushes,another

maybeperfectlyhappywithjustafew.Asarule,havingagoodselectionof

brushesmakestheworkeasier,becauseyouspendlesstimecleaningthem

betweencolors.Ifyoucankeep,say,onebrushforlightcolorsandanotherfor

darkcolors,yourmixturesaremorelikelytostayfreshandunsullied.

StarterselectionIngeneral,itisbettertostartwithmedium-to-largebrushesastheycoverlarge

areasquickly,buttheirtipscanalsobeusedforsmalltouches.Requirements

differ,butausefulselectionofbrushestostartwithmightincludethefollowing

inhogbristle:aNo.10longflatforroughinginandapplyingtonedgrounds;

longflatsandroundsinNos6,4and2;andpossiblyaNo.4syntheticsoft-hair

brushforsmoothareasanddetails.Asyoubecomemoreexperienced,youmay

addfilbertsandbrightstothislistandincreasetherangeofsizesyouuse.

MakinganextendedpaintbrushWhenpaintingattheeasel,especiallywithalarge-scalework,itisimportantto

beabletostandwellbackfromthepicturesothatyoucanseethewholeaswell

asthedetails.

Paintbrusheswithextra-longhandlesdon’tseemtoexist,butartistsarean

inventivelot,andyoucanmakeyourownwithafewsimpletools.Workingwith

along-handledbrushtakesalittlegettingusedtoatfirst,butitgivesgreater

freedomofmovementtoyourpaintingarmandencourageslivelybrushstrokes.

Inthemethodshownbelow,thebrushisjoinedtothehandleofanold,worn

brushwhichwouldotherwisebethrownaway.Thehandleofthebrushtobe

attachedshouldbeslightlysmallerincircumferencethanthatoftheoldbrush,

becauseitispushedintoaholedrilledintothewoodoftheoldbrushhandle.

TheartistJoanMiró(1893–1983)usinganextendedpaintbrush.

Makinganextendedbrush

1Useasharpcraftknifetocutthebristlesofftheoldbrush.

2Gripthebrushinthejawsofametalvice.Usingahanddrill,slowlydrilldownthroughtheopeningoftheferruleandintothethickpartofthewoodenhandle.

3Dripsomewoodglueintotheholeandaroundtheendofthenewbrushhandle.Pushtheendofthenewbrushfirmlyintothehole.Leaveuntilthegluehasset.

4Withapairofpliers,squeezeandcrimptheferruleoftheoldbrusharoundthenewbrushhandle.Tightlybindthejoinwithinsulatingtape.

MaintainingbrushesOil-paintingbrushesshouldbethoroughlycleanedaftereachsession.Thisis

especiallyimportantwhenusingsableorothersoft-hairbrushes.Neverleavea

brushsoakingwiththebristlestouchingthebottomofthecontainer.

CleaningbrushesTocleanabrush,firstwipeofftheresidueofpaintwitharagorpapertowel.

Rinseinturpentineorwhitespirit,andwipewitharag.Thencleanthebristles

withsomemildsoapandlukewarmrunningwater,rubbingthebrusharound

gentlyinthepalmofyourhandtoworkupalather.Itisessentialtoremoveall

thepaintthathasaccumulatedattheneckoftheferrule.Ifpainthardenshere,

thebristleswillsplayout.Rinsethebrushandrepeatthesoapinguntilnotrace

ofpigmentappearsinthelather.

Givethebrushafinalrinse,thenshakeitoutandgentlysmoothitintoshape

withyourfingers.Leaveittodrynaturally,withtheheadpointingupwards.

StoringbrushesAlwaysmakesurethatbrushesaredrybeforestoringtheminaclosedcontainer,

ortheymaydevelopmildew.Mothsareratherpartialtosable,sooncethe

brushesaredry,storetheminboxesandusemothballsforextraprotection.

AneconomicalbrushwasherWhencleaningbrushes,jarsofsolventquicklybecomedirtyandneedchanging.

Itisillegal,however,todisposeofsolventssuchasturpentineandwhitespiritby

pouringthemdownthesink,orevenanoutsidedrain.Inanycase,wastagecan

beavoidedbyreusingthesolvents.

Youwillneedtwojarswithlids.Cleanthebrushesinsolventinthefirstjar,

andscrewonthelid.Bythenextdaymostofthepigmentinthesolventwill

havesettledtothebottomofthejar;youcanthencarefullydecanttheclear

solventintothesecondjar,readytobeusedagain.

ReshapingbrushesIfbrushesarebeginningtosplayoutafterprolongeduse,wrapthebristleswithtoilettissuewhiletheyarestillwet;asthepaperdriesitcontractsandpullsthebristlesbackintoshape.

BrushwashersThesemetalcontainerscomeinvarioussizes,andhaveaspecialcoiledhandleforkeepingbrushessuspendedinthecleaningagentduringsoaking.Thispreventsthebristletipsbeingpressedagainstthebottomofthecontainer.

HealthandsafetyWearprotectivegloveswhencleaningpalettesandbrushes.Avoidprolongedskincontactwithpotentiallyhazardouspaints,suchasflakewhiteandthecadmiumcolors.

BrushwipesAnoldtelephonedirectoryishandyforwipingexcesspaintoffyourbrushespriortocleaning.Simplywipethebrushacrossapage,thentearitoffandthrowitaway,leavingthenextpagereadyforuse.

PALETTESPalettescomeinavarietyofshapes,sizesandmaterials,designedtosuitthe

artist’sindividualrequirements.Alargepaletteisbetterthanasmallone,

becauseyouneedplentyofspaceformixingvariationsofcolor.Apalette

measuringapproximately36×46cm(14×18in)isagoodsize,allowingthe

colorstobewellspacedaroundtheedgeandleavingplentyofroominthe

centerformixingcolors.

ChoosingWherepossible,itisextremelyhelpfultochooseapalettewhichapproximatesto

thecolorofthegroundyouareworkingon,sothatyougetanaccurateideaof

howthecolorswilllookonthepaintingitself.Forexample,chooseawooden

paletteifworkingonared/brownground,andawhiteoneifworkingonawhite

ground.

CleaningthepaletteIfresumingpaintingwithinadayortwo,coverthesqueezesofpaintwithplasticwraporfoiltokeepthemmoist,otherwisediscardthem.Attheendofeachsession,scrapeofftheexcesspaintontosomenewspaperwithaknife.Wipeanydiluentormediumleftinthedipperoverthepalettewitharaguntilclean.

ManufacturedpalettesAboveisaselectionofcommerciallymadepalettesthataresuitableforusewithoilpaints.Clockwisefromleft:largesolid-woodkidney-shaped;twomediummelamineoblong;mediummelaminerecessed;twomelaminerecessed;smallceramicoblong;mediumsolid-woodoblong.

ImprovisedpalettesForstudiowork,manyartistsprefertouseahome-madetable-toppalette,whichcanberestedonanearbysurfaceandcanbeofanysizeorcolor.Anysmooth,non-porousmaterialissuitable,suchasasheetofwhitelaminateormelamineboard,aglassslabwithwhiteorneutral-coloredpaperunderneath,orasheetofhardboard(Masonite)sealedwithacoatofpaint.Oldcups,jarsandtinsareperfectlyadequateformixing,andcanbecoveredwithplasticfilmtostopthepaintdryingbetweensessions.

Disposablepalette

PreparingwoodenpalettesBeforetheyareusedforthefirsttime,woodenpalettesshouldbetreatedby

rubbingwithlinseedoil.Thissealsthewoodandpreventsitfromsuckingoil

fromthepaint,thuscausingittodryouttooquicklyonthepalette.Italso

makesthesurfaceeasiertocleanafteruse.Rubagenerouscoatingoflinseedoil

intobothsidesofthepaletteandleaveitforseveraldaysuntiltheoilhas

hardenedandfullypenetratedthewoodgrain.

TypesofpalettePlywoodormelaminepalettesareeconomicallypriced,whilethosemadeof

mahoganyveneerlookwonderfulandfeelverycomfortable,buttheydocosta

lotmore.Beforeinvestinginanewpalette,tryseveralforcomfort;thebetter

onesarebalancedandwilltireyourarmless.

ThumbholepalettesThumbholepalettesaredesignedtobeheldinthehandwhileyouarepainting

attheeasel.Theyhaveathumbholeandindentationforthefingers,andthe

paletteissupportedontheforearm.Theyareavailableinarangeofsizes,either

rectangular(called“oblong”),ovalorkidney-shaped.

RecessedpalettesRecessedpalettesareavailableinaluminium,plasticandchina,andareusedfor

mixingthindilutionsofpaint.

DisposablepalettesMadeofoil-proofpaper,disposablepalettesareusefulforoutdoorwork,and

removethenecessityforcleaningapaletteafterpainting.Theyaresoldinpads

withtear-offsheets;somehaveathumbhole.

ACCESSORIESFOROILSPaintinginoilscanbequiteamessybusiness,sothemostessentialaccessories

arelargejarsortinstoholdsolventsforcleaningbrushes,andaplentiful

supplyofcottonragsandnewspaper.Thefollowingitemsarenotessential,

butsome,suchaspaletteknives,arecertainlyuseful.

PaletteknivesTheseareformixingcolorsonthepalette,scrapingpalettesclean,andfor

scrapingawaywetpaintwhenmakingalterationstoapicture.Paletteknives

haveastraight,flat,flexiblebladewitharoundedtip.Thelongedgesofapalette

knifeareidealforremovingwetpaint,andthetipisgoodforpickingupand

mixingdabsofpaintonthepalette.

PaintingknivesPaintingknivesareformixingandspreadingcolordirectlyonthesupport,and

comeinseveralsizes.Theyhavedelicate,flexiblebladeswhichcomeinavariety

ofshapesformakingdifferentkindsofmarks;thecrankedhandleskeepyour

handclearofthewetpaintsurfacewhileyouareworking.Theangularbladeis

idealforapplyingavarietyofmarks:usethetipofthebladeformakingfine

detailsandstippledmarks,theflatpartforbroadstrokes,andtheedgeofthe

bladeforlinearmarks.

DippersThesearesmallopenmetalcupsthatclipontotheedgeofathumbholepalette

toholdoilsandsolventsduringpainting.Youcanbuysingledippersordouble

dippers.Somehavescrewcapstopreventspillageorevaporationofsolvents.

However,inthestudioitmaybemoreconvenienttousesmalljarsorcups

restingonanearbysurface.

MahlstickAmahlstickisalonghandlewithapadatoneend,whichisrestedonthesupportforsteadyingthepaintingarmwhenexecutingdetailed,controlledwork.

Home-mademahlstickTraditionally,mahlstickshadbamboohandlesandchamois-leatherpaddedtips,butnowadaystheyareusuallymadeofaluminiumwithrubbertips.Youcanimproviseyourown:tightlywrapcottonwoolintoaballaroundtheendofagardencane.Cutadiscofcloth,chamoisleatherorchamoissubstitute,largerthantheball,andsecureitroundthecanewithacordorelasticbands.

UsingamahlstickIfyouareright-handed,holdtheendofthestickinyourlefthandandrestthepaddedendlightlyonadrysectionofthework,orontheedgeofthestretcher,sothatthestickcrossesthepaintingdiagonally.Youcanthensteadyyourpaintingarmonthecane.

AccessoriesClockwisefromtopright:paletteknives;paintingknives;mahlstickwithscrew-inextension;singledipper;doubledipper.

WATERCOLORPAINTSPaintsforwatercolorconsistofveryfinelygroundpigmentsthatarebound

withgumarabicsolution.Thegumenablesthepainttobeheavilydiluted

withwatertomakethin,transparentwashesofcolor,withoutlosingadhesion

tothesupport.Glycerineisaddedtothemixturetoimprovesolubilityand

preventpaintcracking,alongwithawettingagent,suchasoxgall,toensure

anevenflowofpaintacrossthepaper.

ChoosingandbuyingpaintsItisnaturaltoassumethatthereislittledifferenceinformulationbetweenone

brandofwatercolorpaintandanother.Inreality,thetypesandproportionsof

ingredientsusedbymanufacturersdodiffer,sothereareoftenvariationsin

consistency,colorstrength,handlingqualities,andevenpermanencebetween

onepaintrangeandanother.

Itisworthtryingoutseveralbrandsofpaintinitially,asyoumayfindthatone

suitsyourpersonalstyleofworkingbetterthananother.Youdon’thavetostick

toonebrand,however;good-qualitywatercolorpaintsarecompatibleacrossthe

ranges,andyoumaydiscoverthatcertainindividualcolorsperformbetterinone

rangethananother.Viridianisagoodexample:insomebrandsithasatendency

tobegritty,whileinotherrangesitisperfectlysmoothandclear.

UsingchartsWhenpurchasingpaints,don’tdependonmanufacturers’colorchartsasaguidetoacolor’sappearance.Mostofthemareprintedwithinksthatarenotaccuraterepresentationsofthecolors.Handmadetintchartsproducedwithactualpaintonswatchesofwatercolorpaperaremorereliable;anyreputableartsuppliershouldhaveonewhichyoucanreferto.

Aselectionofpans,halfpansandtubes

DifferencesbetweenbrandsColorsthataremixturesofpigments(sapgreenandPayne’sgray,forexample)showamarkedvariationinhuebetweenbrandsbecausetheyareformulateddifferently,sodonotexpectafamiliarcolornametobeexactlythesamecolorinadifferentbrand.

TypesofpaintWatercolorsareavailableintwomainforms:assmall,compressedblocksofcolor,called“pans”or“halfpans”accordingtosize,andasmoistcolorintubes.Theformulationsoftubeandpancolorsareverysimilar,andwhichtypeyouchooseisamatterofpersonalpreference.Good-qualitywatercolorequipmentwillrepayyouwithmanyyearsofloyalservice.

PansandhalfpansPansandhalfpansslotneatlyintotailor-made,enamelled-metalboxeswith

recessestoholdtheminplaceandseparatethem,andalidthatdoublesasa

palettewhenopenedout.Youcaneitherbuyboxescontainingarangeof

preselectedcolorsor,preferably,fillanemptyboxwithyourownchoice.Coloris

releasedbystrokingwithawetbrush;thewetterthebrush,thelighterthetone

obtained.

Pansarelightandeasytousewhenpaintingoutofdoors.Thecolorsare

alwaysinthesamepositionintheboxwhenyouwantthem,andtheydon’tleak.

Theyarealsoeconomicaltouse,withminimalwastageofpaint.However,it

takesalittleefforttoliftenoughcolorontothebrush.Paintsalsobecomedirtied

whenyoudartfromonetotheotherwithoutrinsingoutyourbrushinbetween.

PreventinglidsstickingAfterapaintingsession,removeanyexcessmoisturefromthepancolorswithadampsponge.

ImprovisedpansAlwaysreplacecapsoftubecolorsimmediately,otherwisethepaintwillhardeninthetube.Ifthisdoeshappen,however,cutopenthetubeanduseitasanimprovisedpan.Solongasthepaintisnotsooldthatthegumarabicbinderhasbecomeinsoluble,itshouldbepossibletoreconstitutethepaintwithwater.

SalvagingtubesItispossibletobringdried-uptubepaintbacktoitsformerpaste-likeconsistency.Unrollthetube,thencuttheendoff,andaddafewdropsofwater.Nowletthehardenedpaintabsorbthemoisture,andreworkitbacktoapaste.

CareofpansNewpanstendtosticktotheinsideofthelidwhenyouclosethebox;whenyou

nextopenthelid,theymayscatteroutoforder.Itisgoodpracticetoremove

excessmoisturefrompanswithadampspongeafterapaintingsession.Leave

theboxopeninawarmroomforafewhourstoletthecolorsdryoffbefore

closingthelid,anddrythepaletteontheinsideofthelidbeforeclosingit,or

thepaintsabsorbthemoistureandbecomesticky.

Whenusingpancolorsforthefirsttime,wetthemwithadropofwaterand

leaveuntilthewaterhasbeenabsorbed.Thiswillensureeasierpaintrelease

whenthepansarestrokedwiththebrush.

Tubes

Tubesofcolorareavailableinsizesrangingfrom5to20ml(0.17to0.66USfl

Tubesofcolorareavailableinsizesrangingfrom5to20ml(0.17to0.66USfl

oz),thestandardsizebeing15ml(0.5USfloz).Thesmallersizesaredesigned

tofitintotravellingwatercolorboxes,butthebiggertubesaremoreeconomical

forlarge-scalework.Tubescanbeboughteithersinglyorinpreselectedsets.

Choosingyourowntubesmeansyoucanobtainpreciselythecolorsyouneed.

Tubecolorsaremorecumbersomethanpanswhenpaintingoutofdoors,but

theyaremoresuitableforlarge-scaleworkinthestudio.Becausetubepaintis

morefluidthantheequivalentpanform,itisbetterformixinglargeamountsof

paint.Tubescanbemorewastefulthanpancolors,however,becauseitiseasyto

squeezeoutmorethanyouneed,andthepaintcanleakandsolidifyifthecapis

notreplacedproperly.Tubecolorisalsopronetosettling,asoldstockmay

hardenorseparateinthetube.

CareoftubesAlwayscleanthetubethreadbeforereplacingacap,oritmaystick–thegum

arabicinthepaintactsasaglue.Stuckcapscanbeopenedwithpliers,orby

holdingthetubeunderahottapsothatthecapexpandsandiseasiertoremove.

Donotthrowawaytubesofhardpaint,asitisoftenpossibletosalvagethe

contents.

GradesofpaintTherearetwogradesofwatercolorpaint:artists’(firstquality)andstudents’

(secondquality).Althoughstudent-gradeoilpaintscanberecommendedfor

thosebeginnerswishingtoexperimentwithoutbreakingthebank,student-grade

watercolorsareusuallyafalseeconomybecausetheylacksomeofthesubtlety

andtransparencyoffirst-qualitypaints.Artist-qualitypaintsaremoreexpensive,

buttheyareworthitand,besides,youdon’tneedahugecollectionofpaintsin

ordertoproduceagoodpainting.

Havingsaidthis,reputablepaintmanufacturersgotogreatlengthsto

maintainhighstandardsataneconomicprice,andsomeartistswillfind

students’colorsperfectlyacceptableforeverydayuse.Certainstudent-grade

colorsmayevenhaveparticularqualitieswhichyoupreferovertheartists’

equivalent.Forexample,ifyouwantabrightgreen,youmayfindamixtureof

student-gradecobaltblueandcadmiumyellowbetterthanthesubtlegreen

producedbythesamemixtureinartists’colors.

Artists’paintsArtist-qualitypaintscontainahighproportionofgoodquality,veryfinely

ground,permanentpigments.Thecolorsaretransparentandluminous,theymix

well,andthereisawiderange.Paintsareoftenclassifiedby“series,”usually

from1to5,accordingtotheavailabilityandcostofthepigments.Generally,

series5pigmentsarethemostcostly,andseries1theleast.

Students’paintsStudent-qualitypaintsareusuallylabelledwithatradename,suchas“Cotman”

(Winsor&Newton)or“Georgian”(Daler-Rowney),andshouldnotbeconfused

withtheverycheappaintsimportedfromtheFarEast,whichshouldbeavoided.

Students’paintsaresoldatauniformprice,offeringthebeginneran

Students’paintsaresoldatauniformprice,offeringthebeginneran

affordableselectionofcolors.Theydocontainlesspurepigmentandmorefillers

andextenders;manyofthemoreexpensivepigments,suchasthecadmiumsand

cobalts,arereplacedbycheaperalternatives.Suchsubstitutioniscommonly

indicatedbytheword“hue”afterthepigmentname.Theselectionofcolorsis

usuallysmallerthanthatofartists’ranges.

Studentsv.ArtistsMixingstudent-gradecobaltblueandcadmiumyellowmaygiveyouabrightercolorthanthatachievedbythesamemixtureinartists’colors.

PermanenceWatercolorisaspermanentasanyothermedium,providedthatpermanent

colorsareused.Youshouldalwayscheckthemanufacturer’spermanencyrating,

whichisprintedeitheronthetubelabelorintheircatalogue.Itisalsoimportant

touseacid-freepaper,andtoprotectwatercolorpaintingsfrombrightsunlight.

Aninterestingexperimentistopaintapatchofcolorontopaper,coverhalfwith

apieceofcardandplaceitinbright,indirectlightforseveralweeks.Whenyou

removethecard,youcanjudgethecolorloss.Mostgood-qualitypaintsshow

littleornofading.

TestingcolorpermanenceThiscolorchartofstudent-qualitywatercolorswaslefttapedtoawindowwithhalfofitexposedtonorthernlightforfourmonths.Theeffectsoffadingcanbeclearlyseen.

TransparencyofcolorThreewaysofusingtheuniquetransparencyofpurewatercolor,whichgivesaluminousglowunmatchedbyothermedia.

JacquelineRizviDanaeWatercoloronpaper27.5×21.2cm(11×81/2in)

JacquelineRizviuseswatercolormixedwithChinesewhiteandappliestranslucentlayersofcolorverygradually,usingfairlydrypaint.Thisdelicateandunusualtechniquemaintainsthetransparent,atmosphericqualityofwatercolorwhilegivingitamoresubstantialtexture.ThisstudyisworkedonbrownJapanesepaper,whichprovidesanunderlyingwarmtone.

KenHowardSanMarco,MorningWatercoloronpaper27.5×22.5cm(11×9in)

KenHowardhascapturedthehazeofearly-morningsunlightonStMark’s,Venice,withthinveilsofshimmeringcolor,appliedoneovertheother.

AlexMcKibbinEnvironsofPamajeraWatercoloronpaper55×75cm(22×30in)

AlexMcKibbin’saimisalwaystocapturethepulseandenergyofnature,andtothisendhemanipulateshisbrush,pigmentsandwaterwithgreatbravura,alternatingcrispstrokesanddrybrushwithsofterareas.Thewhitesurfaceofthepaperplaysanintegralpart,reflectinglightthroughthethinlayersofcolor.

JohnLidzey

WildFlowersbytheWindow42×27cm(161/2×101/2in)

SEEALSOPIGMENTANDCOLOR92BASICWATERCOLORPALETTES94

PIGMENTANDCOLORAlthoughwatercolorisregardedasa“transparent”medium,thepigmentsfall

intothreegroups:transparent,opaqueandstaining.Thecharacteristicsof

eachgroupdependonthesubstancesfromwhichtheyarederived.

Additionally,somecolorsareintenseandhavegreatertintingstrengththan

others.

TransparentpigmentsHighlytransparentcolorspermitthewhitereflectivesurfaceofpapertoshine

through.Theyhaveanattractive,airyqualitywhichisperfectforcapturingthe

illusionofatmosphere,spaceandlight.Sometransparentcolorsarealsostrong

stainers,thoughthiswillnotconcernyouunlessyouwishtoliftoutcolors.

StrongtintsColorssuchasalizarincrimson,cadmiumred,phthalocyanineblueandburntsiennaareverystrong,andneedtobedilutedheavily.

Low-strengthtintsPigmentswithalowtintingstrengthincluderawumber,yellowochre,ceruleanblueandrawsienna.

OpaquepigmentsInwatercolor,so-called“opaque”colorsareobviouslyfarmoretransparentthan

theyareinoils,particularlywhentheyarethinlydiluted.Manyopaquepigments

arebrilliant,whileothersarebeautifullysubtle.However,thesepigmentsimpart

adegreeofopacitytoallcolorstheyaremixedwith–ifusedcarelessly,they

createcloudycolorslackingbrillianceandluminosity.

StainingpigmentsSometransparentcolors,suchasalizarincrimson,arehighlystaining:they

penetratepaperfibersandcannotberemovedwithoutleavingatraceofcolor.

Someearthcolors,cadmiumsandmodernorganicpigmentsalsotendtostain;if

youintendto“liftout”orspongeoutareasofcolor,youshouldalwayschoose

non-stainingpigmentswherepossible.

TintingstrengthsThetintingstrengthofpigmentsvariesconsiderably.Someareverystrongand

overpowerinmixtures,soonlyasmallamountisneeded.Othersaresodelicate

thatyoumustusealargeamounttomakeanimpactonanothercolor.Knowing

howstrongorweakeachcoloriswillsaveyoualotoftimeandfrustrationwhen

mixingcolorstogether.

Transparentnon-staining

Transparentstaining

Opaque

Thelistshowsthecharacteristicsofsomepopularcolors.However,brandsofpaintvarywidelyintheirformulation;therefore,testthecolorsyourself.

ColormixingYoushouldalwaysmixmorepaintthanyouthinkyouwillneed;itissurprising

howquicklyitisusedup.Itisfrustratingtorunoutofcolorhalfwaythrougha

washandthenhavetotrytoremixtheexactcoloragain.

Oneofthekeystogoodcoloristorestrainyourselffrommixingpigmentstoo

much.Ifyouareblendingtwocolorstogether,forexample,themixtureshould

showthree:thetwooriginalpigmentsandthemixtureitself.Thisgivesalivelier

vibrationtothecolor.

Anotherwaytoensurethatyoudon’tovermixyourcolorsistoapplyeachone

separately,mixingdirectlyonthesupport.Colorsmaybeappliedinsuccessive

glazes(wet-on-dry),orallowedtoblendondampenedpaper(wet-in-wet).

TrialanderrorYoucannottellbylookingatpaintonapalettewhetheryouhaveachievedthe

rightcolorortone:thecolormustbeseenonpaper.Watercolorpaintalways

drieslighteronpaperthanitappearswhenwet,somixingisoftenamatterof

trialanderror.Whenmixing,therefore,itisusefultohaveapieceofsparepaper

tohandfortestingthecolorsbeforeapplyingthemtoapainting.

UsingbodycolorTopurists,theuseofopaquepaintinawatercolorisnothingshortofheresy.A

watercolorissupposedtobetransparent,theywouldsay,andpalertonesare

achievedbyaddingmorewatertopaint,whilepurewhiteareasareachievedby

reservingareasofwhitepaper.However,mostwatercoloriststakeamore

pragmaticapproachanduseopaquepaintwhenitseemsappropriatefora

particularstageinapainting–whencreatinghighlights,forexample.

Transparentwatercolorscanberenderedopaqueorsemi-opaquebymixing

themwithChinesewhitetoproducewhatiscalledbodycolor.Chinesewhiteis

ablendofzinc-oxidepigmentandgumarabic;itisadense,coolwhitewhich

producespasteltintsinmixturesduetoitshightintingstrength.

MixingPigmentsshouldnotbemixedtoomuch.Stopmixingwhileyoucanstillseetheoriginalcolorsalongwiththemixture.Thelightlymixedexamples(below,2and3)canbeseentobemorelivelyandcolorfulthantheovermixedexample(1).

1Frenchultramarineandalizarincrimsonovermixedonthepalette.

2Thesamecolors,thistimepartlymixedonthepalette.

3Thesamecolorspartlymixedonwetwatercolorpaper.

CobaltblueWetpaint(above)comparedwithadryexample(below).

Semi-transparentcolorsOnewayofusingChinesewhiteistodiluteitandthenmixitdirectlywithtransparentcolors.Thisgivesasemi-transparent,slightlymilkyeffectthatisparticularlyeffectiveontonedpapers.

BASICWATERCOLORPALETTESTheenormousrangeofpigmentsavailablemakesitdifficulttochoosecolors

inaconsideredway.Whocanresistthoseendlessrowsofgorgeouscolorsin

thelocalartstore?Setsofgood-qualitywatercolorsareavailableinboxes,but

theseareexpensiveandmaycontainfarmorecolorsthanyouneed.Awiser

courseistobuyanemptyboxandfillitwithcolorsofyourownchoice.

StarterpaletteConfidenceindrawingdependsoncarefulobservation.Carryapocket

sketchbookwithyouandtakeeveryopportunitytosketchpeople–incafés,on

publictransport,atthebeach.Bywatchingpeopleandsketchingthem

frequently,youwillgraduallybuildupastoreofvisualinformationabout

physicalshapes,bodylanguageandfacialexpressionsinavarietyofsituations.

Translatingthisinformationfromeyetohandtopaperbecomeseasierthemore

youpractise.

CadmiumyellowPermanenceexcellent(ASTMI).Anopaquecolorwithawarmandorange-yellowhue.Veryclearandbright.

Cadmiumred

Permanenceexcellent(ASTMI).Anopaquecolorwithabrightvermiliontone.Veryclearandbright.

PermanentrosePermanencegood(ASTMII).Atransparentcolorwithacoolpinkish-redhue.Asofterandmorepermanentalternativetoalizarincrimson.

FrenchultramarinePermanenceexcellent(ASTMI).Anexcellenttransparentcolorwithadeepblue,violet-tingedhue.Makesarangeofsubtlegreenswhenmixedwithyellows.

CobaltbluePermanenceexcellent(ASTMI).Atransparentcolorwithasoftbluehue.CoolerthanFrenchultramarine.

RawsiennaPermanenceexcellent(ASTMI).Atransparentcolor,excellentforlayeringwashes,withadeepgolden-yellowhue.Averylightfastanddurablecolor.

BurntsiennaPermanenceexcellent(ASTMI).Atransparentcolorwithadeepred-brownhue.Mixeswellwithotherpigments,givingmutedandsubtlecolors.

BurntumberPermanenceexcellent(ASTMI).Amoretransparentcolorthanrawumber,withawarmbrownhue.Excellentinmixturesofpigments.

PreselectedboxesThistypicalshop-boughtwatercolorpanbox(below)containsthefollowingcolors:

AuxiliarypaletteThesevencolorsthatareshownbelowonthispagehavebeenselectedasarangethatwillextendyourstarterpalette(seeprevious)forwatercolorpainting.Apartfromtheadditionalpossibilitiestheyprovideyouwithforfurthermixingandexperimentation,youwillalsofindthemveryusefulwhenyouarepaintingonlocationoutdoors,particularlyforlandscapes.

CeruleanbluePermanenceexcellent(ASTMI).Asemi-transparentcolorwithacoolandgreenish-bluehue.Idealforpaintingskies.

PhthalocyaninebluePermanencegood(ASTMII).Atransparentcolorwithadeep,intensebluehueandacold,sharptone.Astrongstainingcolor.

CobaltvioletPermanenceexcellent(ASTMI).Atransparentcolorwithabright,red-violethue.Apurevioletthatcannotbemixedorimitated.

RawumberPermanenceexcellent(ASTMI).Atransparentcolorwithagreenish-brownhue.Usefulinmixes.

YellowochrePermanenceexcellent(ASTMI).Atransparentcolorwithasoftgolden-yellowhue.Hasacalmingeffectonothercolors.

ViridianPermanenceexcellent(ASTMI).Atransparentcolorwithacoolbluish-greenhue.Makesagoodbasisforwarm,brightgreens.

VenetianredPermanenceexcellent(ASTMI).Asemi-opaquecolorwithawarmterracotta-redhue.Veryusefulformixingfleshtones.

WATERCOLORBRUSHESBrushesareaveryimportantelementinwatercolorpainting,soitisworth

buyingthebestqualityyoucanafford.Cheapbrushesareafalseeconomy,as

theydonotperformwellandquicklywearout.

AgoodbrushAgoodbrushshouldhaveagenerous“belly”capableofholdingplentyofcolor,

yetreleasingpaintslowlyandevenly.Thebrushshouldalsopointoredgewell–

whenloadedwithwater,itshouldreturntoitsoriginalshapeattheflickofthe

wrist.Thebestbrusheshaveaseamlessferrulemadeofcupro-platednickel,

whichisstrongandresistanttocorrosion.Lower-gradebrushesmayhavea

platedferrulewithawrapoverjoin;withrepeatedusethismaytarnishoropen

up.

SableSablehairisobtainedfromthetailofthesablemarten,arelativeofthemink.

Sablebrushesareundoubtedlythebestchoiceforwatercolorpainting.Theyare

expensive,sometimesalarminglyso,buttheygivethebestresultsand,ifcared

forwell,willlastalifetime.Sablehairtapersnaturallytoafinepoint,sothat

brushesmadefromithaveverydelicateandprecisetipswhichoffermaximum

controlwhenpaintingdetails.Good-qualitysablebrushesareresilientyet

responsive;theyholdtheirshapewellanddonotshedtheirhairs,andhavea

springandflexibilitywhichproducelivelyyetcontrolledbrushstrokes.

KolinskysableTheverybestsableisKolinskysable;itcomesfromtheKolinskyregionof

northernSiberia,wheretheharshnessoftheclimateproduceshairthatis

immenselystrong,yetitisbothsuppleandspringy.

RedsableandpuresableBrushesmarked“redsable”or“puresable”aremadefromselectednon-Kolinsky

hair.TheydonothavethespringandshapeofKolinsky,butareperfectly

adequateandmoremoderatelypriced.However,youshouldbewareofbuying

verycheapsablebrushesjustbecausetheycarrythename“sable”–good-quality

sableisspringyandstrong,whilebeingatthesametimefineandsoft.

PortablebrushesSmallretractablebrushes,witha“travelling”setofpans,areidealformakingsketcheswhenpaintingoutofdoors.

SquirrelhairThisisdarkbrownincolor,andismuchsofterthansable.Althoughatfirst

sightitismuchcheaperthansable,squirrel-hairbrushesaregenerallyafalse

economy,astheydonotpointwellandhavelittleresilience.Squirrel-hair“mop”

brushes,however,retainalargeamountofcolor,allowingextensivewashestobe

laidquicklyandevenly.Thismakesthemaneconomicalalternativetolarge-size

sablewashbrushes.

OxhairThishaircomesfromtheearofabreedofcowandisstrongandspringy,but

quitecoarse.Itdoesnotpointverywellandisnotsuitableformakingfine-

pointedbrushes,butitisaverygoodhairforuseinsquare-cutbrushes.Ox-hair

brushesusuallyhavealonghairlength,whichincreasestheirflexibility.

Goathair

AtypeofhairoftenusedintraditionalOrientalwatercolorbrushes.Thehairis

AtypeofhairoftenusedintraditionalOrientalwatercolorbrushes.Thehairis

softbutsturdy,andgoat-hairbrushesholdalotofwater.Thismakesthemideal

forlayingbroadwashesandforworkingwet-in-wet.

SyntheticfibersThesebrusheshavebeenintroducedinanattempttoachievetheperformanceof

naturalhairatacheaperprice.Sable-typesyntheticsareagolden-yellowcolor,

andaremadefrompolyesterfilamentswithtaperedendswhichimitatethereal

thing.Theycanbealittlestiffandunsympatheticincomparisontonaturalhair,

andhavelesscolor-holdingcapacity,butsyntheticsinsmallersizesareabetter

choiceforfineworkthan,say,squirrelhair.

CombinationbrushesSomemanufacturersofferbrusheswhichcombinesynthetichairwithrealsable,

toachievegoodcolor-holdingandpointingpropertiesatareasonablecost.

Guidetowatercolorbrushhair

KolinskysableThebest:veryexpensive,immenselystrong,yetsuppleandspringy.

RedorpuresableMoremoderatelypriced,springyandstrong,yetfineandsoft.

SquirrelhairSofterandcheaperthansable,thisdoesnotpointwellandhaslittleresilience.Alesscostlyalternativetolarge-sizesablewashbrushes.

OxhairStrongandspringy,butquitecoarse,oxhairdoesnotpointverywell.Goodhairforsquare-cutbrushes.

GoathairSoftbutsturdy,goathairisidealforlayingbroadwashes.

SyntheticfibersSyntheticfiberscanbealittlestiffandunsympathetic,withlesscolor-holdingcapacitythananimalhair.

CombinationhairThebrushshownisacombinationofsquirrelandgoathair.Otherblendsofanimalhairsarealsoavailable,asareanimal-syntheticcombinations.

Componentsandmaterialsusedinbrush-makingSEEALSODRAWINGINKS56BRUSHSHAPESANDSIZES98TEXTURESANDEFFECTS194

BRUSHSHAPESANDSIZESArt-supplystoresandmanufacturers’cataloguesofferawiderangeof

variationsonwatercolorbrushes,butthosedetailedbelowwillprovideallyou

needforsuccessfulwatercolorpainting.

RoundbrushesTheroundisperhapsthemostusefulandmostcommonbrushshape.Abrush

ofthistypecanbeusedforbothfine,delicatestrokesandbroaderstrokesand

flatwashes.Apartfromthestandardlengthofbrushhead,roundsalsocomein

shortlengths(“spotter”brushes)andlonglengths(“rigger”brushes).

SpotterbrushesRetouchingorspotterbrusheshaveafinepoint,andtheveryshortheadgives

youextracontrol.Theyareusedmainlybyminiaturistsandbotanicalartists,for

precisedetails.

RiggerbrushesAlong-hairedroundbrushisknownasadesigner’spoint,writerorrigger(from

whenthebrushwasusedforpaintingthefinelydetailedriggingonsailing

ships).Thelongshapegivesanextra-finepointandgoodcolor-holding

properties,allowingfinelinesandtaperedstrokes.

MopsandwashbrushesThesearemadefromsynthetic,goatorsquirrelhair,andareusedforlayingin

largeareasofcolorquickly.Washbrushesaregenerallywideandflat,while

mopshavelargeroundheads.

StarterselectionForagoodstarterset,chooseNos3,5and12roundbrushes.

CareofbrushesBrusheswilllastlongerandbefarmorepleasanttoworkwithifyoufollowafewsimplerules.

Whilepainting,donotleavebrushesrestingontheirbristlesinwaterforlongperiods,asthiscanruinthehairsandhandles.

Immediatelyafteruse,rinsebrushesincoldrunningwater,makingsurethatanypaintneartheferruleisfullyremoved.

Aftercleaning,shakeouttheexcesswaterandgentlyshapeupthehairsbetweenfingerandthumb.Alittlestarchsolutionorthinnedgumsolutionstrokedontothebristleswillhelpthemretaintheirshape;itiseasilyrinsedoutwithwaterwhenthebrushisusedagain.

Leavebrushestodryeitherflatorup-endedinapotorjar.Whenstoringbrushesforanylengthoftime,makesuretheyareperfectlydrybeforeplacingtheminaboxthathasatight-fittinglid–mildewmaydevelopifwetbrushesarestoredinanairtightcontainer.

Mothsarepartialtoanimal-hairbristles,soprotectyourbrushesinthelongtermwithmothballsorasachetofcamphor.Horsechestnutsalsokeepmothsatbay.

FlatbrushesFlatwatercolorbrushesarealsoknownas“one-strokes.”Thesesquare-ended

brushes,setintoaflattenedferrule,aredesignedtogiveahighcolor-carrying

capacityandfreeflowofcolorforlayinginbroadwashes,whilethechiselend

createsfirm,clean,linearstrokes.Aswithroundbrushes,alonger-hairedflatis

available,madefromhard-wearingoxhair.

BrushsizesAllwatercolorbrushesaregradedaccordingtosize,rangingfromassmallas

00000toaslargeasaNo.24washbrush.Thesizeofaflatbrushisgenerally

givenbythewidthofthebrush,measuredinmillimetresorinches.Brushsizes

arebroadlysimilarbetweenonemanufacturerandanother,buttheydonot

appeartobestandard–thusaNo.6brushinonerangewillnotnecessarilybe

thesamesizeasaNo.6inanother.

Choosingbrushes

Itisagoodideatoexperimentwithalltypesandsizesofbrushtodiscovertheir

potential.Eventually,asyoudevelopyourindividualapproachtowatercolor,you

willsettleonafewbrusheswhicharesuitedtoyourownwayofpainting,and

whichyoufindcomfortabletohold.Tostartwith,aselectionofthreesable

brushes(forinstance,aNo.3,aNo.5andaNo.12round)shouldbesufficient.

Asarule,choosethelargestsuitablebrushforanygivenapplication,asitis

moreversatileandholdsmorecolorthanasmallerversion.Afairlylarge,good-

qualitybrush,suchasaNo.12,willcoverlargeareas,yetcometoapointfine

enoughtopaintprecisedetails.

SableroundsThebrushesshownhererangefrom000upto12;evensmallerandlargerbrushesareavailable.

Orientalbrushes

Orientalbrushes,madefromgoat,wolforhoghairsetintohollowbamboohandles,areinexpensiveandversatile.Thethick,taperingheadcanmakebroadsweepsofcolor,andcanbedrawnuptoaveryfinepointforpaintingdelicatelines.Theheadsarecoatedinstarchsize;removethisbysoakingandteasingthehairsinajarofwaterforaminuteortwo.

SEEALSODRAWINGINKS56WATERCOLORBRUSHES96

PALETTESWatercolorpalettesareavailableinavarietyofshapesandsizes,buttheyall

featurerecessesorwellswhichallowyoutoaddtherequiredquantityofwater

tothepaint,andpreventseparatecolorsfromrunningtogether.

ChoosingapaletteManufacturedpalettesaremadeofwhiteceramic,enamelledmetalorplastic;

ceramicisperhapsthemostsympatheticsurfaceformixingcolors.Plastic

palettesarecheapandlightweight;althoughidealforoutdoorpainting,they

eventuallybecomestainedwithpaintresiduebecausetheyareslightlyabsorbent.

Whichkindofpaletteyoupreferwillbelargelydependentonpersonaltaste

andthescaleandstyleofyourwork.However,certaintypesofpalettearebest

suitedtoparticularpurposes.

IntegralpalettesEnamelled-metalpaintingboxes,designedtoholdpansortubesofpaint,are

particularlyusefulwhenworkingoutdoors,astheinsideoftheliddoublesasa

paletteandmixingareawhenopenedout.Someboxesalsohaveanintegral

hingedflapformixingandtinting,andathumbringinthebase.

Slanted-welltilesThesearelongceramicpalettesdividedintoseveralrecessesorwells,allowing

severalcolorstobelaidoutwithoutthemflowingintooneanother.Thewells

slantsothatthepaintcollectsatoneendreadyforuseandcanbedrawnoutfor

thinnerwashes.

Someslanted-welltileshavearowofsmallerandarowoflargerwells;paintis

squeezedintothesmallwellsandmovedtothelargerwells,tobedilutedwith

waterormixedwithothercolors.

TintingsaucersThesesmallroundceramicdishesareusedformixinglargerquantitiesofpaint.

Theyareavailabledividedintofourrecesses,formixingseparatecolors,or

undivided,formixingasinglecolor.

PalettetraysWhenmixinglargequantitiesofliquidpaint,youwillneedapalettewithdeep

wells.Thesepalettesareusuallymadeofplasticormorestain-resistant,high-

impactpolystyrene.

Palettesforwatercolor

Shownhereandonthepreviouspageareaselectionofmanufacturedpalettessuitableforwatercolorpainting.Previouspage,fromtoptobottom:deep-wellpalettetray;largemixingpaletteswiththumbholeanddivisions(allplastic).Below,leftandright:slanted-welltile;enamelled-metalpaintingboxwithintegralpalette.Nextpage,fromlefttoright:quarteredtintingsaucer;roundcabinetsaucers(allceramic).Bottom,ceramicsegmented,whitechinaroundpalette.

ImprovisedpalettesImprovisedpalettesarecheapandeasytoobtain,andartistsoftenpreferthembecausethereisnorestrictiononsize.Youcanuseavarietyofhouseholdcontainers,aslongastheyarewhiteandnon-porous.Dependingonhowlargeamixingareayouwant,awhitesaucer,plateorenamelledpieplatecanmakeaperfectlyadequatepalette.Horsd’oeuvresdishesareparticularlyuseful,astheyprovideseverallargemixingareas.Whenyouaremixinglargequantitiesofwash,useoldcups,bowlsoryoghurtpots.

WATERCOLORACCESSORIESUsefulitemssuchasmediums,maskingfluid,scrapingtoolsandspongeswill

allbroadentherangeofpaintingtechniquesatyourdisposal.

WatercontainersDonotskimponwaterwhenpaintinginwatercolor–useaslargeacontaineras

youcanfind,otherwisethewaterquicklybecomesmurkyasyourinseyourbrush

betweenwashes,andthismayspoilthetransparencyofyourcolors.Someartists

prefertousetwowatercontainers,onetorinsebrushesandtheothertouseasa

dipperformixingcolors.

MaskingfluidThisisaquick-drying,liquidlatexwhichisusedtomaskoffselectedareasofa

paintingwhenapplyingcolorinbroadwashes.Therearetwotypesavailable:

tintedandcolorless.Thetintedversionispreferable,asitismoreversatileandis

easiertoworkwithonwhitepaper.

GumarabicApale-coloredsolutionofgumarabicinwaterwillincreaseboththeglossand

transparencyofwatercolorpaintswhenitismixedwiththem.Dilutedfurther,it

improvespaintflow.Toomuchgumarabicwillmakepaintslipperyandjelly-

like,butinmoderationitenlivensthetextureandenhancesthevividnessofthe

colors.

OxgallAstraw-coloredliquidmadefromthegallbladdersofcattle,thisisaddedto

waterinjarstoimprovetheflowandadhesionofwatercolorpaints,particularly

forwet-in-wettechniques.Ithasbeenlargelyreplacedbysyntheticproducts.

GelatinesizeThisliquid,soldinsmallbottles,maybeappliedtothesurfaceofawatercolor

paperwhichistooabsorbent.Applywithalargesoftbrush,andleavetodryfor

afewminutes.Thesizereducestheabsorbencyofpaper,makingiteasierto

applywashes.

DistilledwaterSomewatercolorpaintersprefertousedistilledwaterformixingcolors,asitcontainsnoimpurities.

ImprovisedcontainersYoucanrecycleplasticbottlesintousefulcontainers–somebottleshaveconvenientguidelinesforcutting.Cuttotherequiredheightwithahacksaworcraftknife;theleftoverneckcanbeusedasafunnel.

PaintingoutdoorsWhenpaintingoutdoors,youcanuseaplasticwatercontainer,whichislighterandlessliabletobreakthanglass.Youcanbuycollapsibleplasticcontainerswithahandle,orsimplycutthetopoffaplasticbottle(seeabove).Youmayalsohavetotransportwatertoyourlocation,andalargercontainertodecantfromwillbeuseful.

SelectionofaccessoriesShownbelowisatypicalassortmentofmaterialsusedtocreatewatercolortexturesandexpandtechniques.Topshelf,fromlefttoright:watercontainerformixingandwetting;gelatine;oxgall;maskingfluid;cottonbudsandcocktailsticks;naturalandsyntheticsponges.Bottomshelf,fromlefttoright:clipsforholdingpaper;gumarabic;glycerine;watercontainerforwashingbrushes;alcoholsandpaper;craftknivesandsharpenedpaintbrushesforliftingandscraping.

GlycerineYouwillfindglycerineusefulwhenworkingoutdoorsindryconditions.Afew

dropsaddedtowaterwillcounteractthedryingeffectsofwindandhotsunby

prolongingthetimethatittakesforwatercolorpainttodrynaturally.

Alcohol

Thishastheoppositeeffecttoglycerine,speedingupthedryingtimeof

Thishastheoppositeeffecttoglycerine,speedingupthedryingtimeof

watercolorpaint.Itisextremelyusefulwhenworkingoutdoorsindampweather

conditions.

Scrapingandcolor-liftingtoolsYoucanuseasingle-edgedrazorblade,scalpel,cocktailstick,theendofa

paintbrushhandle,evenyourthumbnail,forscrapingoutunwantedareasofstill-

wetwatercolororforscratchinglinesintodrypainttocreatetexturedeffects.

Finesandpapercanbeusedtorubawaysomeofthecolor,creatingadrybrush-

likesparkle.Cottonbudscanbeemployedforliftingoutsmallareasofstill-wet

color.Blottingpaperisalsousefulforliftingoutcolorandformoppingupspills.

SpongesNaturalandsyntheticspongesareoftenusedfordabbingonareasofrough-

texturedpaint.Theyarealsousedforwettingpaperinpreparationforapplying

washes,andtoliftoutwetpaintormopuppaintthathasruntoomuch.Natural

spongesaremoreexpensivethansyntheticones,buttheyhaveapleasingsilky

textureandproduceinterestingrandompatterns.

SEEALSOWATERCOLORPAPERS28FLATANDGRADEDWASHES184WET-IN-WET188CREATINGHIGHLIGHTS190TEXTURESANDEFFECTS194

GOUACHETheterm“gouache”originatesfromtheRenaissance,whentheItalian

masterspainted“agouazzo”–withwater-baseddistemperorsizepaints.The

opacityofgouacheanditsmatt,chalkyappearancewhendrymakeitaquite

separateanddistinctmediumfrompure,transparentwatercolor,butthe

equipment,supportsandtechniquesthatareusedaresimilarforbothmedia.

PaintsThebest-qualitygouachepaintscontainaveryhighproportionofpigment;its

densitycreatesanopaqueeffect.Thecolorsarethereforepureandintense,and

createcleancolormixes.Becausethenaturalcoveringpowerofeachpigmentis

notincreasedartificially,itvariesaccordingtothepigment.Thelessexpensive

gouacherangescontainaninertwhitepigment,suchaschalkorblancfixe,to

impartsmoothnessandopacity.

AvailabilityofgouacheStandard-sizetubesareconvenientwhenpaintingoutdoors,butpotsofgouache

aremoreeconomicalforlarge-scalepaintings.

ChoosingpaintGouachepaintsaresoldintubes,potsandbottles,oftenlabelled“designers’

color.”Thisreferstothemedium’spopularitywithgraphicdesigners,who

requirebrightcolorswithamattfinish.Avastrangeofcolorsisavailable,but

thisincludessomebrilliantcolorswhicharefugitive;whilethisdoesnotmatter

todesigners,whoseworkisofatemporarynature,thesefugitivecolorsarenot

recommendedforfinepermanentpainting.

ColormigrationCertaindye-basedgouachecolors–thelakes,magentasandviolets–havea

tendencyto“migrate,”orbleedthroughwhenoverpaintedwithlightcolors.One

solutionistoapplybleed-proofwhitebetweenlayers,tohaltanyfurther

migration.Thisisaverydensedesigners’colorthatmaybeclassedasgouache.

TestinggouacheIntermsofpermanence,coveringpowerandflow,gouachecolorswillvaryconsiderablyfromonemanufacturertoanother,anditisadvisabletotryoutsamplesfromdifferentrangesinordertodeterminewhicharebestsuitedtoyourownmethodofworking.

PreventingcolormigrationColorsmaybemixedwithacrylicglazemedium,whichconvertsgouacheintopaintwithanacrylicfinishthatisbothflexibleandwater-resistant.Itallowswashestobesuperimposedwithoutdisturbingthosebelow.

TheversatilityofgouacheDependingonyourtemperamentasanartist,youcanchooseeithertoexploitthebrillianceandopacityofgouacheortocreatesoft,subtleeffects.

RosemaryCarruthersWindowTable(TheMoorings)Gouacheonpaper21.2×23.7cm(81/2×91/2in)LlewellynAlexanderGallery,London

Incontrast,theinteriorstudyevokesaquiet,reflectivemood.Here,theartisthasusedoverlaidwashesofsemi-opaquecolor,softenedwithwhite.Themattandairyqualityofthepaintsurfacebeautifullyre-createsthesuffusedlightonthescene.

PennyQuestedStillLifewithFlowersGouacheonJapanesepaper67.5×57.5cm(27×23in)

Althoughgouacheisusedinmuchthesamewayaswatercolor,thefeelofagouachepaintingismoresolidandrobust.Thisqualityisexploitedtothefullinthestilllifestudy(above),inwhichtheexuberanceoftheflowersismatchedbytheartist’sjoyousanduninhibiteduseofcolor.SEEALSOWATERCOLORPAPERS28PASTELPAPER34WATERCOLORPAINTS87WATERCOLORACCESSORIES102MEDIUMSFORACRYLICS118

BASICGOUACHEPALETTEAswiththebasicwatercolorpalette,thisselectionofcolorswillenableyouto

discoverthebasiccharacteristicsofgouachepaints.Theselectionmaythenbe

augmentedbyfurthercolorsfromtherangeavailable,dependingonthe

subjectsyouwishtopaint.

Gouachemixedwithwater

Gouachemixedwithpermanentwhite

StartingselectionAllmanufacturedgouachecolorsareopaqueandhaveahighdegreeofpermanence:astartingselectionisshownabove.Thecolorscanbeintermixedandthinnedwithwatertocreatetransparentcolorswhichlooksimilartotruewatercolorpaint,ormixedwithwhitepainttocreateopaquetints.

TheASTM(AmericanSocietyforTestingandMaterials)codesforlightfastness:ASTMI:excellentlightfastnessASTMII:verygoodlightfastnessASTMIII:notsufficientlylightfastStartingselection,fromtoptobottom:CadmiumyellowPermanenceexcellent(ASTMI).Lemonshadesthroughtowarmorange.Mixeswell,formingstronggreenswhenmixedwithviridian.

CadmiumredPermanenceexcellent(ASTMI).Warmorange-redtodeepred.Astrong,purepigment,whichisexcellentinmixes.

FrenchultramarinePermanenceexcellent(ASTMI).Deepbluewithaslightlyviolettinge.Whenmixedwithyellows,itprovidesauseful,versatilerangeofgreens.

RawumberPermanenceexcellent(ASTMI).Brownwithaslightlygreenish-browntinge.Rawumberisgoodforneutralizingothercolors.

ViridianPermanenceexcellent(ASTMI).Cool,bluishgreen.Retainsitsbrilliance,eveninmixes.

YellowochrePermanenceexcellent(ASTMI).Soft,goldenyellow.Tonesdownbrightercolorsinmixes.

PermanentwhitePermanencegood(ASTMII).Coolwhitewithgoodcoveringpower.Includethiscolorinyourstarterpalette.

EdwardMcKnightKauffer(1890–1954)UntitledLithoPrint,191975×112cm(30×443/4in)MuseumofModernArt,NewYorkPostersweretraditionallypaintedonboardorstretchedpaperwithgouache,temperaorcheapimpermanent“postercolors.”

Gouachecolorswerethefirstchoiceofgraphicdesignersandcommercialartistsformanyyears.Theirstrongcolorandvelvetysurfacephotographwell,enablingartworktobeconvertedaccuratelytoprint.

SupportsSincegouacheisopaque,thetranslucencyofwhitepaperisnotasvitalasitisin

watercolor,soitcanbeappliedtoawidevarietyofsupports.Lightweightpapers

shouldbeavoided;thepaintfilmofgouacheisthickerthanthatofwatercolor,

andisliabletocrackifusedonatoo-flimsysupport.Gouachecanalsobeused

onsurfacessuchascardboard,woodorprimedcanvas,solongastheyarefree

fromoil.Youcanalsoemploytonedandcoloredpapers,asusedforpastelwork.

BrushesWatercolorbrushesarenormallyusedforgouachepainting,thoughbristle

brushesareusefulformakingtexturalmarks.However,becausegouachedoes

nothandleinthesamewayaswatercolor,experimenttodeterminewhichtype

andsizeofbrushbestsuitsyourtechnique.

GeraldineGirvan

PlumsinaGreenDishGouacheonpaper40×30cm(16×12in)ChrisBeetlesGallery,LondonThisartistrevelsinthebrightcolorsandstrongpatternsthatarefoundinbothnaturalandman-madeobjects.Shefindsthatgouacheistheperfectmediumtogiveherthefluidityandrichnesssuitedtoherinterpretationofthesubject.

JohnMartinUntitledSketchGouacheontintedpaper10×15cm(4×6in)UsingtonedpaperThiscanbehighlyeffective;thesurfaceactsasamid-tonefromwhichtoworkuptothelightsanddowntothedarks,andalsohelpstounifytheelementsofthecomposition.Ifyouintendleavingsomeareasofthepaperuntouched,however,domakesurethatyouchooseagood-qualitypaperwhichwillnotfade.SEEALSOOILSSUPPORTS18WATERCOLORPAPERS28PASTELPAPER34PIGMENTANDCOLOR92WATERCOLORBRUSHES96

EGGTEMPERAEggtemperapainthasalong,venerablehistory,anditwasuniversallyusedby

artistsuntilthefifteenthcentury.Thenamethodofmixingoilsintotempera

pigments,inordertogivethemgreaterflexibility,eventuallyproducedapure

oilmediumwhichsupplantedtempera.

PaintsTemperaisawater-basedpaintwhichismadebymixingeggyolkwithpigments

anddistilledwater.Asthismixturedriesonthepaintingsurface,thewater

evaporates,leavingahard,thinlayerofcolorwhichisextremelydurable.

Preparedeggtemperacolorsareavailablefromafewmanufacturers,although

formulationsvary.Daler-Rowney,forexample,producearangeofeggtempera

paintsbasedonanineteenth-centuryrecipeforanemulsionmadefromeggyolk

andlinseedoil.Theoilmakesthepaintslower-drying,moreflexibleandeasier

tomanipulate,yetitremainswater-thinnable.However,becausethecolorrange

ofready-madepaintsisrelativelylimited,manyartistsworkingintemperaprefer

topreparetheirownpaints,usingthevastrangeofcolorpigmentsthatare

available.

BasicpaletteManufacturedtemperacolorsareallrelativelytransparent,andallhaveahighdegreeofpermanence.Thecolorscannotbemixedonthesupport.Astartingselectionwouldbesimilartothatdescribedforgouache,butthetechniqueusedforbuildinguptoneswithsmallstrokesmeansthattheartistwilldevelopapersonalpalette,dependingonthesubjectschosen.

TheASTM(AmericanSocietyforTestingandMaterials)codesforlightfastness:ASTMI:excellentlightfastnessASTMII:verygoodlightfastnessASTMIII:notsufficientlylightfast

DavidTindleStrawberryEggtemperaonboard58.5×81.3cm(233/8×321/2in)FischerFineArt,London

Asapainterinthequiet,Romantictradition,DavidTindleisconcernedwithsmall,intimate,domesticsubjects.Heusespureeggtemperaandadelicateandpainstakingapplicationoftinyhatchedmarksinordertoportraythedisembodyingeffectoflightfilteredthroughacurtainedwindow,reducingsolidobjectstoveilsofluminoustone.

BrushesRoundsablesorsyntheticswithagoodpointarethebestbrushesfortemperapainting.Thelong-hairedvarieties,suchasriggersandletteringbrushes,arethemostsuitable;theyholdmorecolorandcanbeworkedforlongerthanshort-hairedbrushes.Astemperadriesquickly,brushesmustbewashedfrequentlyindistilledorboiledwater.

TechniquesTemperaisnotaspontaneousmedium,butissuitedtoartistswhoenjoyusinga

meticuloustechnique.Thepaintdrieswithinsecondsofapplication,socolors

cannotbeblendedonthesupportastheycanwithothermedia.Instead,tones

andcolorsarebuiltupwiththincolorappliedinglazes,orwithtiny,hatched

strokes.Anynumberofcoatscanbesuperimposedwithoutthefinishedpainting

losinganyofitsfreshness.Indeed,repeatedlayersoftranslucentcolorenhance,

ratherthandiminish,theluminousclarityoftempera.

Different“temperas”Temperapaintsarenolongermadeexclusivelywithegg,andthustheterm

temperahasalsocometocoveremulsionsofvarioussorts.Somepaint

manufacturersontheEuropeancontinent,forexample,refertotheirgouache

paintsas“tempera,”soyoushouldcheckcarefullybeforebuying.

SurfacesTemperacanbeusedonawidevarietyofsupports,includingcanvaspanelsand

paper,butthetraditionalgroundisstillgesso-primedboard,wherethesmooth,

brilliant-whitesurfacereflectslightbackthroughthepaint,givingthecolors

theirextraordinaryluminosity.

UnderpaintingforoilsTemperaalsomakesawonderfulunderpaintingforoils.Whenappliedtoa

whiteground,thecolorgleamsthrougheachlayer,givingapaintingadeep,

luminousglow.

SEEALSOOILSSUPPORTS18UNDERPAINTING164WATERCOLORBRUSHES96

ACRYLICPAINTSUntiltheearlytwentiethcentury,artistshadbeenworkingwiththesame

paintingmaterialsforhundredsofyears.Modernoilandwatercolorpaintsare

essentiallythesameasthoseusedbytheoldmasters,andthosechangesand

developmentsthathaveoccurredhavebeenslowandevolutionary.Then,in

the1940sand1950s,acrylicpaintburstupontheartscene.Thisnewmedium,

whichwasbasedonasyntheticresin,hadalltheadvantagesofthetraditional

mediaandfewofthedrawbacks.

QualityInrecentyears,thequalityofacrylicpaintshasimprovedenormously.Thereis

nowahigherpigmentcontent,theresinbinderismoreflexible,andawide

rangeofmediumsisavailableformixingwiththepaint,extendingitsversatility

andexpressivequalities.Althoughsomedie-hardtraditionalistsstillregardthem

withdisdain,acrylicsarebecomingincreasinglypopularwithalllevelsof

painters.

CompositionThenameacrylicpaintisderivedfromacrylateresin,whichisthevehicleor

binderinwhichthepigmentsaresuspended.Itisthissyntheticbinder,

consistingofanemulsionofextremelyfineparticlesofresindispersedinwater,

whichlargelydeterminesthedifferencesincharacterandhandlingqualities

betweenoilpaintsandacrylicpaints.

Thebinderforoilpaintconsistsofavegetabledryingoil,suchaslinseedor

poppyoil,whichdriesbyabsorbingoxygenfromtheair.Thisprocessisknown

asoxidativedrying,andisaveryslowprocess.Acrylicpaints,incontrast,are

physicallydrying,whichmeansthattheydryrapidlythroughevaporationofthe

watercontainedinthebinder.Asthewaterevaporates,theacrylicresinparticles

fusetoformafairlycompactpaintfilminwhicheachminuteparticleofpigment

iscoatedinafilmofresin.Theresultisapermanentlyflexiblepaintfilmwhich

iswater-resistant,doesnotyellowandrevealsnosignsofageing.

Advantages

Themajoradvantagesofusingacrylicsaretheirpermanence,theirresistanceto

Themajoradvantagesofusingacrylicsaretheirpermanence,theirresistanceto

theeffectsofageing,andtheirflexibility.Unlikeoils,acrylicsdonotyellow,

embrittle,wrinkleorcrack.Whereasoilpaintshardenastheydry,andthepaint

filmbecomesbrittleasitages,acrylicsdryandhardenquickly,butremain

flexibleanddurable.Oncedry,anacrylicpaintingoncanvascanberolledup,

storedandrestretchedyearslater,withnodangerofthepaintsurfacecracking.

Anotheradvantageofacrylicsisthatallcolorsdryatthesamerate–unlikeoil

paints.

Students’andartists’qualityAswithwatercolorsandoils,acrylicsareavailableinbothartists’andthecheaperstudents’qualities.Artist-qualityacryliccolorsvaryinpriceaccordingtotheinitialcostoftheirpigments,buttheyareconsiderablycheaperthanoilpaints.Student-qualityacrylicsareallthesameprice,butthecolorrangeissmaller.Expensivepigmentsareusuallyreplacedbyhighlylightfast,syntheticorganicpigments,andthepigmentnameissuffixedwith“hue.”

Artist-qualityacrylicpaints

Student-qualityacrylicpaints

PermanenceAllacryliccolors,apartfromfluorescentcolors,arelabelledeitherextremelypermanentorpermanent,whichmeansthatnoneofthemwillyellow,fadeordarkenwithtime.

AcrylicsandwaterAcrylicsarewater-solublewhenwet,whichmeansnosolventsareneededfordilutingthepaintorforcleaningthebrushesandpalettes.Onceitisdry,however,anacrylicpaintingiscompletelywaterproof–thisisusefulwhenworkingoutdoors,whenthereisalwaystheriskofasuddenshower.

RapiddryingAcrylicsdryrapidlyand,becausetheydryinsoluble,successivelayerscanbeoverpaintedwithoutdangerofliftingthecolorbeneath.Thisisagreatadvantagewhenusingtechniquessuchasglazing,scumblinganddrybrush.

Versatility

Acrylicisahighlyversatilepaint.Useitopaquelyordilutedwithwaterand/ormediumfortransparentwashes.Inadditiontothemoretraditionaltechniques,itisidealformixed-mediawork,collageandtexturaleffects,andcanbedilutedandusedwithanairbrush.

TerenceClarkeCastlemortonCommonAcryliconcanvas90×90cm(36×36in)

TerenceClarkeexploitsthevibrancyandintensehuesofacrylicpaints.Thefast-dryingqualitiesofacrylicsallowhimtobuildupthebodyofpaintquickly,usingthinwashesandglazes.Evenwitharestrictedpaletteofonlyfivecolors,pluswhiteandpureblack,heisabletoachieveavibrant,stained-glasseffect.

Disadvantages“Theadvantageofacrylicpaintisthatitdriesquickly,butithasone

disadvantage–whichisthatitdriesquickly.”Thiswryjokeneatlysumsupthe

dilemmathatispresentedbyacrylicstoartists–theirfastdryingtimehas

advantagesoverslower-dryingoilpaints,buttherearealsoafewdrawbacks.For

example,brushesmustbekeptinwaterwhenyouarenotactuallypaintingwith

them,topreventpaintdryinghardonthebristles.Paintalsodriesoutquicklyon

thepaletteunlessitissprayedwithwateratregularintervals,oryouuseaspecial

palettedevelopedforusewithacrylics.

Therapiddryingtimealsomeansthatthepaintcannotbemanipulated

extensivelyonthesupportforarelativelylongperiod,asispossiblewithoils.

Thisisonlyadrawbackifyouliketoworkslowly,usingsmoothblending

techniques;mostartists,however,chooseacrylicsbecausetheyenjoybeingable

toapplylayersofcolorinrapidsuccession,withoutdisturbingtheunderlayers.

ColorsTherangeofacryliccolorsisslightlyrestrictedcomparedtothatofoilsor

watercolors,becausecertainpigments,suchasalizarincrimsonandviridian,do

notmixreadilywiththeresinbinder,andtendtocurdle.Insuchcases,an

alternativepigmentisused.Therangeofcolorsandcolornamesvarieswidely

fromonebrandtoanother.

TubecolorThethicknessoftubepaintvariesfrombrandtobrand,butingeneralithasa

soft,butteryconsistencywhichissimilartothatofoilpaints.Itretainsthemark

oftheknifeorbrush,andisexcellentforimpastotechniques.Mostcolorsare

availableintubesizesrangingfromapproximately22ml(0.75USfloz)to

approximately200ml(6.6USfloz).

JarcolorSmootherandmorefluidthantubecolor,jarcoloriseasilythinnedwithwater

and/ormedium.Thismakesitidealforwatercolortechniquesandforcovering

largeareasofflatcolor.Thecolorsdrytoasmooth,evenfilm,slightlymorematt

thantubecolor.Thepaintcomesinwide-toptubsandjarsorplasticbottleswith

nozzlesrangingincapacityfrom59ml(2USfloz)upto946ml(31.5USfloz);

notethattitaniumwhiteandMarsblackarealsoavailablein3.79litre(1US

gallon)containers.

BuyingacrylicsintubesAllacryliccolorsareavailableintubes,butthelargestsizesarelimitedtotheblackandwhiteranges.

MixingbrandsSinceeachmanufacturerusesadifferentchemicalformulaformakingtheirpaints,itiswisetosticktotherangeofasinglebrandofacrylics.Ifnot,problems,suchascurdlingwhenmixing,insufficientadhesionandcolorchangesondrying,mayarise.Onlyacrylicpaintsbasedonthesamesortofbinderandofthesamequalityshouldbeusedincombination.

CareofpainttubesAttheendofapaintingsession,itisworthmakingtheefforttowipealltubecapsandscrewheadswithadampclothbeforereplacingthecaps.Encrustedpaintbuildsupandwillpreventthecapgoingonproperly,allowingairintothetube,andthepaintquicklydriesout.Driedpaintalsomakesitdifficulttoremovethecapnexttimeyoupaint.Iftubecapsstick,youcanusuallyloosenthembyrunningthemunderhotwater.Neverleavethelidsorcapsoffcontainers,asthepaintwilldryrock-hardwithinhours.

Removingacrylicpaint

Becauseacrylicpaintiswater-based,itiseasytowipeupspillsandsplasheswhenwet.Oncedry,however,itisdifficulttoremove,especiallyfromfabrics.Itisthereforeadvisabletowearoldclotheswhenpainting,andtoprotectsurroundingfloorsandfurniture.Keepadampclothhandy,incaseofaccidents.

JaracryliccolorsTheirfluidconsistencymakesjaracrylicsidealforcreatinglarge-scalepaintings.Youcanbuyanextensiverangeofcolorsinallsizes.

ColorchartsThemanufacturers’hand-paintedcolorchartsarethebestsourceofinformationontherangeandpermanenceofcommerciallymadecolors;thechartsmadewithprinters’inksarenotasaccurate.

AcrylicdryingtimesMostneatacrylicpaintappliedthinlywilldryinabout15minutes,whilethicklayersofimpastomaytakemorethanadaybeforeallthewaterhasevaporated.Inwarm,humidconditionsthepaintwilltakealittlelongertodry,andinhot,dryconditionsitwilldrymorerapidly.

ExtendingdryingtimeIftherapiddryingofacrylicsisaproblemforyou,thereareafewsolutions:addalittleretardingmediumtothepaint,tokeepitworkableforlonger;useaplant-sprayertosprayafinemistofwateroverthepaintingfromtimetotime;orsealabsorbentsurfaces,suchaspaperandrawcanvas,withmattmediumbeforepainting.

TerenceClarkeTheBlueWallAcryliconcanvas90×90cm(36×36in)

Becausetheartist’sworkingmethodscallforquitelargequantitiesofpaint,hepreferstouseacrylicsthataresuppliedinjarsforeconomyandconvenience,aswellasfortheirfast-dryingandsmooth-flowingcharacteristics.

LiquidacrylicsLiquidacrylicsflowreadilyfromthebrushandaresimilartobrilliantdrawing

inks–butwhereasmanycoloredinksfadeonexposuretolight,mostliquid

acrylicsarepermanent.Theyaresuppliedinbottleswithdroppercaps,andare

suitableforwashtechniquesandfinepenwork.Liquidacrylicsaremadewithan

alkali-baseresin,andtheycanberemovedusinganalkalicleaner.

MixingcolorsTrytolimitallmixturestojusttwoorthreecolors,toavoidmuddiedhues.

Avoidmixingthemtoothoroughly–assoonasthecolorlooksright,stop.

Whiletheresinbinderstillcontainswateritis“milky”incolor,soacryliccolors

appearslightlylighterandmoresubduedinshadewhentheyarewetthanthey

dowhendry.Asthepaintdriesthebinderwillbecometransparent,sothecolors

willdrywithaslightlydeepershadeandfullbrilliance.

SupportsAcrylicscanbeusedonawiderangeofsupports:paper,board,canvas,wood,

metal,andevenexteriorwalls.Thereisoneimportantthingtoremember,

however,whenyouarechoosingapaintingsurface:acrylicswillnotadhereto

anysurfacewhichcontainsoilorwax.Thisfactrulesoutallcanvasorboard

whichhasbeenpreparedforoilpaint,socheckwithyourretailerthatthecanvas

orboardyoubuyhasbeenpreparedwithacrylicprimerandnotoil-based

primer.

Liquidacrylicbottles

SEEALSOOILPAINTS64PIGMENTS92MEDIUMS76BRUSHESANDKNIVES120PALETTES84SUPPORTS13MEDIUMSFORACRYLICS118MIXINGCOLORS220

BASICACRYLICSPALETTETheselectionofapaletteofacryliccolorsislargelyamatterofpersonal

preference,butoftentheinitialtemptationistobuytoomanytubes.

However,itisbettertobeginwithalimitedrangeofcolors,addingtothese

graduallyasyourneedsarisefromexperience.Abroadspectrumofhuescan

bemixedfromthecolorsthatareshownbelow.

Starterpalette

TheASTM(AmericanSocietyforTestingandMaterials)codesforlightfastness:ASTMI-excellentlightfastnessASTMII-verygoodlightfastnessASTMIII-notsufficientlylightfast

Cadmiumred

Permanenceexcellent(ASTMI).Anopaquecolorwithaverypure,bright,warmredhueandstrongtintingstrength.

PermanentrosePermanenceexcellent(ASTMI).Averytransparentcolorwithabright,pinkish-red,violet-tingedhueandverystrongtintingstrength.Mixeswellwithbluestomakeclearpurples.

YellowochrePermanenceexcellent(ASTMI).Asemi-opaquecolorwithasoft,tanyellowhueandweaktintingstrength.Thisisanindispensablecolorforuseinlandscapesandportraits.

CadmiumyellowpalePermanenceexcellent(ASTMI).Afairlyopaquecolorwithastrong,sunnyyellowhueandstrongtintingstrength.Makesstronggreensandorangeswhenmixedwithblueandredcolorsrespectively.

PhthalocyaninebluePermanenceexcellent(ASTMI).Atransparentcolorwithacold,vividbluehue,agreenundertoneandverystrongtintingstrength.Averystrongcolor,forsparinguseinmixes.

UltramarinebluePermanenceexcellent(ASTMI).Atransparentcolorwithadeep,warmbluehueandstrongtintingstrength.Themostversatileoftheblues.

BurntumberPermanenceexcellent(ASTMI).Afairlyopaquecolorwitharich,warmbrownhueandgoodtintingstrength.Mixeswelltoproducearangeofrichtones.

TitaniumwhitePermanenceexcellent(ASTMI).Averyopaquecolorwithabright,purewhitehueandstrongtintingstrength.Theonlyavailableacrylicwhite.

SPECIALITYCOLORSAnever-increasingrangeofshimmeringandmetallicacryliccolorsisnow

availablefromsomecompanies,withdecorativetechniquesinmindaswellas

fine-artapplications.

ColorrangeThesepigments,knownvariouslyasiridescent,pearlescent,or“interference”

colors,areavailableinorange,red,blue,green,violetandgold,andareall

durable.Madefromtitanium-coatedmicaflakes,theyhaveaglitteryappearance

whichchangesaccordingtothewayinwhichthelightfallsonapainting,orthe

angleatwhichitisviewed.

JacquieTurnerSanFranciscofromCoitTowerAcryliconpaper107.5×140cm(43×56in)

Inordertosuccessfullycapturethedazzleoflightreflectingofftheglassandmetalstructuresinthismoderncityscape,theartisthasusedarangeofpearlescentandmetallicacryliccolorsincombinationwiththeconventionaltubeandjarpaints.

IridescentcolorsTheiridescentsmaybeusedsingly,orcombinedwithregularacryliccolorstoproduceluminoussurfacequalities.Theyareusedtobesteffectonadarkbackground,especiallyblack.Alsoavailableareiridescentmediums,whichcanbemixedintoanyoftheordinarycolorstopearlizethem.Whenappliedtoawhitesurfaceoroverlightcolors,they‘refract’theircomplementarycolor:iridescentgreen,forexample,refractsred.

FluorescentcolorsTheseabsorbultravioletlightandemitvisiblelightofalongerwavelength.Asaresult,theyappeartofluoresceorglow.Theeffect,however,fadesratherrapidlyasthedyesarenotstable.Fluorescentcolorsarenotrecommendedforpermanentpainting.

PVAcolorsPolyvinyl-acetatepaintsarealessexpensivealternativetoacrylicpaints,butthepigmentisboundbyavinylemulsion,sotheytendtobeinferiortorealacrylicsinqualityandlightfastness.Althoughtheyareidealforuseinschools,avoidPVAcolorsifyouareconcernedaboutthelongevityofyourwork.SEEALSOMEDIUMSFORACRYLICS118MIXINGCOLORS220

CHROMACOLORChromacolorisarelativelynewtypeofwater-basedpaint–adevelopmentof

theanimationcellpaintwhichisusedforcoloringcartoonfilms.Basedona

superiortypeofacrylicresin,thepaintcanbeusedinthesamewayasacrylics

–andwatercolor,gouache,oilsandink–butwithcertainadditionalbenefits.

VersatilityChromacolorissimilartoacrylicpaintinthatitisfast-drying,thinswithwater,

andbecomeswaterproofonceitisdry.Thecolorsmaybeuseddirectlyfromthe

containerordilutedwithwater.Theymaybeappliedusinganytechniqueon

virtuallyanysupport,withabrush,dippen,paintingknifeorairbrush,andin

anythickness,fromaheavyimpastotothelightestwash.

UsingchromaChromaasacrylicTubecolorshaveasmooth,butterytexturewhichissimilartothatofacrylic

paints,andcanbeusedinthesameway.Theydo,however,dryalittlemore

slowlythanacrylics,whichcanbeanadvantage.Becauseoftheirhigherpigment

loading,thecolorstendtobestrongerandmorevivid,evenwhenthinlydiluted,

andthetonevaluesdonotchangeasthepaintdries.

ChromaasgouacheUsedstraightfromthetubeorpot,Chromaissimilartogouache,inthatitis

highlyopaqueanddriestoavelvety,mattfinish.Unlikegouachepaints,

however,wherenotallcolorsarelightfast,Chromacolorsdonotfade.Another

advantagethatChromahasovergouacheisthatitdriestoawaterproofstate,so

overpaintingcanbeachievedwithouttheriskofcolorpick-up.

MediumsChromacolorsaresupportedbyarangeofmediums:agelthickenerforheavyimpastowork,aretardertoextenddryingtimes,andaglossmediumtogivethepaintaglossysheenandincreaseitstransparencywhenapplyingglazes.Agessoprimerandmattandglossvarnishesarealsoavailable.

SueWales

IrisandFoxglovesChromacoloronpaper52.5×35cm(21×14in)

Originallyawatercolorist,SueWalesusesheavilydilutedChromacolorintheclassicwet-in-wettechnique.Theboldwashesareenhancedbythestrengthofthecolors,whichdrytothesameshadeaswhentheywereapplied.

ChromaasinkByaddingwatertopotortubecolors,Chromacanbeusedinthesamewayasa

coloredink;theeffectcanbeeitheropaqueortransparent,accordingtothe

degreeofdilutionandtheendresultrequired.

ChromaaswatercolorWhenitisdilutedevenfurtherthanforinkeffects,Chromacolorwillproduce

subtle,translucentwasheswhich,unliketraditionalwatercolorwashes,donot

fadeappreciablyondrying.Chromacolorsdryinsoluble,soitispossibleforthe

artisttolaywashoverwashwithoutanydangerofpreviousapplicationsbeing

disturbed.Oncedry,however,Chromacolorscannotbeliftedouttocreate

highlights,asisthecasewithwatercolorpaints.

Chromapotsandtube

EdwinCrippsIrisesChromacoloroncanvas90×120cm(36×48in)

Incontrasttothewatercolormethod,thislargepaintingapproachesasimilarsubjectusingatechniqueassociatedwithoils.Theartistpaintedtheentirecanvasblackbeforeunderpaintingtheshapesinwhite;hethenbuiltuplayersofglazesandusedneatcolortoprovidethefinalsurface.Theresultglowsagainstthebackground,andstandsoutwithstartlingintensity.

PigmentsThelevelofpigmentloadingishigherthanistypicallyfoundinotherwater-

basedmedia,givingChromacolorsgreatertintingstrengthandopacity.

Currently,thereare80colorsintherange,allofwhicharenon-toxicand

completelylightfast.

Dilution

Chromaiscapableofmassivedilution:thecolorsretaintheirvibrancyand

Chromaiscapableofmassivedilution:thecolorsretaintheirvibrancyand

strength,evenat1partpaintto500partswater.Thepaintsarehighly

concentrated,whichmakesthemveryeconomicaltouse.Onlyasmallamountof

colorisneededtoproducealargeamountofwash;whenusedasawatercolor,it

isnecessarytodiluteuptoseventimesmorethanwithtraditionalwatercolorsin

ordertoachieveawashofcomparablestrength.

PotsandtubesThepaintissuppliedintwoformulations:asathickliquidin50ml(1.66USfl

oz)pots,andasagelpastein50ml(1.66USfloz)tubes.Theliquidtypeisthe

betterforwashtechniques,asverysmallamountsofcolorcanbedispensedfrom

thenozzle.Tubecolorismoresuitableforthickapplicationsandheavy

impastos.

SEEALSOSUPPORTS13DRAWINGINKS56BRUSHESANDKNIVES120OILTECHNIQUES162WATERCOLORTECHNIQUES180ACRYLICTECHNIQUES202THELANGUAGEOFCOLOR214

MEDIUMSFORACRYLICSAcrylicsdrytoaflat,eggshellfinish.However,somemediumscanbeaddedto

theacrylicpaint,inordertoproducearangeofconsistenciesandfinishesand

togivethecolorsbrillianceanddepth.Amediumwillhelpthinlydiluted

painttomaintainitsadhesionandimproveitsflowand“brushability.”Some

mediumscanbeusedtocontrolthepaint’sdryingrate.

MediumsandpaintTherearenospecialrulesgoverningtheuseofacrylicmediums,unlikeoils,

whereeachpaintlayermustbemoreflexiblethantheonebeneath.Acrylic

paintsandmediumsaremanufacturedwiththesameemulsionbase,sotheydry

atthesamerate,andthereisnodangerofthepaintcracking.

Addmediumstopaintalittleatatime,andmixwellwithapaletteknife.You

canfurtherdilutethepaintwithsomewater.Alwaysmixcolorsbeforeaddinga

medium.

BarryAtherton

ItalianateVaseAcrylicgesso,pastelandgoldandsilverleafonwoodpanel132.5×102.5cm(53×41in)NewAcademyGallery,LondonThisrich,decorativeimagewasproducedbyacomplextechnique.BarryAthertonpastedasheetofhandmadepaperontoawoodpanelwithacrylicadhesive.Hemixedpowderedpigmentintoacrylicgessotocolorit,andthenappliedthemixturetothesupportusingbrushesandknives.Goldandsilverleafwerelaidontopoftheslightlytextured,low-reliefsurface,andpastelwasadded.

MediumsasvarnishDon’tuseglossormattmediumsasavarnishtoprotectyourcompletedpaintings.Alayerofacrylicmediumpicksupasmuchdirtaspaint,butcannotberemovedforcleaning.Protectpaintingswitharemovablevarnishwhichcanbereplaced.

MediumsandbrushesAcrylicmediumswilldryrapidly,sokeepbrushesinacontainerofwaterwhentheyarenotinuse,ortheywillbecomehardandunusableinafewminutes.

OilmediumsandacrylicsTurpentine,whitespirit,linseedoil,andothermediumsandsolventsforoilpaintsshouldneverbeaddedtoacrylicpaint.

GlossmediumAcrylicglossmediummakespaintthinnerandmorefluid,anditenhancescolorluminosity.Italsomakespaintmoretransparent,allowingthinglazestobebuiltupandproducingcolorsofexceptionaldepthandbrilliance.Thesurfacedriestoasoftsheen.

MattmediumThisisglossmediumwiththeadditionofamattingagentsuchaswaxemulsionorsilica.Usedinthesamewayasgloss,itdriestoamatt,non-reflectivefinish.Blendequalpartsofglossandmattmediumsforasemi-glosseffect.

GelmediumThispaste-likesubstancethickenspaintforprominent,texturedbrushstrokesandforimpastoeffects.Itisusedforcollagework,asitincreasestheadhesivequalitiesofpaint.

MixingtexturepasteTexturepastelightensthecolorofpaint,soallowforthiswhenmixingyourcolors.Useneattexturepasteonlyonrigidsurfacessuchaswoodorboard;onflexiblesurfaces,suchascanvas,useamixtureofequalpartsoftexturepasteandgelmedium.

Ceramicshardspressedintotexturepaste

Amixtureofsandandacrylicpaint

IridescenttintingmediumThisisaspecial-effectsmediumcontainingmica-coatedflakes.Whenmixedwithacryliccolors,itproducesaniridescentquality.

TexturepasteTexture,ormodelling,pasteisusedforbuildingupthickwedgesofpaintwitha

knife.Itcanbeapplieddirectlytoasupport,tobuildupareliefthatcanbe

sandedorcarvedwhendry.Somepastesimitatethetexturesofstucco,sandor

blendedfibers.Thepastecanbemixedwithcolor,orallowedtodrybeforebeing

paintedoverinthinglazes.Texturepasteisidealforcollagework,asquiteheavy

objectscanbeembeddedintoit,andalsoforimprinting,inwhichformsare

pressedintothepasteandthenremoved,leavinganindentedpattern.Agrittyor

granularsurfacecanbeproducedbymixinginertsubstances,suchassand,

sawdustorwoodshavings,withthetexturepaste.

Applythepasteinlayersnomorethan6mm(1/4in)thick,andalloweach

layertodrybeforeaddingthenextone.Ifthelayersaretoothick,theoutside

driesmorequicklythantheinside,resultinginacrackedsurface.

RetardingmediumThisreducesthedryingtimeofacrylicpaint,soyoucanmovepaintaroundona

surfaceandblendcolorsslowlyandsmoothly.Itisavailableinliquidandgel

forms;thelatterholdsmorewater,thuskeepingthepaintfilmopenforlonger.

Mixtheretarderintheratioof1partto6forearthcolors;1to3forother

colors.Toomuchretardermakespaintstickyandunpleasanttouse.Addavery

smallamountofwatertoincreasefluidity.

FlowimproverFlowimprover,orwater-tensionbreaker,thinsacryliccolorswithoutreducing

thecolor’sstrengthoraffectingthefinishofdriedpaint.Itimprovesflow

properties,allowingflat,evenwashestobeappliedoverlargeareas.

JacquieTurnerTheOldJetty,SanSimeonAcryliconpaper75×105cm(30×42in)ForthiscoastalsceneJacquieTurnermixedalittlesandinwithtexturepasteandpainttoprovideanappropriatelygranularforeground.Thesparkleofthewavesisconveyedbysmalltouchesofsilvermetallicpaint.SEEALSOSUPPORTS13OILMEDIUMS76FAT-OVER-LEAN166SPECIALITYCOLORS115COLLAGE208IMPASTO208VARNISHES350

BRUSHESANDKNIVESAllthebrushesusedforoilandwatercolorpainting–bothnaturalhairand

syntheticfiber–arealsosuitableforuseinacrylicpainting.Decorators’

brushesareinexpensive,comeinarangeofsizes,andareinvaluablefor

blockinginlargeareasofcolor.

SyntheticbristlebrushesSomemanufacturershavedevelopedsynthetic-bristlebrushesspecificallyfor

acrylicpainting(manyartistsalsofindthemidealforoils).Thesebrushesare

easytoclean,andarebuilttowithstandthetoughhandlingdemandedby

acrylics.

CareofbrushesBecauseacrylicpaintdriessofast,youmusttakeextracareofyourbrushes.Be

suretomoistenthemwithwaterbeforeloadingthemwithacrylicpaint,

otherwisethepaintwillsticktothedrybristlesandgraduallybuilduptoa

hardenedfilmthatwillruinthem.

Donotleaveyourbrushessoakinginajarofwaterforlongperiods;the

bristleswillbecomedistortedwhenrestingonthebottomofthejar,andthe

lacquerpaintonthehandlewilleventuallyflakeoff.Laythebrushesinashallow

trayofwater,withthebristlesrestinginthewaterandthehandlesproppedon

theedge,clearofthewater.

KnifepaintingThebutteryconsistencyofacrylicsmakesthemappropriateforknifepainting.

Again,thesamepaintingandpaletteknivesusedforoilsaresuitableforacrylics,

providedtheyaremadeofstainlesssteelandnotordinarysteel.Easy-to-clean

plasticknivesarealsoavailablewithacrylicsinmind.

Laybrushesinashallowtrayofwater

CleaningsolidifiedpaintIfpainthassolidifiedonyourbrush,trysoakingitinmethylatedspiritsforatleast12hoursandthenworkingthepaintoutbetweenyourfingers.Thoroughlywashthebrushwithsoapwithsomewarmwater.

Usingoil-paintbrushesBrushespreviouslyusedwithoilpaintmustbecarefullycleaned,toremovealltracesofoilorturpentinefromthebristlesbeforebeingusedwithacrylics.

SEEALSOOILSBRUSHES78OILSKNIVES86WATERCOLORBRUSHES96

PALETTESFORACRYLICSWoodenpalettes,suchasthoseusedforoils,arenotrecommendedforacrylic

painting,asthepaintgetsintotheporoussurfaceofthewoodandisdifficult

toremove.

Home-madepalettesUseaplasticpalette,ormakeoneyourselffromasheetofwhitemelamineor

perspex,anoffcutofhardboard(Masonite)coatedwithacrylicprimer,orasheet

ofglasswithwhitepaperunderneath.Manyartistspreferthesehome-made

palettesbecausethereisnorestrictiononsize.Paperplatesarealsoveryuseful,

astheycanbethrownawayafteruse.Whenyouaremixingveryfluidwashes,

usedisposableplasticcontainers,papercupsormetalbuntrays.

KeepingpalettesmoistAcrylicpaintsdryoutrapidlyonpalettes,sokeepthemmoistwhileinuseby

sprayingthemwithwateratintervals.Coveringthepalettewithplasticwrapwill

preventpaintsdryingoutduringatemporarybreakfrompainting.Itisalsoa

goodideatosqueezeoutonlysmallamountsofpaintatatime,toprevent

wastage.

Stay-wetpalettesSpecialpaletteshavebeendevelopedforusewithacrylicpaintwhichkeepcolors

moistandworkable,sothatyouarenotconstantlyremixingcolorsand

discardingdriedpaint.Theyworkontheprincipleofosmosis,andconsistofa

liddedplastictraywhichislinedwithasheetofabsorbentpaperandasheetof

membranepaper.Inuse,theabsorbentpaperissoakedwithwaterandthesheet

ofmembranepaperislaidontop.Thecolorsaresqueezedoutontothe

membranepaperandabsorbmoisturefromtheabsorbentpaperbelow,

preventingthemfromdryingout.

Makingastay-wetpaletteThisimprovisedpaletteisquickandinexpensivetomake,andsolvestheproblemofpaintsdryingout.Linethebottomofashallowplastictrayoraluminiumbakingtraywiththreeorfourdampsheetsofblottingpaperorpapertowel.Coverthedamppadwithasheetofgreaseproofpaper,pattingitdownsothatithascontactwiththedampsurface.Usethegreaseproofpaperasyourpalette.Whenthedamppadbeginstodryout,removethegreaseproofpaperandre-wettheabsorbentpaper.Whenyoufinishwork,coverthepalettewithasheetofplasticwrap,andyouracrylicswillbereadyforusethenextday.

TypesofpaletteTwocommercialstay-wetpalettes(leftandcenter)andanimprovisedpalette,madewithasheetofglassoverwhitepaper(right).SEEALSOOILSPALETTES84WATERCOLORPALETTES100

Chapter4

WHERESHALLISTART?

Formanypeople,especiallyamateurs,howtostartapaintingandwhichsubjecttochoosearethemost

difficultdecisionstomake.Itisimportantthatyouchooseasubjectthatisenjoyableandinteresting,

andthatyouletyourownstyleandpersonalityshinethrough.Paintingisawonderfulwayforyoutobe

yourself,anditwillalsogiveyouanopportunitytoconveyfeelingandatmosphere.Donotbeafraidof

paintorcolor.Artists’paintsarequiteexpensivematerialsandyoumaywellbereluctanttosquander

them–butmanyapotentiallygoodamateurpaintinghasbeenspoiledthroughlackofboldnessinthe

applicationofpaint.Experimentwitharangeofmediaandsubjectstodiscoverwhatyoulike.

STARTINGTOPAINTWhereshallIstart?Adifficultquestionbutaneasyanswer–youhavetaken

thefirststepbypickingupthisbookandleafingthroughthepages.Maybe

youarereturningtopaintingandhavenotpickedupapaintbrushsince

leavingschool,buthaveawarmmemoryofarewardingandengagingpursuit.

Ormaybeyouareanabsolutebeginnerwhoseexperienceoflandscape

paintingistoputblueatthetop,browninthemiddle,andgreenatthe

bottom.

BeginnerpaintersAsaninexperiencedpainter,youwillprobablybeamongthosepeoplewhofind

itdifficulttobeginapainting.However,thereareplentyofinstanceswherethe

seriousamateurorsemi-professionalartist,oreventhefull-timeprofessional,

willdrawablankorhaveconsiderabledifficultyingettinggoing.Indeed,getting

goingisoftenthehardestpartofall.Makingthosefirstmarksonablankcanvas

canbeadauntingprospect,evenforaprofessionalpainter.Ifyoufeeldaunted,

youwillnotbealone.

Manyartistshaveoftenremarkedonthefactthattherearenodefinitiverules

inpainting.Thisseemstobeparticularlytrueofgettingstarted.Thereareall

sortsofwaystobeginapainting,butthedesiretodosoisthemostimportant

requirement–onceyouhavemadeastart,youcanpicktherouteyouwanttogo

down.

AblankcanvasManypeopleareinfluencedbyanobject,anidea,aphotograph,asituationorscene,orsomethingthatjustcatchestheireye.Evenadreamoranexperiencecaninspireapainting.

ShinethroughChooseasubjectthatisenjoyableandinteresting.Beopen-mindedinyourapproach.Letthepaintingsometimesleadyou–celebratetheaccidentalbrushstroke,thechanceblendingofcolors,themisplacedorquirkilydrawnobject.Paintingisnotphotography;ifyouwanttogetanexactcopyofasceneoranobject,pickupacamerainstead.

Professionaladvice

Amongthewordsthatkeptcroppingupduringinterviewswiththeprofessional

Amongthewordsthatkeptcroppingupduringinterviewswiththeprofessional

artistswhocontributedtothisbookwereexpressionssuchas“choices,”

“freedom”and“satisfaction.”Thesekeywordspointtothefactthat,although

paintingisnotaneasyprocess,itisanenjoyableandrewardingone.Theyalso

implythatthereareanumberofstepsyoucantaketohelpyougetstarted–and

that,combinedwithperseverance,thesestepswillgraduallyleadtowardsa

pleasingfinishedpainting.Oppositeandonthefollowingpagesyouwillfinda

varietyofpracticalhintsandsuggestionsforchoosingsubjectsandhowtostarta

painting.

GettingstartedSo,inordertogetstarted,whatshouldyoudo?Fromtheoutset,youshould

alwaystrytoavoidsettingyourselfupfordisappointment.Chooseasubjectand

amediumthatyoufeelcomfortablewith,onethatyoufeelyoucanhandle.

Don’ttrytorunbeforeyoucanwalk–butbythesametokendon’tbetootimid

ortoo“tight”inyourapproach,orscaredtotryanunfamiliarmedium.

Beboldandconfidentinyourpainting,andrememberthatitisyourchoice.

Youhavedecidedtopaintandwhattopaint;youarenotinacompetition,and

youaren’tunderanypressureorunderanobligationtoanyoneotherthan

yourself.Youalonecanselectyourmediaandcreateyourownpersonalstyle.

FirststepsManypaintersliketostartbymakingpencilorcolorstudiesandsketches.Some

makemeticulousdrawingsandtransferthemtocanvas;someputinthesimplest

andmostbasicofdrawnlines;somemakeathinwashdrawingwithabrush;and

othersprefertojumprightinwithbrushandknifeandpureneatcolor.Shown

belowisaselectionofphotographsofthefirststepstakeninthecreationoffour

paintings.

CharcoaldrawingArtistKenHoward(seepage324)followsatraditionalapproachandmakesa

verysimpleyetmeasuredcharcoaldrawingofthesalientpointsbefore

proceedingwithabrushandlayinginthedarkareas(toprow).

BrushdrawingTimothyEaston(seepage258)likestomakeafairlydetailedneutral-colorbrush

drawingofthewholecompositionbeforehestartslayinginthecolors(second

row).ValerieWiffen(seepage318)startswithawater-solublecoloredpencil

andquicklyproceedstosimplebrushwork,drawinginthinwashestolayinwhat

shecalls“sightlines”(thirdrow).

PencildrawingPencillinetendstobethefavoreddrawingmediumofmanywatercolorists–

oftendrawninlightly,andsometimeserasedsothatitisbarelynoticeable.Using

aphotographicreference,KayOhsten(seepage298)plotsalightyetaccurate

pencil-linesketchtoserveasthebasisforherlandscapepainting(bottomrow).

CharcoalThisisthepreferreddrawingmaterialforplottingapaintingoncanvas.Itssoft,

friableconsistencyenablesittoglideoverthetexturedsurfaceofcanvas,making

astrong,positivemarkthatrespondsinstantlytothepressureapplied,creating

thickorfinelines.Ithasthemeritofbeingfastandspontaneous,andiseasily

coveredbyopaquemediumssuchasoilandacrylicpaints.

SEEALSOCHOOSINGYOURMEDIUM128GALLERYOFART357

RESOURCESANDREFERENCES126KEEPINGASKETCHBOOK152

RESOURCESANDREFERENCESArtistsareinvariablyavidcollectorsofwhattotheuninitiatedeyeisnothing

shortofjunk.Accumulatinganythingandeverythingofinterestisa

fascinatingandoftenamusingwaytobuildaninvaluableresourceofobjects

forthestill-lifetable.Bothprintedephemeraandreproductionscanalso

inspireideasforpaintingsandprovidevisualinformationthatmaybedifficult

toacquirefirst-hand.Theyalsoconstitutearichyetinexpensivesourceof

materialforcollages.

CopyingIntheworldofart,“copying”isatime-honoredwayoflearningtopaintand

draw.Traditionally,studentswereencouragedtomakestudiesofwhatwere

knownas“antiques”–plastercastsofstatuesfromantiquity,usuallyincluding

VenusdeMilo,Michelangelo’sDavidandfragmentsoftheParthenonfrieze.

EventuallystudentswouldprogresstocopyingOldMastersinmuseumsand

galleries.Inaddition,asoundknowledgeofhumananatomywasrequiredbefore

pupilswereallowedtosetfootintheliferoom.Inmanyways,studentssought

tobecomeaccomplishedartistsbylearningtoseethroughotherpeople’seyes.

AnorganicthemeAsshown,thehumanformfeaturesprominentlyinthisselectionofobjects.Weseeanartist’sfull-figuremannequinandhand,aplastickitofthehumanbody,andanacupuncturist’smodel.Together,theyrepresentaconvenientsourceofreferenceforfiguredrawing,obtainableatlittlecost.Intheboxisamummifiedfrogfoundinacellarandapigeon’sskullretrievedfromthegarden.

ObjetstrouvésCheaptoobtainandfuntocollect,otherpeople’sjunkmakesfascinatingsubjectsforstill-lifepaintings.

PersonalexplorationTodaythesetraditionalapproachestoteachinghavemostlybeensupersededbya

questforfreeexpressionandpersonalexploration.However,whileslavish

copyingisnotrecommended,itisalwaysofvaluetoseehowotherartistshave

tackledparticularthemes,andyoumaybeabletopickupusefultipsonmethods

andmaterialsalongtheway.Alivelyinterestintheworldaroundyouisessential

groundingforgoodobservationaldrawingandpainting.Trainingyourselftosee

withanartist’seyewillhelpyoutodevelopanawarenessofform,color,texture

andpattern,withoutputtingbrushtocanvas.

Graphicephemera

Dippingintoafileofmagazinecuttings,graphicephemeraandprintedreproductionscanoftenprovideideasandinformationforyourpaintings.

LookingfortheunexpectedAtrainedeyecanspotpotentialinunexceptionalmaterial.Inexpensivechinaandpotterycanmakeacolorfulthemeforastill-lifepainting,anddiscardedshardsthathavenointrinsicvaluetakeonanewandsurprisinglyrichqualitywhenviewedenmasse.

SEEALSOCOLLAGE208COMPOSINGFROMIMAGINATION338

CHOOSINGYOURMEDIUMTheseeminglyinfinitevarietyofstylesandpaintingtechniquesstemsnot

onlyfromtheimmensediversityofthehumanrace,butisalsostrongly

influencedbytheavailabilityofavastrangeofartmaterials.Withineach

medium,everycolorhasitsowncharacteristicstobediscoveredandexploited,

andwhendifferentbindersareusedthosecolorstakeonquitedifferent

personalities.Herearesometipsonhowtochooseapaintingmediumthat

willsuityouandthewayyouliketopaint.

YourpersonalityThefirstthingtoconsiderisyou.Thinkaboutwhatitwasthatfirstattracted

youtopainting.Wasitaparticularpainter’swork?Orwasitastrongdesireto

createimagesofthingsthatgiveyoupleasure?Choosingthemediumusedin

picturesyoulikenotonlyfuelsyourenthusiasmbutwillmakeitpossible

technicallytoachievetheresultyouareafter.

Yourtemperamentisalsoaconsideration.Ifyouareacareful,fastidious

personwhocannotbehurried,you’llprobablyfindpaintingarchitecturalstudies

inwatercolormoreappealingthan,say,abstractexpressionism,whereasabubbly

extrovertmayhaveanaffinityforthelatter.

SpaceandequipmentPersonalcircumstancesarealwaysadecidingfactorinthechoiceofmedium.

Havingaspareroomorawarmshedtoworkinwillprobablyavoidcomplaints

fromthefamilyaboutthesmellofoilpaintsorsolvents,butunlessthespaceis

roomyyouwon’tbeabletopaintlargecanvases.Bearinmindthatyouwillneed

well-organizedstoragespace,too.

Eventhoughitmayaccommodatelessequipment,someartistsstillpreferto

workinasmallstudioratherthanaspareroombecauseitallowsthemtodabble

inprivate,onlyemergingwhentheyfeelconfidentenoughtoshowtheirwork.

Otherstakepleasureinelaboratepreparationsbeforegettingdowntowork–

indeed,manyalovinglycraftedhomeeaselorpalettehasbeenproducedwithout

anysignofasinglepainting.

Perhapsyouarethetypeofartistwhoisattractedtoworkingoutdoors.

Perhapsyouarethetypeofartistwhoisattractedtoworkingoutdoors.

Withoutdoubt,watercoloristhemosteasilyportablemedium–butwithalittle

planning,evenoilscanbetakenandusedonlocation.

ThecostofgettingstartedSurprisingly,costisrarelyamajorpriority.Evenartstudents,whohavelittle

disposableincome,willbuywhattheyneedfortheirpaintings.Butcostmaybe

thedecidingfactorbetweenonemediumandanother–andifyoucanget

startedforasmalloutlay,itmeansyouhavenothingtoloseandalltogain.

Milliliterformilliliter,acrylicsarethecheapest,butbecausewatercolorgoes

further,itdoesnotnecessarilycostmoreintheend.Whenstartingout,oil

paintingisthemostexpensive,becauseyouneedmoreaccessories.Whatever

mediumyouchoose,buyjustthequantitiesyouarelikelytouseinayearortwo.

Althoughmanycolorswilllastdecadesormore,ifyoudon’tkeepthecaps

scrupulouslycleanyou’llfindthatthepaintdriesout.Largervolumesarefor

prolificusers.

Oilpaints,brushesandframes

Oilpaintsandbrushes

Watercolors

Aselectionofpastels

Acrylics

PaintinginvariousmediaInthisboldlandscapepainting,weseetheapplicationofanopaquebutterymedium,inthiscaseoils.Thepainthasdistinctphysicalpropertiesintheformofclearlydefinedknifemarksandbrush-strokes.Similarsurfacetexturescanbecreatedusingacrylicpaint.

AlanCottonCo.KerryCottagesatVentryHarbourOiloncanvas76×91.5cm(30×36in)

Differentqualities

Generally,therearetwoqualitiesavailablewithineachmedium:students’and

Generally,therearetwoqualitiesavailablewithineachmedium:students’and

artists’.Alwaysbuythebest-qualitycolorsyoucanafford–theynotonlymake

paintingmoreenjoyable,quickerandeasier,butinsomecasestheyaretheonly

colorsthatwillactuallyworkwithcertaintechniques.

BeenthusiasticIfyou’vebeenencouragedtojoinanartclassoraccompanyafriendona

paintingtrip,itmaybebesttogowiththeflowandchoosethemediumthatthe

otherartistsareusing.Thiswillgetyoustartedandmakeiteasiertolearnfrom

yourcolleagues.Youcanalwaysbreakoutintoothermedialateron.

Mostimportant,don’tbedeterredbynegativethoughtsorcriticism.Forget

yourschooldays,whensomeoneelsewasalwaysbetterthanyou.Nowyouhave

theopportunitytoblossom,withamorematureapproachandanenthusiasm

thatmayproduceresultsyouneverthoughtpossible.

VersatilityAcrylicpaintisarelativenewcomerthatseemstobelovedanddespisedinequalmeasure.Nevertheless,itsversatilityasamediumhastobeacknowledged.Itcanbeappliedinthinveilsoffluidcolor,similarinappearancetowatercolor,orasthickimpastedbrushworkthatresemblesoilpaint.Butacrylicpaintbehavesquitedifferentlyfromthetwomoretraditionalpaintingmediums–especiallyinthatitdriesvery,veryquickly.

WatercolorAsthemostpopularpaintingmedium,watercolor’sgreatappealisitsimmediacy

–asmallpaintbox,asheetofpaper,abrush,andyou’reaway.Yourequireonly

waterforpaintingandcleaningup,whichalsomakesthisfeelaneasymedium.

Compactandlightweight,watercolorsarehighlyportablesoyoucanpaintona

bus,orevenontopofamountain.Youneedlittlestoragespace;asingle

portfoliowillhousedozensofpaintings.

Watercolordoes,however,havesomehiddenpitfalls,anditisalotmore

difficultthanitlooks.Youhavetolearnnottofiddleandoverworkapainting,

andtodeveloptheknackofbuildingitupwithoutmistakes.Usingthebest

paintsmakesiteasier,andgood-qualitywatercolorpaperisvital,otherwiseyour

colorswillbeflatandlifeless.Cheap,thinpaperwillcockle.

Althoughmostwatercoloristsusebothtubesandpans,theytendtofavortube

colorsbecauseyoucanmixstrongercolorsmorequicklyandinlargerquantities.

However,pansareeasiertocarryaround.

AcrylicsThesecondmostpopularmediumisacrylicpaint,primarilybecauseitisso

extraordinarilyversatile.Ifyouwanttosticktojustonerangeofpaints,acrylics

areforyou.Theycanbeappliedstraightfromthetube,ordilutedwithwater.

Unlikeotherpaintingmedia,acrylicsaremadeindifferentconsistencies.

Generallytherearetwotypesavailable:tubecolorandpotpaint,alsoknownas

“concentrated.”Tubecolorhasasoftpaste-likeconsistency,similartooilpaint.

Bycomparison,acrylicpaintsoldinpotsismorefluid,butitisjustasgoodin

termsofcolorstrength.

Concentratedacrylicsshouldnotbeconfusedwiththelower-pricedcraft

colors,whicharelikelytobelesspermanentandhavelowerpigmentstrength

andfewerartists’colorsintherange.

Liquidacrylicsareavailable,too.Inactuality,theseareinksthataremost

oftenusedbyartistsformixed-mediatechniques,ratherthanasamediumon

theirown.

DavidJacksonTowardsWastwaterWatercoloronpaper46×58.5cm(17×23in)

GouacheThistypeofpaintwasnotavailablecommerciallyuntilthe1930s.Inthe19th

centuryitwasknownas“bodycolor”andwasachievedbymixingChinese

Whitewatercolorpigmentintootherwatercolorstomakethemopaque.Body

colorwasusedtogiveextrasolidityandhighlightswhenpaintingwatercolors,or

tocreatepaintingsfromsolidcolor.

Todaythebest-qualitygouacheishighlypigmented,givingdense,matt,

opaquecolorsthatflowwellanddrywithoutstreaks.Gouacheispopularwith

designersandillustrators,asstrong,mattcolorsaremostsuitablefor

reproduction.WatercoloriststendtousePermanentWhitegouacheforstrong

highlights.Gouacheoncoloredpastelpaperisapopularcombinationamong

wildlifeartists.

Oils

Oilpaintis,withoutdoubt,theprofessional’smedium.Artgalleriespreferoilsto

Oilpaintis,withoutdoubt,theprofessional’smedium.Artgalleriespreferoilsto

acrylics,andsodothegeneralpublic.Itspopularityamongpatronscanlargelybe

attributedtoits500-yearhistory,andthefactthatthemajorityoffamous

pictureshavebeenexecutedinoils.Withpainters,itsappealliesinitsmarvelous

butteryconsistency,itsevocativesmellanditsversatility.Oilsnotonlyproduce

betterglazesthananyotherpaintmedium,theyalsoretainbrushandknife

marksexceptionallywell.

Oilpaintisnotasdifficulttohandleasyoumightthink.However,youwill

havetobuyanumberofaccessories,andyouneedplentyofstoragespacefor

dryingandkeepingpictures.Ifyouarewell-organized,youcankeepcluttertoa

minimum,butalotofpaintersseemtogetmorepaintonthecarpetand

doorknobsthanonthecanvas.Awordofwarningforoilpainters:don’tignore

thetechnicalrules.Ifyoufailtofollowthecorrecttechniques,youcangobadly

wrong.

Water-mixableoilcolorsThemostexcitingdevelopmentsincetheemergenceofacrylicsinthe1960shas

beenwater-mixableoilcolors.Stringentregulationsconcerningtheuseof

solventshadledtoadeclineintheuseofoilsinartschools,andasmorepeople

tookuppaintingasaleisureactivity,theytoofoundoilslessappealingbecause

ofthestrongsmellofwhitespiritandturpentine.Water-mixableoilcolorswere

theanswer.Theyhaveallthecharacteristicsoftraditionaloils,butareboth

dilutedandcleanedupwithwater.

AlkydsThesefast-dryingoilcolorsaretouch-drywithin18–24hoursinsteadofthe

usual2–12days.Theyarealsomoretransparentthanconventionaloils,making

themgoodforglazing,andperfectforpaintingoutdoors.

OilsticksOilcolorcanbeblendedwithwaxestomakesolidpaintingsticks.Theyare

wonderfullyexpressive,butareusedupquicklyifyoupaintlargecanvases.The

best-qualityoilsticksaresuperiortooilpastels,whichhavelowerpigment

strengthandlowerpermanence.

DavidMynettWetSandsPastelinsketchbook30.5×40.5cm(12×16in)

PastelsAlthoughpastelistermedasapaintingmedium,thetechniqueusedissimilarto

drawing.Pastelsareavailableinrangescomprisinghundredsofpurecolors.

Largecolorrangesarenecessarybecause,unlikepaints,pastelscannotbemixed

tocreatesecondaryandtertiarycolors.

Colorscanbeblended,however,eitherphysicallyonthepaperorbymeansof

hatching.Pastelsareopaqueandtheyworkbestoncoloredbackgrounds,which

tendtounifyapictureandsometimeshelptosuggestaparticularmood.

Adisadvantageofpastelpaintingsistheirdusty,fragilesurface,whichmakes

themdifficulttostoresafely.Thisfragilityisreducedbyapplyingfixative–but

donotapplyitheavily,orthecolorchangewillbetoogreat.

Thebestwayofstoringpastelpaintingsiswithinpicturemounts,whichare

anextracostbutpreventthefinishedpaintingsfromrubbingagainsteachother.

Softpastels

Thebestpastelsaresoftandcreamy,transferringjusttherightamountofcolor

Thebestpastelsaresoftandcreamy,transferringjusttherightamountofcolor

tothepaper.Largerpastelsarepreferabletothesmall-diametersticks,because

theybreaklesseasilyandapplymorecolorwitheachstroke.

HardpastelsHardpastelsarealsoavailable,thoughinmorelimitedranges.Theyaregoodfor

finaldefinitionandforapplyinghighlights,andareparticularlysuitedtolinear

work.Thecolorsarelessbrilliantbuthaveafirmerconsistency.

Water-solublepencilsandcrayonsWater-solublepencilisyetanotherdrawingmediumthatbeginnerssometimes

findusefulinbridgingthegapbetweendrawingandpainting.However,the

resultsarenotthesameasthosethatmaybeachievedbyapplyingaconventional

watercolorwash,andthequalityofthepigmentsisnotashighasthosethatare

usedforthebestwatercolors.

Thickerwater-solublecrayonsarealsoavailable,whicharecapableof

producingbroadermarksanddenserhatching,makingthemmoreofapainter’s

medium.

SEEALSODRAWINGMEDIA37ORGANIZINGYOURSTUDIO132PAINTINGOUTDOORS134PAINTINGTECHNIQUES161OILPAINTS64WATERCOLORPAINTS87ACRYLICPAINTS110DRAWINGPAPERS38PASTELS48

ORGANIZINGYOURSTUDIOEveryartistdreamsofhavingadedicatedstudioforhisorhersoleuse,but

thatisnotanessentialrequisiteforgoodpainting.Youcanworkalmostas

wellinasharedspace,solongasthereisroomforyoutoleaveyourpaintsand

materialssetoutreadyforyoutoresumeworkwhenthemoodstrikesyou.

Withalittleplanning,itiseasytoprovideapracticalsolutiontomeetyour

needs,butastudioshouldbestimulatingaswellasefficient–andforthat,you

needtostampyourownpersonalityontheplace.

ArtificiallightingGoodlightingisessentialtopreventeyestrainandtorendercolorsaccurately.

Whenlevelsofnaturallightarelow,youneedgoodartificiallighting,preferably

ceiling-mountedfluorescentlampsfittedwithblue-tinteddaylighttubes.To

provideanevenspreadoflightandavoidanyproblemswithshadows,installat

leasttwofluorescentfittings.Fortable-topwork,useanadjustablelamp,also

fittedwithadaylightbulb.

NaturallightingNaturallightfromalargenorth-facingwindowisideal(south-facinginthe

southernhemisphere),sinceitwillprovideeven,neutral-coloredillumination

thatremainsconstantthroughouttheday.

WorkstationsIfyoudon’tliketoworkflatonatable,supportyourpaintingsonatable-top

easel.Madefromwoodormetal,thistypeofeaselcanbeadjustedtodifferent

anglesandfoldedflatforstorage.Mostartistssetouttheirpaintingmaterialson

theworktable,butamobilestorageboxortrolleymaybemoreconvenient,since

youcanmoveitfromtabletostudioeasel.

StoringmaterialsandpaintingsIdeally,worksonpapershouldalwaysbelaidflatinaplanchestor,ifspaceis

limited,storedinastrongportfolio.Foraddedprotection,interleaveyourwork

withacid-freetissuepaper.Abankofshallowwall-hungshelvesisusefulfor

storingreferencebooks,props,boxedmaterials,storagepotsforbrushes,even

wetcanvases.Storeyourstretchedcanvasesinapartitionedrackmountedon

castors.Ifthereisroom,youcanparktherackunderyourworktable.

Radialeasel

Heavy-dutystudioeaselStudioeaselsIfyouplantoproducelargepaintings,youwillwanttobuyafloor-standingstudioeasel.Heavy-dutyeasels,usuallymadefromwood,haveastrongbaseframe.Lessexpensiveversions,inwoodoraluminium,havetripodlegs.Alleaselsareadjustableinheightandangle,sothatyouareabletositorstandwhileyoupaint.Ifyouworkfromawheelchair,tripoddesignsallowyoutogetclosertothepainting.Toavoidthrowingyourshadowacrossthework,setuptheeaselsothatthelightsourceistoonesideandoveryourshoulder.

Planchest

Daylightbulb

All-purposestudioAwell-equippedstudiocanbeinstalledrelativelycheaplyinaspareroomorsmalloutbuilding.Yourfirstrequirementisadry,adequatelyheatedspacethatislightandairy.Sinceitispracticallyimpossibletopaintwithoutcreatingamess,itpaystomakesurfaceseasytoclean.Plainwhite-paintedwallswillmakethemostofavailablelight,andcanbewasheddownwhennecessary.Chooseasmoothfloorcoveringsuchassheetvinylortiles,orsealedstrip-woodflooring.Haveasinkinstalled,ormakesurethereisawatersupplycloseby.Getalargebinforwaste,andputflammableragsinametalbinwithatightlyfittinglid.

1WorkinprogressTosupporthalf-finishedpaintings,fixawoodenstopbeadtothefrontofashallowshelf.

2ShelvingUseadjustablewall-hungshelvingforgeneralstorage.

3WorksurfacesYouneedplentyofworksurfacesforlayingoutyourworkandmaterials,andfortaskssuchascuttingpapertosize.

4ArtificiallightInstalloverheadfluorescentlightsforoverallillumination,andadesklampwithadaylightbulbforclosework.

5DaylightIfyourstudiohasn’tgotanorth-facingwindow,fitafine-fabricrollerblindtodiffuseharshdaylight.

6CanvasstorageProvideapartitionedrackforstretchedcanvases.

7WastedisposalHavealargebinhandyforsafestudiowaste.

8SeatingIfyoudon’twanttostandatyoureasel,provideanadjustablestool.Youwillneedacomfortablechairwhenworkingatatable.

9MobilestorageUseamobiletrolleytoplaceyourpaintsandequipmentclosetohand.

10FlooringLayeasy-cleanfloorcovering,suchassheetvinylortiles,orinstallsealedstrip-woodflooring.

11PlanchestAplanchestprovideslong-termstorageforartworkandalsodoublesasavaluableworktop.

12PinboardUseasatemporaryexhibitionandviewingareaandalsofordisplayingreferencesandephemera.SEEALSOCANVAS14RESOURCESANDREFERENCES126

PAINTINGOUTDOORSManyinexperiencedartistsarereluctanttoworkinpublic,butoncetheyhave

overcometheirinitialshyness,theydiscovertheexhilarationthatcomesfrom

paintingdirectlyfromnature.Thechallengesthatarepresentedbythe

weatherandfleetinglightmayforceyoutodeveloptheabilitytoworkquickly,

andyoumayhavetoputupwithalittlediscomfort–butit’sthesights,sounds

andsmellsofthelivinglandscapethatgiveoutdoorpaintingitssingular

vitality.

MakingastartManyartistsliketorecordtheirinitialimpressionsonlocation,thenfinishthe

paintingathome.Othersliketopaintentirelyinthestudio,usingpreparatory

sketchesandcolornotestakenonthespot.Althoughsomeprefertoworkfrom

photographicreferences,especiallyasanaidtocomposition,veryfewpainters

relyonphotographsforaccuratecolorrendering.

ChoosingyourmediumIt’salwaystemptingtocarrymoreequipmentthanyouneed–butonceyouhave

madeafewforaysintothecountrysidecarryingaloadedrucksack,youwillsoon

learntokeepyourkittothebareminimum.

Watercolorsandacrylicshaveobviousadvantages.Bothdryrelativelyquickly

andneedonlywaterasadiluent.Unlessyouwanttoworkonrelativelylarge

paintings,aportablewatercolorboxcontainingsmallpansismarginallymore

convenientthantubesofpaint.Someboxesalsoincludestorageforwater;ifnot,

carryaplasticwaterbottletosaveweight.Forexpediency,usesmalltubesof

acrylicpaint,andbuyastay-wetpalettetohelpkeepthepaintmoist.Coverthe

palettewithplasticwrapbeforecarryingithome.

Apochadecontainsalltheequipmentyouwillneedforoilpainting,including

apalette.Tosavecleaningyourpalette,coveritwithplasticwrapbeforeyou

startwork;youcanthenpeelitoffafterwardsandthrowitaway.Alternatively,

youcoulduseadisposablepaperpalette.

Personalconsiderations

Forlongsittings,youwillneedtoprotectyourselffromtheelements,whether

Forlongsittings,youwillneedtoprotectyourselffromtheelements,whether

it’shotsunorwinds,coldandrain.Insummer,wearabroad-brimhatanda

long-sleevedshirt,orprotectyourskinwithhigh-factorsunscreencream.It’s

alsoagoodideatokeepinsectrepellentinyourbag.Asunshadewillhelpkeep

youcoolandprotectyourpaintingfromglare.Ifyouplantoworkoutsideforthe

wholeday,remembertotakeapicniclunchandplentytodrink.

Inwinter,wrapupwarmlyandwearstoutwaterprooffootwear.Tokeepyour

handswarmbutmaintainyoursenseoftouch,wearfingerlessgloves.

WorkingonlocationBeforeleavinghome,makesureyouhaveeverythingyouneedforaday’spainting.Havingfoundyourspotandsettleddowntopaint,thereisnothingworsethandiscoveringthatyouhaveforgottenanessentialitemofequipment.

Oilpainter’spochadebox

Traditionalwatercolorboxdesignedtobeportable

Handywatercolorboxwithintegralwaterflask

ChoosinganeaselIfyouprefertoworkstandingup,useanadjustableeasel.Asketchingeaselis

easytocarry,butyoumayhavetostakethelegstothegroundonwindydays.A

boxeaselisasturdierportableplatform.Itcombinesatripodeaselwitha

carryingcaseforyourpaints,paletteandsmallcanvases.Thepull-outdraweris

convenientforsupportingyourpalette.

SketchbooksanddrawingboardsAhand-heldsketchbookwillnotneedanysupport,butyoucouldutilizeasmall

officeclipboardtocarryseparatesheetsofpaper.Buyalightweightfoldingtable

fromacamping-equipmentsupplierifyouprefertoworkflat.

OptimumsizeDon’tbetooambitiouswhenpaintingoutdoors.Limitthesizeofyourworktoabout38×50cm(15×20in),otherwiseyourcanvasmaybeawkwardtocarryandcouldbecomeunstable,especiallyinbreezyconditions.

Double-pointedcanvaspinsWetcanvasesTotransportawetcanvas,insertadouble-pointedcanvaspinateachcorneranduseanotherstretchedcanvastoprotectthesurface.

WorkingstandingupHoldinglargerdrawingboardsistiring.Attachacanvasorleatherstraptotwocornersofyourboard,andtaketheweightonyourshoulder.

Aportablestudio

Manyoutdoorpainterstransporttheirequipmentinlargesoftbagsorhaversacks(aboveleft),butacompartmentalizedtoolboxorartbox(aboveright),withlift-outorhingedtrays,isidealforcarryingallthoseloosematerialsthatareeasilymislaidoutdoors.Choosealightweightplasticbox,butmakesureithasstrongcarryinghandles.

Sketchingeasel

Boxeasel

FoldingstoolAcompactfoldingstoolallowsyoutoworkinreasonablecomfort.Somebackpacksaremadetocarryafoldingcanvasstool.

Chapter5

DRAWING&SKETCHING

Manualdexterityandtechnicalknow-howaremeaninglessifanartist’sworkisdeficientinthoughtand

feeling.Alongwiththelearninghand,onemustdevelopaseeingeye–andformostpeople,thisisthe

mostdifficultpart.Inthedesiretoproducea“finished”picture,theimpatientstudentoftenoverlooks

thetwothingsthatarefundamentaltoallart:drawingandobservation.Itisvitaltotrainyoureyesby

reallylookingattheworldaroundyou,andtokeepsketchinganddrawingallthetime.Whenyoudraw

whatyousee,youdevelopyourpowersofobservationandanalysis,andinturnyourskillasanartist.

DRAWINGANDOBSERVATIONDrawingisaformoflanguage,andisalearnableskill.Justaswritingismade

upoflettersthatmakewordsthatmakesentences,sodrawingstartswith

pointsthatmakelinesthatmakeshapes.Addlightandshadetomakethree-

dimensionalshapes,andwestarttocompose–makingshapesfittogetherin

space.

AfirmfoundationTherearemanyreasonsforpractisingdrawing.Tobeginwith,itisasourceof

muchpleasureandsatisfaction;anditalsoheightensourawareness,helpingus

toseecolorsandshapesanew.Mostimportantly,drawingisanexcellent

foundationforlearningtopaint.Indeed,ifwerushheadlongintopainting

withoutfirstdevelopingdrawingskills,oureffortsaremorelikelytoendin

frustration.

EnjoyandimproveFearoffailureisthethingthatpreventsmanyfromlearningtodraw.Butifyou

canignorethatlittlecriticalvoiceinyourheadthatspoilsthefunofdrawing,

youwillbegintodrawwithease,spontaneityandfreedom.

AcceptinglimitationsThemainthingisnottoregardeachdrawingasafinishedthinginitself.Accept

thefactthat,tobeginwith,manyofyourdrawingswillbefailures,andjustenjoy

thesheerpleasureofthedrawingprocess.

SarahDonaldsonLifeStudiesContéchalkonpaperVariousdimensions

LittleandoftenDrawingislikephysicalexercise;shortsessionsatregularintervalsareofmorebenefitthanaprolongedsessioneverynowandagain.Evenifyouonlyhavethetimetodrawfortenminutesaday,youwillbeamazedathowquicklyyourskillsandobservationimprove.

TomCoatesFigureandPortraitStudies(details)Pencilandwashonpaper

CommunicationMakingadrawingisfirstaboutcommunicationwithyourself.Whenyoulookat

anobject,nomatterhowinteresting,youonlyseeittoacertaindegree,whereas

ifyoumakeadrawingfromthatobject–evenifyoucan’tdrawwell–youwill

gainamuchdeeperunderstandingofwhatyousee.Theeyefeedsthe

informationtothebrain,whichanalyzesitandfeedsittothehand,andthe

handmakesthemarkthatexpressesyouremotionalreactiontowhatyousee,

andultimatelycommunicatesittoothers.

RestartingInawryremarkaboutlifeingeneral,someoneonceobserved,“Everybodymakes

mistakes.That’swhytheyputthoselittleerasersontheendsofpencils.”When

itcomestolinedrawing,however,anerasercanbeadangerousthing.Ifyou

drawinpencil,itisalltooeasytoeraseaninaccurateline,onlytoredrawitin

exactlythesameposition;youmayspendsomuchtimecorrectingthatyoustop

lookingatyoursubjectandnevergetitright.

MistakesWhenmistakesoccur,don’tbeafraidtoleavetheminanddrawmoreaccurate

linesalongside.Inotherwords,restatethelines.Drawingisavital,changing

process,avoyageofdiscovery.Feelingoutformsandcomposition,adjustingand

correcting,arevitalelementsinthisprocess.Onmanymasterdrawings,

correctionsandrestatementsaredeliberatelyleftevident,becausetheyaddtothe

vitalityofthedrawing;theseareknownas“pentimenti.”

RetainingcorrectionsThinkofeachdrawingasabattlefield,inwhichyouaregoingtosolveproblems

andlearnsomethingabouttheprocessofseeing.Infact,whenyouarelearning

todraw,yourdrawingshouldlooklikeabattlefield,withmistakesand

restatementsvisible.Ifyourworkistooperfect,withnocorrectionsshowing,

youhaven’tbeenquestioningwhatyouaredoing,andtheresultmaybelifeless.

SarahCawkwell

FigureCleaningCharcoalonpaper75×55cm(30×22in)

UsingapenItisverygooddisciplinetopractisedrawingwithapenaswellaswithapencil,sothatwhenyoumakeamarkyoudon’tsubconsciouslythinkthatyoucanrubitoutifit’snotright.Withapenyouareforcedtomakeacommittedstatement,andifitiswrongyouhavetomakeanotheronenexttoit–andyoustillhavethemarksthatwerewrongtocomparewith.Infact,youaremorelikelytogetitrightfirsttime,becauseyoutendtolookproperlyandquestionwhatyouaredoingbeforeyoumakeamark.

RichardBellEuropeanLynx(fromasketchbookpage)Penandinkonpaper

FIGUREDRAWINGRepresentingthehumanfigureisoneofthemostchallengingofartistic

disciplines,aswellasthemostfascinating.Inadditiontoindividualstudies,

figuresmayformthecentralelementinanarrativepicture,orperhapsthe

focalpointinalandscapeorinterior.

SketchingfiguresConfidenceindrawingdependsoncarefulobservation.Carryapocket

sketchbookwithyouandtakeeveryopportunitytosketchpeople–incafés,on

publictransport,atthebeach.Bywatchingpeopleandsketchingthem

frequently,youwillgraduallybuildupastoreofvisualinformationabout

physicalshapes,bodylanguageandfacialexpressionsinavarietyofsituations.

Translatingthisinformationfromeyetohandtopaperbecomeseasierthemore

youpractise.

UsingyourmediumAllkindsoftechniquescanbeappliedtodrawingorpaintinganysubject,butitisoftenhelpfultoletyourmediumsuggestanapproach.Usingapencilmayleadyounaturallytosmall-scaledrawingsthatdependonapreciseoutlineofthefigureandsensitivedetailingofsmallershapes.

VictorAmbrus

LuisaGraphitepencilonpaper48.5×33cm(191/2×131/4in)

TomCoates

ModelAdjustingHerDressWatercoloronpaper50×30cm(20×12in)BroadandflowinglinesCharcoalorpastelencourageabroadsweepthatcapturestheoverallbalanceandweightofthebodyandimpliesmovement.Withwatercolorsandalarge,softbrush,youcanflowthepaintaroundbodyshapesandthedrapesandfoldsofclothing.

ACTION&POSEA“lifelike”figurelooksasifitcouldmove.Capturingtheenergyandthe

dynamicsinherentinthehumanformislargelyaquestionoftherightchoice

ofposeandthevitalityofthedrawnandpaintedmarks.

Dynamicdrawing

Whendrawingfromlife,beboldandworkwiththerhythmofthefigure’smovements.Usingboldlinesandsmudgedtones,RosemaryYoungcapturestheessentialgestureoftheposewithoutfreezingit.

RosemaryYoungThreeStandingNudesCharcoalonpaperVariousdimensions

TomCoates

RestPeriodPastelonpaper100×75cm(40×30in)

GestureItisimportanttonoticetheinternalrhythmsofthefigure,whetherinmotionor

inrepose,andhowtheoutershapesrespondtomovement.Ifyoucancapture

theessentialgestureoftheposebydefiningthetellinganglesanddirectionsof

thebody,theenergyofthewholefigureisnaturallyimplied.

KeepyourdistanceItisimportantnottostandtooclosetothemodel.Setupyoureaselatadistanceofabout2m(61/2ft),positionedsothatyoucanseethewholefigurewithoutmovingyourheadtoomuch.

RelaxedposeTomCoatestooktheopportunitytodrawhismodelwhileshetookabreakduringlifeclass.Herunselfconsciousgesturehasaneasynaturalnessandasenseofimpliedmovementoftenlackinginaformalpose.

ExpressivemarksTheotherimportantaspectofpictorialmovementistheenergyandimpactof

themarksyoumake.Asinglemarkoutliningalegwillmakeitlookstatic,buta

seriesofloose,fluidlineswillgenerateenergy.Letyourhandfollowthecontours

ofthefigureinstinctively,sothatthepressureofpencil,chalkorbrushechoesits

flowanddirection.Youwillnotachievea“finished”imageinthisway,butyou

willlearnalotabouthowthehumanfigureworks.

Animation

Avaluableexerciseinobservingandrecordingthemovingfigureistohaveyourmodelrepeatasimplesequenceofmovements–inthiscasegettingintoandoutofbed.Muchofyourtimeisspentlookingintentlyatthesubjectinsteadofthepaper,drawingalmostbytouch.Thiscanleadtosomeinterestingeffects.Alternatively,putyourdrawingequipmenttoonesideandjustwatchthemodelinaction,tryingtoanalyzehermovementssothatyoucansetthemdownlaterfrommemory.

MovementinspaceUsingacameraandready-madephotographicreferencesmayhelpyouto

discoverhowpeoplemovethroughspaceandperformavarietyoftasks,but

nothingcanbeatdirectobservationtocapturethedynamicsofthehumanbody.

Thelife-drawingclassistraditionallyanexerciseinstudyingtheposedmodel,

butdon’tbeafraidtoaskyoursubjecttomovesothatyoucancapturethe

humanfigureinaction.Withthistypeofexercise,itisdifficulttomake

anatomicallycorrectdrawings–justgetyourmarksdownquicklytorecordthose

attitudeswhichcaptureenergy,animationand,aboveall,life.

HumanmaleinmotionThisframefromthepioneeringdocumentationofanimalsinmotionbyEadweardMuybridge(1830–1904)isoneofmanyhundredsofhigh-speedphotographswhichhelpedfurtherthecourseofartandscienceinthelatenineteenthcentury.

RunningmanThissequenceofsketchesisbasedonMuybridge’sphotographicrecords.Priortophotography,agreatmanyartistsmadeincorrectassumptionsaboutthewayhumansandanimalsmovethroughspace.

DancingfiguresThesesketchesweremadefromfiguredrawingsseenonprehistoricAfricanpottery.Withtheirsimplicityandelegance,thesedelightfullyeconomicbrushdrawingscaptureperfectlythehumanforminmotion.

Swimmers

Aquickoil-pastelsketch,drawnlooselyincolorandthenblendedwiththefingers,successfullyfreezesamomentofsummertimepleasure.

THELIFECLASSAnexcellentwaytodevelopdrawingskillsandboostyourconfidenceistojoin

alife-drawingclass.Thisprovidesapracticalandaffordableopportunityfor

theamateurartisttodrawprofessionalnudemodelswiththebenefitofatutor

onhand.Alifeclassalsogivesyouthechancetoworkwithagroupoffellow

artistswithwhomyoucancomparedrawingtechniquesandideas.

StartingpointsThedrawingsshownhereandoppositedemonstratefirstsketchesandconstructionwork–asortofwarm-upsessionatthebeginningofaclass.Theartisthasspentsometimemovingaroundthemodel,gettingafeelforshapeandproportion.Thetutorchangedtheposeevery10minutesorso.

DrawingincolorInalifeclass,oilpastelisanidealmediumforbridgingthegapbetweenpaintinganddrawing.Thesimplicityofthemedium–noneedforsolventsordiluents–allowstheartisttoexecutetoneandcolorstudiesinarelativelyshorttime.

DavidDayNudeTorsoOilpastelonpaper30×25cm(12×10in)

JacquelineDay

LifeDrawing,SketchesPencil,charcoal,penandinkonpaper50×37.5cm(20×15in)

ExperimentationThedrawingsonthispageandthepageoppositeemployavarietyofmedia–softpencil,charcoal,penandink,penandbrush,andoilpastel.Differentmediamakefordifferenteffectsandlineweights,andsomearefastertousethanothers–animportantfactorwhentacklingthequickpose.Thelifeclassisanidealopportunitytoexperimentwithmediaandperhapsdiscoverthosethatbestsuityourstyleofdrawing.

LightandshadowThehumanbodyhasabulkandmassthatcanbedifficulttoconveysolelyinline.Drawingwithabrushforcestheartisttodrawwithboldstrokesandthemediumlendsitselftoconveyingsubtleform.Below,theartisthassuccessfullycapturedthethree-dimensionalpresenceofthemodelbyobservinglightandshadow.

DavidDayBrushDrawingIndianinkonpaper50×35cm(20×14in)

Fastmedia

Thisisthetermusedtodescribethosemediasuchaspencilandcharcoalthatcanbeworkedfreely,andthatenableyoutoadaptthedrawingbysmudgingtheimageandobliteratingareasoftoneastheworkprogresses.Thisvigorousdrawing,executedinsoftcharcoal,exhibitsamultitudeoftextureandtone.Workingquickly,theartisthasrenderedasolid,believablehumanfigure,usingtheedgeofacharcoalsticktodescribemassandform.

DavidDayLifeDrawing,MaleFigureCharcoalontintedpaper52.5×42.5cm(21×17in)

Attentiontodetail

Whenyouarecomfortablewithyourchosenmediumandhavebeguntogetafeelforproportionandmass,makesomeobservationaldrawingsofvariousdetails.Featuressuchasnoses,eyes,mouths,hairandearsarefuntodraw,andmakingindividualstudiesoftheseisgoodpracticeforwhenyouwanttoincludethemaspartofafull-figurelifedrawing.

ValerieWiffenFacialFeaturesVariousdrawingmediaonpaperSheetsize37.5×30cm(15×12in)

CostumelifeWhiletheprofessionalmodeltakesarest,thelife-classtutormaysuggestyou

spendtimedrawingaclothedmodel,settingupanappropriateposeusinga

studentvolunteer.Hereyouwillbeconfrontedwithadditionalproblems–

drawingcreasesandfoldsandrenderingthetexturesofvariousfabrics–while

tryingtorememberwhatyouhavelearnedabouttheunderlyinghumanform.

Costumelifeisthetermusedtodescribethestudyofclothedmodels.

DavidDayFigureDrawingsPencilandcoloredpencil20×27.5cm(8×11in)

AlbertJacksonFigureDrawingPen,inkandwash40×30cm(16×12in)FoundmodelWhileonholiday,taketheopportunitytomakestudiesoffriendsandfamilyrelaxingoutdoors.Underthesecircumstances,theymakeideal,unselfconsciousmodelswhoarepreparedtoremainmotionlessforlongperiods.

FoundmodelsandselfportraitsYoucancontinuethedisciplineoffiguredrawingoutsidethelifeclassby

drawingfamilyandfriends,sketchingpeopleinthestreet,andmakingstudiesof

yourownbodyandclothes.Theseareopportunitiesforexperimentingwith

unfamiliarmediaandfordabblingwithnoveltechniquesbeforetryingthemout

inpublicunderthewatchfuleyesofatutororfellowstudents.

GigolAtlerFeetandShoesPencilonpaper51×37.5cm(201/2×15in)

DrawyourselfThroughoutthehistoryofartthereisaverystrongtraditionofselfportraiture.Asanexperimentindrawingthehumanform–clothedorunclothed–tryusingyourownbodyandclothingasmodelsorreferencesforotherworksofart.Heretheartisthaschosenhisfeetandshoesassubjectsforquick,simplestudies.

USINGDRAWINGAIDSThroughouthistory,artistshavecalledonavarietyofdevicestoassistthemin

theirendeavorstogetarecognizableimagedownonpaper.Theyhaveused

mannequins,models,transfers,complexmachineryandallmannerof

prescribedsystemsofmeasurementtorenderthereal,three-dimensional

worldonthetwo-dimensionalplaneofpaperorcanvas.

Puristsmaydisagreewithusingartificialdrawingaidsbut,whilethereisno

substitutefordirectobservationandconstantpracticeatrecordingimagesfrom

life,manyprofessionalartistscontinuetousecameras,photocopiers,gridsand

framingdevicesasaidstogooddrawing.Thetipsandtechniquesshownhere

couldhelpyoutoseeobjectswithgreaterclarityandtocomposeyourpictures

moreharmoniously.

Layfigures

Alsoknownasmannequins,layfiguresarejointedwoodenmodelswhichareavailablefromart-supplyshops.Theyareusefulinhelpingtosetupaposeorworkoutproportions.

ForeshorteningThisisawayofadjustingtheproportionsofafiguretogivetheillusionofdepth.Layfiguresarehandyforexperimentingwithforeshortening.

ConcentratetheeyeManyartistsuseaframetohelpconcentratetheeyewhileworkingonadrawing.Youcancutasimpleframefromcardorpaper–alwaysmaketheframedarkerthantheimageorsceneyouareobserving.Alternatively,improviseaframetoisolateyoursubjectfromthebackground,usingyourhandstoformabasicsquareorrectangle.

DrawingmachinesRenaissanceartistsusedavarietyofdrawingmachinesandcameraobscurastohelpthemwiththeirworkinthedaysbeforephotography.Withthissimpledevicetheartistcouldtracetheobjectontoglassasiflookingthroughawindow.

LayhandsLife-sizemodelsofhandscanbeboughtfrommostartshops.Theycanbeadjustedtotakeupsimpleposesandgripavarietyofobjects.Alayhandisanexcellentdrawingaidas,unlikealivemodel,itnevertiresandremainsperfectlystill.

FacialproportionsThebottomoftheeyesocketsarelocatedapproximatelyhalfwaydownthehead.Theeyebrowsandtopsoftheearsusuallyalign.

HumanproportionsTheaverageadultbodycanbedividedintoeightheadlengths,plusthedistancefromthemiddleoftheankletothesoleofthefoot.

AlignmentWhendrawingahumanfacefromanunusualangle,makesuretorealigntheeyeswiththeplaneofthetiltedhead.

WorkingfromphotographsManyprofessionalartistsandillustratorsbuildupreferencelibrariesoffoundphotographicimagestocapturefleetingimagesandhelpthemwithposesthatwouldbedifficultforalivemodel.

KEEPINGASKETCHBOOKAnartist’ssketchbookcantakeonmanyguises.Itmaybeameansof

recordingfleetingimpressions,colornotesandcompositionsforturninginto

paintings,oraportablescrapbookinwhichtocollectinterestingpiecesof

printedephemeraandpictorialreferences.Itmaybeanotebookfor

observationsandideasthat,oneday,mayprovidethatessentialsparkof

inspiration.And,ifnothingelse,asketchbookgivesyousomewhereto

developandpractiseyourdrawingandpaintingskills.

SketchingincolorWater-solublepaintsandpencilshaveobviousadvantages,particularlywhenyou

aresketchingoutdoors.Illustratedherearesomepagesfromasketchbookin

whichtheartistwasabletomakesimplecolorstudiesofchangingweatherand

varyinglightconditionsfromasingleviewpoint.Colorsketchingprovidesthe

idealopportunityforexperimentingwithstyleandtechnique.

SimonJennings

SeaandSkyStudiesMixedmediaonpaper15×21cm(6×81/4in)

SKETCHINGDespitetheubiquitouscamera,mostcontemporaryartistsstillprefertocarry

asketchbookandpencilwiththem.Becauseasketchistheimmediateresult

ofobservation,capturingapersonalimpressioninafewessentialstrokes,itis

anabsolutelyvitaladjunctto,andpreparationfor,moreconsideredstudio

work.

KeepingasketchbookAsketchbookisanartist’smostvaluablepieceof“equipment.”Itistheperfect

placeinwhichtoimproveyourdrawingskillsandpowersofobservation,andto

developnewideas.Itisalsoaplacetonoteandrecordanythingofinterest,and

assuchbecomesavaluablestorehouseofvisualreferences.

Asketchbookalsohelpstobuildupyourconfidence;rapidandfrequent

sketchingaidsyoutoexpressmoreintuitivelywhatyoufeelandsee.Witha

sketchbookandpencil,youcancatchlifeonthewing.

TheartisticprocessThemostinterestingaspectsoftheworkofanyartistareoftentobefoundnot

intheirfinishedpaintings,butintheirsketchbookdrawings.Artiststalkto

themselvesinthecandoroftheirsketches,leavingimmediateimpressionsas

theyjotdowntheirreactionstotheworldaroundthem.

Fortheonlooker,thereisafascinationinlookingatthesesketches,becauseit

helpsustounderstandhowthatmysteriouscreature,theartist,actuallycomesby

andshapeshisorherinspiration.Thereisalso,perhaps,afascinationwiththe

unfinishedratherthanthecomplete,whichappealstotheromanticinallofus.

AnythinggoesAchancearrangementofobjectsonthebreakfasttable,atransitoryeffectoflight;anythingcanbenoteddownrapidlyandlaterusedasthebasisforacomposition–orsimplyforthesheerjoyofobservingandrecordingsomethingwhichispleasurabletotheeye.

RichardBell,DavidDay,SimonJennings,AnnaWoodSketchbooksVariousdrawingmediaonpaper

Thesecollagesofartists’sketchbooksshowthesheervarietyofstyles,occasionsandintentionstobefound.Eachoneisdifferent,andeachisadocumentofoneparticularartisticmoment.

Sketchingoutdoors

Someartiststurntheirsketchbooksintofinishedworksofart,recordinginline,

Someartiststurntheirsketchbooksintofinishedworksofart,recordinginline,

toneandcolortheinfinitequalitiesoflandscapeandnature.Alternatively,they

mightusesketchesandcolornotesasthefoundationfordevelopingmore

ambitiouslandscapesbackinthestudiowheretheyhaveaccesstoagreaterrange

ofequipment.

Whateveryourapproach,itmakessensetocarryavarietyofeasily

transportabledrawingmediawhenworkingoutdoors.Theavailabilityofawide

rangeofwater-solublecoloredcrayonsandpencilsmakesitpossibletocreate

quickcolorstudieswithouthavingtoresorttothetraditionalpaintbox,diluents

andbrushes.

Inaddition,youmightwanttopackacoupleofsoftgraphitepencilsandsome

fiber-tippens,orperhapsyoupreferasmallbrushandabottleofink.For

highlighting,someartistscarryaroundwiththemacorrection-fluidpen–the

typeusedforobliteratingtypingerrors.

Whateveryoudecide,everythingshouldfitintoasmallpencilcasewhichyou

cangetinyourpocketorbag.

AlbertJacksonIrishLandscapeWater-solublecrayonsSketchbookpage25×17.5cm(10×7in)

SketchingwithinkPenandink,atraditionalmediumforsketchingoutdoors,canbeusedtomakearichvarietyofmarksandtextures.Whenusingwater-solubleinks,youcancreateareasofsofttonewithamoistpaintbrushastheworkprogresses.

AlbertJacksonWinterTreesPenandink20.5×29.5cm(81/4×113/4in)

ColorsketchingRoughlysketchyoursubjectinpencil,thendrawintoyoursketchwithwater-solublepencilsorcrayons,blendingthecolorwithamoistfinger,orcreatebroaderwasheswithawetbrush.Conventionalcoloredpencilsareusefulforapplyinghighlights,detailsandlineartextures.

AndréThompsonCassisPlageGraphiteandcoloredpencilsSketchbookpage41.25×29.5cm(161/2×113/4in)

SimonJenningsGreenwichParkWater-solublepencils,fiber-tippenandwhitebodycolorSketchbookpage20.5×14.5cm(81/4×53/4in)

MixingmediaTherearenorulestosayyoucannotmixmedia.Workingwithavarietyof

materialsallowsyoutobuildupyourdrawingwithlayersoftexturesandwashes.

Thesketchbelowwasmadeusingsepiainkbeforecoloredwasheswereapplied

withabrush.Youcangetevenmoreinterestingline-and-washeffectswhen

workingwithcoloredinks.

Thebottomsketchesillustratetheadvantagesofwaxresist.Theflowerswere

drawnwithcandlewax,thenawashofblackinkwasappliedfreelytothe

background–inkwillnotsticktopaperthathasbeenwaxed.Additionaldetails

weresketchedinwithoilpastelsandapalepinkwashwasapplied.

NicolaHosieLiliesMixedmediaSketchbookpages20.5×14.5cm(81/4×53/4in)

NicolaHosie

JugofTulipsAcryliconpaper50×75cm(20×30in)

PreparatorysketchesPreparatorysketcheshelpartiststofamiliarizethemselveswithasubjectbeforecommittingtothefinalactincoloronpaperorcanvas.Theyareakintosamplersthatenableartiststotunetheireyestoshapeandproportionandtoassesscolorandtonalvalues.

Here,NicolaHosiemadeasimplepencilsketchonpapertoascertainthearrangementofstems,bloomsandleavesforastill-lifewithjug.Thisistheonlydrawingthatshemadeinrelationtothesubsequentpicture,whichispainted“allaprima”inacrylicsonwhitecoarse-grainedpaper.Thepaperwasprimedwithared-oxidetonepriortostartingthebrushwork.Thewholepaintingtookabouteighthourstocompletetothisstage.

NicolaHosie

PreparatorySketchPencilonpaper20.5×29.5cm(81/4×113/4in)

Chapter6

PAINTINGTECHNIQUES

Inthefollowingpagesyouwilllearnaboutthewiderangeoftechniquesthatartistsusetoproducetheir

paintings.However,asyouwillsee,manyofthemarenotpurists,andtheywilladaptandcombine

techniquesinordertocreatetheeffectstheyarelookingfor.Whichevermediumyouchoosetoworkin–

oils,watercolors,gouacheoracrylics–youcanenjoyexperimentingwithcolors,texturesandspecial

effectsandlearnhowtoproducetheseyourself.

OILTECHNIQUESWhenoilpaintwasfirstdevelopedintheearlyRenaissance,itwashailedas“a

mostbeautifulinvention.”Sincethen,ithasbeenthepreferredmediumofthe

majorityofartists.Thesmooth,butteryconsistencyofoils,coupledwiththeir

slowdryingtime,meanstheycanbemanipulatedfreelyandextensivelyonthe

supporttoproduceaninfinitevarietyoftexturesandeffects,fromthin,

transparentwashestothick,texturedimpastos.

KenHowardSarahAllongéeOiloncanvas60×120cm(24×48in)

UNDERPAINTINGThetraditionalwayofstartinganoilpaintingistousethinpainttoroughly

blockinthemainshapesandtones,beforeaddingthemaindetailsandsurface

color.Thisunderpaintingprovidesafoundationfromwhichthepaintingcan

thenbedeveloped,asthecompositionandtherelationshipsofthecolorsand

toneshavebeenmadeclearrightfromthestart.

AdvantagesofunderpaintingTherearethreeprincipaladvantagestomakinganunderpainting.First,itcan

subduetheharshwhiteofaprimedsupport(whenatonedgroundhasnotbeen

laid),makingiteasierforyoutoaccuratelygaugetherelativetonesofthe

succeedingcolors.

Second,usingunderpaintingaspartofthecompositionalprocessenablesyou

tocheckthatthepictureworksasintended,beforeitistoolatetomakechanges

totheoverallconstruction.Becausethepaintusedforunderpaintingissothin,

anyalterationsthatareneededcanbeeasilyeffectedbywipingthepaintwitha

ragwhichhasbeensoakedinturpentine;thiswillnotbepossibleinthe

subsequentstages,asyouruntheriskofoverworkingthepainting.

Third,becausethedecisionsaboutcompositionandtonalmodellinghave

beendealtwithatapreliminarystage,youarefreetoconcentratepurelyonthe

detailsofcolorandtextureinthelaterstagesofthepainting.

Fat-over-leanAlwayskeepinmindtheprincipleofworkingfat-over-lean:tocreateastable

paintfilm,theunderpaintingshouldbethinandfast-drying,andthesucceeding

layersshouldbeslower-dryingandmoreoil-rich.

Flakewhiteanddilutedearthcolorsareallsuitableforunderpainting,asthey

arerapiddriersandformahardfilmwithjusttherightdegreeofflexibility.

Theyalsohaveacatalyticeffectwhentheyaremixedwithotherfast-drying

colors.Alkydandtemperapaintsarealsosuitableforunderpaintingbecausethey

dryrapidly.

Acrylicpaints

Thesearealsosuitable,astheyarefast-drying,buttheymustbedilutedwitha

Thesearealsosuitable,astheyarefast-drying,buttheymustbedilutedwitha

littlewater(notmedium)andappliedthinly.Thepresenceofwaterrendersthe

surfaceofthepaintalittlemoreporouswhendry,ensuringproperadhesion

betweentheacrylicandoillayers.

Ifacrylicpaintisappliedatallthickly,itmaycausesomecrackingoftheoil

layers,becauseacrylicsaresoflexiblewhendry.Inaddition,athickacryliclayer

hasinsufficienttoothtoadherewell.Thisappliesparticularlywhenyouare

paintingonaflexiblesupportsuchascanvas,butlesssoonpanelsandboards,

wherethereisfarlessmovementofthepaintfilm.Neverapplyacrylicsonan

oil-basedground.

TomCoatesCharlotteinArabicCostumeOiloncanvas125×90cm(50×36in)

Inthisunfinishedpainting,theartisthasusedthetraditionalmethodofmonochromeunderpaintinginneutralgraysandbrowns.Thesecolorsformasolidbasefromwhichtomodelthefigure.

MichelangeloBuonarroti(1475–1574)Madonna,ChildandStJohnwithAngels,c.1506Oilonwood105.4×76.8cm(421/8×303/4in)NationalGallery,London

Theeffectofusingcomplementaryorcontrastingunderpaintingcolorscanbeseenhere;thecoolgreensenhancethewarmthofthesubsequentskintones.

AlanHydes

TheMostReverendandRtHonDrDavidHopeKCVOOiloncanvas55×40cm(22×16in)

Whenhewaspaintingthisportrait,theartistexploredhissitter’sfacialstructure,emphasizingtheeyesandtheshapeofthenose.Thissequenceshowshowhebuiltuphispaintingfromhisoriginaldrawing(topleft)throughtheunderpaintingtothefinishedportrait(bottom).

ColorsforunderpaintingFlakewhiteanddilutedearthcolorsaresuitableforunderpainting,astheywilldryrapidlyandformahardfilm.

ColorstoavoidThecolorslistedbelowshouldnotbeusedatfullstrengthinunderpainting,becausetheynaturallycontainalotofoil.Theymay,however,beusedforthepurposewhenmixedwithlessoil-richcolors.Alizarincrimson;aureolin;cadmiumcolors;cobaltblue;ivoryblack;lampblack;phthalocyaninecolors;quinacridonecolors;viridian.SEEALSOSUPPORTS13OILPAINTS64DILUENTS75FAT-OVER-LEAN166GLAZING170ACRYLICPAINTS110VARNISHES350

FAT-OVER-LEANCorrectpreparationofthepaintingsurfaceisimportant,andtheprincipleof

paintingfat-over-leanisalsosoundtechniquewhenpaintinginlayers.The

mostimportantthing,however,isnottobecomehideboundby“correctness”

buttoenjoytheactofpainting.

Workingfat-over-leanTheterm“fat-over-lean”issynonymouswith“flexible-over-inflexible.”“Fat”

describespaintwhichcontainsahighpercentageofoil,andisthereforeflexible;

“lean”painthaslittleornoextraoiladded,andisthinnedwithturpsorwhite

spirit,makingitcomparativelylessflexible.

Toensureasoundstructuretoapaintingwhichisbuiltupinlayers,you

shouldapplythefat-over-leanprinciple,inwhicheachsuccessivelayerofpaintis

mademoreflexiblebyincreasingthepercentageofoilinthepaint–thesame

principle,infact,usedinhouse-painting,wherepaintfortheundercoatcontains

lessoiltopigmentthanthefinalcoat.

Thereasonforthishastodowiththewayinwhichthepaintfilmdries.The

oilbinderinthepaintdriesnotbyevaporation,butbyabsorbingoxygenfrom

theair.Duringthefirststageofdrying,itincreasesinweightandexpands.It

willthenbegintoloseweight,contractslightlyandharden.Iflean(lessflexible)

paintisappliedoveroily(flexible)paint,somecrackingmayoccurbecausethere

ismoremovementinthelowerlayersthanintheupperlayers.

Whenpaintinginlayers,beginwithanunderpaintingwhichisthinner,leaner

andfaster-dryingthansubsequentlayers.Forexample,startwithpaintthinned

withdiluentormixedwithafast-dryingalkydmedium.Thenextlayermay

consistofeitherneat,undilutedtubepaint,orpaintmixedwithdiluentanda

littleoil.Anysuccessivelayersmaycontaineitherthesameorincreasing

amountsofoil,buttheyshouldnotcontainlessoil.

MovementandsinkingInthisdetailofthepaintingbelow,itcanbeseenthatcontrastingdryingratesandflexibilityinthevariouspaintlayershavecausedmovementandsinkingofthesurface.ThisiscausedbyTurner’ssometimepracticeofusingstraightoilpaintinthelowerlayers,butsubsequentlymixinghiscolorswithwaxes,resinsandbitumensintheupperlayers.

J.M.W.Turner(1775–1851)TheOpeningoftheWalhalla,1842–3Oilonmahoganyboard112.7×200cm(45×80in)TateGallery,London

RemovingexcessoilIfyouwishtouseanoilypigmentinanunderlayer,thiscanleadtoproblems,assubsequentlayersmustnotcontainanylessoil.Onewaytoresolvethisistoleachoutsomeoftheoil;here,alizarincrimsonissqueezedontoanabsorbentpapertowelandleftforashorttime.Itcanthenbescrapedontoapaletteandconfidentlyusedforunderpainting.

SinkingofpaintfilmPatchesofdull,mattpaintacrossthecanvasindicatesinkingofthepaintfilm.

Sunkenpatchescanoccuronpaintingswhichareworkedonoveraperiodof

time,andarecausedbytheoverlaidlayersofcolordryingoutatdifferentrates.

Asitdries,alayerofoilpaintgoesthroughasponge-likestage,whenit

becomesveryabsorbent.Thisstartsafterafewdays,andmaylastforaroundsix

months.Duringthistime,iffurtherlayersareaddedtheymaysinkbecausethe

absorbentunderlayersuckstheoilfromthefreshlayers,leavingthemstarvedand

dry-looking.However,thiscanbeavoidedbyworkingonthepainting

consistently,sothatthepaintfilmsaredryingtogether.Ifyouleaveapainting

formorethanaweekandthenresumeworkonit,sinkingismorelikelyto

occur.

RevivingsunkenpaintpatchesSunkenpatchescanbebroughtbacktolifeby“oilingout,”andthiswillalso

preventsubsequentlayersbeingweakened.Mixasolutionof80percentstandoil

and20percentwhitespiritandrubthissparinglyovertheaffectedarea,usinga

soft,lint-freecloth.Leavetodryforafewdaysbeforeapplyingfurtherlayersof

paint.Ifsmallpatchesremain,repeattheprocessuntilallthesunkenareashave

disappeared.

GeorgeRowlettTheGreatRapefieldOiloncanvas45×60cm(18×24in)

Someofthepaintonthislandscapeisasthickas38mm(11/2in),yetnocrackingorsinkingofthepaintfilmhasoccurred.Thisisbecausetheartistusespureoilpaint,withouttheadditionofanymediums,diluentsorbinders;heappliesarelativelythinunderlayer,andthenbuildsuptheverythicktexture.Hedoesnotmix

colors,sothepotentialproblemsofmixingoil-richandoil-leanpaintsareavoided.

Oil-richcolorsSomeoil-richcolors,forexamplealizarincrimson,haveatendencytowrinklewhenappliedinthicklayers,becausetheydryslowly.Ifathicklayerisrequired,itshouldconsistofseveralthinapplications.

AlternativemethodIftimeisshort,brushalittleretouchingvarnishoverthesunkenpatches.Thisreducestheabsorbencyofthepaintalreadyonthecanvas,whileprovidinga“key”forthenextlayer.Applyasmallamountofthevarnishwithasoftbrushandleavetodryfor10minutesbeforecontinuingtopaint.Thedrawbackisthatretouchingvarnishisasolubleresin,whichcanresultintheoil-colorfilmbeingsusceptibletosolventsusedinsubsequentpainting,varnishingorcleaning.Apaintlayerwhichistouch-dryontopbutwetunderneathshouldnotbeoverpaintedwithretouchingvarnish,asthismaycausecracking.

AdditionaldryingoilMixingadditionaldryingoil(forexamplelinseedorpoppyoil)withtubeoilpaintscanalsocausewrinklingofthepaintfilm,buttheinclusionofadiluentshouldpreventthis.SEEALSOPRIMING24OILPAINTS64BINDERS74MEDIUMS76UNDERPAINTING164KNIFEPAINTING174

ALLAPRIMAItalianfor“atthefirst,”allaprimadescribesapaintingwhichiscompletedina

singlesession.Inalla-primapaintingthereisoftennopreliminary

underdrawingorunderpainting;theideaistocapturetheessenceofthe

subjectinabold,intuitiveway,usingvigorous,expressivebrushstrokesand

minimalcolormixingonthepaletteorsupport.

SpeedandspontaneityThisdirectpaintingmethodrequiresconfidence,butitisveryliberating–the

artistworksrapidly,usingthebrushfreelytoexpressanemotionalresponseto

thesubject.

Theabilitytoapplypaintquicklyandconfidentlyisthekeytothealla-prima

approach.Itis,ofcourse,possibletoscrapeawayandreworkunsuccessfulareas

ofapainting,butthedangeristhatsomeofthefreshnessandspontaneitywill

belost.Itisthereforeimportanttostartoutwithaclearideaofwhatyouwant

toconveyinyourpainting,andtodispensewithinessentialelementswhichdo

notcontributetothatidea.Forthesamereason,youshouldsticktoalimited

rangeofcolorssoastoavoidcomplicatedcolormixing,whichmightinhibitthe

spontaneityofyourbrushwork.

AnnabelGaultFlaxFieldOilonpaper19×25cm(75/8×10in)RedfernGallery,London

Intriguedbythedramaofthedark,broodinglandscapeandtheluminouseveningsky,AnnabelGaultworkedquicklytodistiltheessenceofthescene,usingfingers,theedgeofherhandandbrushestomanipulatethepaint.

ForerunnersAllaprimafirstcameintofavorwiththeImpressionistsandtheirforerunners,Constable(1776–1837)andCorot(1796–1875).Workingdirectlyfromnature,theseartistsintroducedalivelinessandfreedomofbrushworkthatwasinstrumentalincapturingtheeffectsoflightandmovementinthelandscape.

DryingAlthoughmanyalla-primapaintingsareworkedrapidlywiththickpaint,theyaretechnicallysound.Thisisbecausecolorsareappliedinonesession,whilethesurfaceisstillwet.Thereiseffectivelyonlyonepaintlayer,sothereisnoproblemwithdifferentdryingspeedsbetweenlayers,whichcanleadtocrackingofthepaintsurface.

ArthurMadersonAFairDealOiloncanvas60×70cm(24×28in)

Smallstudiespaintedonthespothaveadirectnessandvigourdifficulttoachieveinthestudio.Thelivelybrushworkheremakesanobviouscontributiontothecharacterofthepainting,andisalsohighlydescriptive;wegainadefiniteimpressionofthepersonalitiesofthesethreemenengrossedinmakingadeal.

KenHowardRacingDinghiesOilonwood15×22.5cm(6×9in)

Theartisthadfinishedalongday’spaintingwhenthesedinghiessailedintoharbour.Inspired,hequicklyunpackedhispaintsandcompletedthispaintingintenminutes.Hewasabletodothisbecausehehadbeenpaintingalldayandwas“warmedup”;itwouldhavebeendifficulttoachievethesameenergyandverveatthebeginningoftheday.SEEALSOFAT-OVER-LEAN166

GLAZINGGlazingisoneofthetraditionaltechniquesthatisassociatedwithoil

painting.TheRenaissancepainters,inparticular,usedglazingasamethodof

colormixing.Ratherthanstirringtheircolorstogetheronthepalette,they

appliedeachcolorseparately,insuccessiveglazesofthin,transparentpaint.

Eachglazemodifiedthecolorbeneath,ratherlikesheetsofcoloredglass,

resultinginhuesofwonderfulrichnessandluminosity.

OpticalmixingWithaslow-dryingmediumsuchasoils,glazingcanbealaboriousprocess,

becauseeachcolormustbecompletelydrybeforethenextisapplied,otherwise

theysimplymixtogetherandbecomemuddied.Nevertheless,glazedcolorshave

aresonancewhichisunobtainablebyphysicallymixingthemonthepalette,

becausetransparentcolorstransmitandreflectlight.Glazingisamethodof

opticalmixing,inwhichthecolorsblendintheviewer’seye.Eachsuccessive

glazemodifiestheunderlyingcolor,butdoesnotcompletelyobscureit;this

incompletefusionofthecolors,combinedwiththeeffectsofreflectedlight,is

whatgivesaglazedpassageitsluminousquality.

GlazingandopaquepaintGlazescanalsobeusedinconjunctionwithopaquelayersofpaint,solongasthe

latteraredrytothetouch–forexample,colorswhicharetoocoolcanbe

correctedbytheapplicationofaglazeofwarmcolor,andviceversa.Similarly,a

thinglazethatisappliedoverafinishedpicturewillsoftenanyharshcontrasts

andwillbringharmonytothecolors,withoutobscuringtheformsbeneath.

GlazingmediumsPaintforglazingshouldbethinnedwithaglazingmedium,toincreaseitsflow

andtransparency.Fast-dryingsyntheticglazemediumsspeedupthedrying

process.Linseedoilisnotsuitableasaglazingmedium:becauseahigh

proportionofoilisneededtomakethepainttransparent,itwillsimplyrun

downthesupport.Turpentinemakesthecolorgoflatanddull,andacracked

surfaceistheresultifitisappliedoverpaintcontainingahighproportionofoil.

GlazingoverotherpaintsSavetimebyglazingwithoilsoveranunderpaintingdoneineggtempera,alkydsoracrylics,allofwhichdryinminutesratherthandays.Acrylicsmustbeappliedthinly,otherwisetheoil-paintlayermaylackadhesionandthereisadangerofcracking.Althoughoilpaintcanbeappliedoveracrylic,thereverseisnotpossible.

Comparativeeffects

Inglazing,athirdcolorisproducedbylayingathinwashofcoloroveranother,dry,color.Glazedcolorsappearricherandmoreluminousthancolorsmixedonthepalette.Hereatransparentglazeofcobaltblueappliedovercadmiumyellowlightproducesalivelycolor(top).However,thesamecombinationoftwocolorsmixedonthepaletteproducesaflattereffect(above).

ApplyingaglazeForbestresults,chooseatransparentcolor,suchascobaltblueorrawsienna,

andavoidopaquecolorssuchasthecadmiums.Theunderpaintingmustbe

touch-drybeforeaglazecanbeappliedoverit.Mixthepaintwithglazemedium

totheconsistencyofthincream;donotover-thintomakethepainttransparent.

Applytheglazeandleaveforafewminutes.Iftheglazeistoostrong,takea

clean,dryfanblender(oranoldshavingbrush)anddabtheglazewithshort

strokes,holdingthebrushvertically.Thisprocessremovessomeofthepaint,

leavingasoft,lustrousfilmthroughwhichtheunderpaintingisvisible.Aspaint

buildsuponthebristles,dabthemregularlyonapieceofragtokeepthemclean

anddry.

JohnMonksPortraitofaRoomOiloncanvas225×300cm(110×120in)

Inthisinterior,theboxandchairwerepaintedwithapaletteknifebeforeearth-colorglazeswereoverlaid.Theartistpaintedthelandscapethroughthewindowsandthenusedasoftbrushtoapplyglazesontop.Thewindowframeswerepainteddirectlyovertheglazing,tocreatedepth.SEEALSODILUENTS75MEDIUMS76THELANGUAGEOFCOLOR214

ALKYDPAINTS66TEMPERA108ACRYLICPAINTS110

IMPASTOIncontrasttoglazing–themethodicalbuilding-upofthinlayersofpaint–

impastoinvolvesapplyingthepaintthicklyandliberally,sothatitretainsthe

marksandridgesleftbythebrush.Mostartistsenjoytheexpressiveand

texturalqualitieswhichimpastogivestoapainting,andthebuttery

consistencyofoilpaintlendsitselfwelltothistechnique.

TechniquesImpastocanbeappliedwithabrushorapaintingknife.Thepaintmaybeused

straightfromthetube,ordilutedwithalittlemediumsothatitismalleable,yet

thickenoughtostandproudofthesupport.

Whenthicklayersofpaintarelefttodryslowly,crackingorwrinklingofthe

paintfilmmayoccur.Thiscanbeavoidedbyusingafast-dryingalkydmedium

oroneofthemediumsspecificallydesignedforusewithimpastowork.These

thickenthepaintwithoutalteringitscolor,speedthedryingprocess,andmake

thepaintgoagreatdealfurther,intothebargain.

Excessivelyoilypaintsmakeitdifficulttoachievehighlytextured,impasto

brushstrokes.Squeezesuchapaintontoabsorbentpaperandleaveitforafew

minutes–nottoolong,oritwillbecomeunderbound.Thepaperabsorbsexcess

oil,andthepainthasastifferconsistency.

PlanningAheavilyimpastedpaintingshouldlookfreeandintuitive,butwillneedcareful

planning.Justascolorlosesitsvitalitywhentoothoroughlymixedonthe

palette,directlyappliedpaintquicklylosesitsfreshnesswhenthepigmentis

pushedaroundonthecanvasfortoolong,orcarelesslyapplied.Oilpainthasa

wonderfultactilequality,andthetemptationistobuilditupinjuicydollops.

Thedangeristhateachnewbrushstrokepicksupcolorfromtheonebelow,and

theresultismuddycolorandanunpleasant,churned-upsurface.Youcanrescue

anoilpaintingbytonkingit(seebelow),orbyscrapingthewetpaintoffwitha

paintingknifeandstartingagain.However,itisbesttoavoidtheprobleminthe

firstplacebystartingwithathinunderpaintingandgraduallybuildingupthicker

layers.

BrushesFlatbristleorsyntheticbrushesarebestforimpastowork,astheyholdalotof

paint.Loadthebrushwithplentyofcoloranddabitontothecanvas,working

thebrushinalldirectionstocreateaveryobvious,almostsculpturaltexture.Be

sureyourbrushcarriesplentyofpaint,applyitwithaclearsenseofpurpose,and

thenletitstay.

StraightfromthetubeOilpaintmaybeusedstraightfromthetube,ordilutedwithalittlemediumtomakeitmalleableenoughtostandproudofthesupport.

Extratexture

Trymixingsandandsawdustwithoilpainttocreateahighlytexturedsurface.Youcanalsomakeexpressivemarksbyscratchingintothewetpaintwithapaintingknife,theendofabrushhandle,oranysharptool.

GlazingoverimpastoOnceanimpastedlayeriscompletelydry,youcanglazeoverit,ifdesired,withathinfilmofpaintmixedwithaglazemedium.Theglazemustcontainmoreoilthantheunderlayers,topreventcracking.

TonkingIfanoilpaintingbecomescloggedwithtoomuchpaint,theexcesscanberemovedwhenstillwetbytonking.Placeasheetofabsorbentpaper,suchasnewspaperortoilettissue,overtheoverloadedareaandgentlysmoothwiththebackofthehand.Peelthepaperaway,liftingexcesspaintwithit.

ImpastoThepaintingsonthispageshowjustthreeofthemanytexturesandeffectspossiblewithimpasto.

ArthurMadersonEveningLightonRiverOiloncanvas85×85cm(34×34in)

ArthurMaderson’spaintingiscomposedentirelyofimpastedbrushmarks,whichhavebeendabbedandstippledtocreateashimmeringmosaicofcolor.Theuseofcomplementarycolorsenhancesthevibrancy.

IanHoustonSymiOiloncanvas40×60cm(16×24in)KentmereHouseGallery,York

InIanHouston’scoastallandscape,smalltouchesofimpastoprovideacontrastwiththeareasofsmoothpaint.Theraisedtouchesappeartocomeforward,therebyincreasingthedepthinthepicture.

GeorgeRowlett

HeadofHannahDunnOiloncanvas40×23.7cm(16×91/2in)

GeorgeRowlettusesanextremelyheavyimpastotoachieveathree-dimensional,sculpturalqualityinhispainting.Notethebraidontheright,whichendsupoffthesupport.SEEALSOSUPPORTS14MEDIUMS76BRUSHES78FAT-OVER-LEAN166ALLAPRIMA168KNIFEPAINTING174

KNIFEPAINTINGPaintingknivesmaybeusedinsteadof,oraswellas,brushes,toapplythick

impastosofoilpaint.Paintingknivesshouldnot,however,beconfusedwith

paletteknives,whichhavestifferbladesandaremostlyusedformixingpaint

onthepalette.Apaintingknifehasashorterbladeandacrankedhandle,to

preventtheknucklesaccidentallybrushingagainstthecanvaswhenapplying

paint.Thebladeismadeofforgedsteel,givingitspringandflexibility,and

allowingsensitivecontrol.

ManyusesAlthoughapaintingknifeisbynomeansanessentialpieceofequipment,many

artistsenjoythetactilesensationofapplyingthick,juicyoilpainttothecanvas

withaknife,movingitaroundandpartiallyscrapingitoffwiththeedgeofthe

blade,orscratchingintothewetpaint,tosuggestdetailsandtexture.

Paintingwithaknifeisinitiallytrickierthanpaintingwithabrush,soitis

wisetopractiseuntilyougetthefeelofit.Byholdingtheknifeatdifferent

angles,varyingthepressureonthebladeandusingdifferentpartsoftheblade,

youcanachievearangeofstrokesandeffects.Forexample,paintingwiththe

flatbaseoftheblade,spreadingthepaintverythickly,producesasmoothsurface

thatreflectsthemaximumamountoflight.

Holdingtheknifeataslightangletothecanvasandapplyingfirmpressure

willgiveathinnercovering,whichallowsthetextureofthecanvastoshow

throughthepaint.Usingabriskpattingmotionwiththetipofthebladecreates

arough,stippledtexture.Youcanalsousethetipofthebladetoscratchthrough

alayerofwetpaintandtorevealthecolorbeneath,atechniqueknownas

sgraffito.

TechniquesPickupthepaintontheundersideoftheknife.Tomakebold,broadstrokes,

griptheknifehandleasyouwouldatrowel,andusethefullwidthoftheblade

tosqueezethepaintontothesurface.Donotmovetheknifebackandforth;

instead,setitdownfirmlyonthecanvasandspreadthepaintwithasingle,

decisivemovement,liftingthebladecleanlyawaywhenthestrokeiscompleted.

Tolayinsmallerpatchesofcolor,gripthehandleandpushtheindexfinger

Tolayinsmallerpatchesofcolor,gripthehandleandpushtheindexfinger

againstthesteelshaft;thiswillgivegreatercontrolwhenworkingoversmaller

andmoredelicateareas.

ScrapingbackPaintingknivescanbeusedtopushthepaintintotheweaveofthecanvasandbuildupaseriesoftranslucentstains.Alternatively,scrapesomeofthepaintoffthecanvaswhileitisstillwet,leavingbehindathinlayerofcolor,a“ghostimage,”onthesupport.Furtherlayersmaybeaddedandthenscrapedback,topartiallyrevealthecolorsbeneath.Thefinishedeffectisdelicateandsubtle,withminimalbrushmarks.

ApplyingpaintBegenerouswiththepaint,applyingenoughtofillthegrainofthecanvas.Takecarenottobuildituptoothickly,oritmaycrackintime.

Layinginsmallerpatchesofcolor

Layinginbold,broadstrokes

Usetheflatbaseofthebladetoproduceasmoothsurface(top).Holdtheknifeataslightangletogiveathinnercoveringandallowthetextureofthecanvastoshowthrough(secondrow).Makeabriskpattingmotionwiththetipofthebladetocreatearough,stippledtexture(thirdrow).Scratchthroughalayerofwetpaintwiththetipofthebladetorevealthecolorbeneath(bottom).

KnivesforpaintingPaintingandpaletteknivesandevenascrapercanbeused.

JohnDenahyBoshamOiloncanvas

31.2×37.5cm(121/2×15in)JohnDenahyusesknives,brushesandscraperstoapplypaint,overlayingtransparentglazeswithbroken,opaquepassages.Inthispainting,thethinlinesofthemastsweremadebyloadingtheedgeofaknifewithpaintandpressingitontothesurface.

KnifepaintingPaintingknivesareusuallyassociatedwiththickimpasto,buttheyarecapableofdetailedanddelicateeffects.

SophieKnight

SpiltMilkOiloncanvas150×105cm(60×42in)SophieKnightcombinestexturesandtechniques.Forthetabletopandbackgroundsheusedwet-in-wetwashes;incontrast,thecakesandspiltmilkconsistofthickpaint,sculptedandsmoothedwithaknife.

ToryLawrenceFourSheepOiloncanvas35×75cm(18×30in)MontpelierStudio,LondonKnifestrokesarealwayspartofToryLawrence’spaintingprocess.Theridgedandsmearedfeaturesthatcreatealivelytexturewerebuiltupwithknivesandbrushes,whilelinearmarkswerescratchedintothepaintwiththetipoftheknife.SEEALSOACCESSORIES86

SCUMBLING,DRYBRUSH&BLENDINGWhileoilpaintsarewellsuitedtothickapplicationsandstrongbrushwork,

theyareequallycapableofproducingsubtletexturesandsoftlyblended

passagesinwhichthereisagradualtransitionfromlighttoshadoworfrom

onecolortoanother:forexample,thegradationofablueskyfromstrong

coloratthezenithtopaleonthehorizon,orthesubtleeffectsoflightand

shadeinaportrait.

ScumbleAthinfilmofdry,semi-opaquecoloronadryunderlayer.

ScumblingScumblingisanexcellentwayofmodifyingcolorwhileretainingthelivelinessof

thepaintsurface.Athinfilmofdry,semi-opaquecolorislooselybrushedovera

dryunderlayer,creatingadelicate“veil”ofcolor.Becausethetechniqueinvolves

unequalapplicationsofpaint,theunderlayerisonlypartiallyobscured,andit

shimmersupthroughthescumble.Forexample,whitescumbledoverablack

underlayercreatesanopticalblue;crimsonscumbledoverthisproducesan

opticalviolet.

ResonanteffectScumblingoveracolorwithitscomplementarycolor.

ModifyingcolorAwarmorhotcolorcanbemodifiedbyscumblingwithacoolorcoldcolor.

ModifyingcolorTryscumblingoveracolorwithitscomplementary(opposite)color.Thetwo

mixopticallyandthusappearmoreresonantthananareaofflatcolor.Similarly,

acolorwhichistoo“hot”canbemodifiedwithacoolscumble,andviceversa.A

scumbleshouldbelighterthanitsbackgroundcolor;addatouchoftitanium

whitetothepigment,tolightenitandmakeitsemi-opaque.

TechniquesUseabristleorsyntheticbrushforscumbling.Indeed,anold,wornbrushis

preferable,becausethescrubbingactionmaydamagethehairsofyourbest

brushesifyouusethetechniquefrequently.Loadthebrushwithdilutedpaint

andwipeitonaragtoremoveanyexcess.Lightlyscrubonthesupportwith

free,vigorousstrokes,toproduceaverythinfilmofcolor.Thepaintcanbe

workedwithacircularmotion,withback-and-forthstrokes,orinvarious

directions.Youcanalsoscumblewithaclean,lint-freerag.

BrushesforscumblingUseold,wornbrushes,asthescrubbingactionmaydamagethehairsofyourbestbrushes.

FredCumingStudioInterior,EarlyMorningOilonhardboard90×85cm(36×34in)BrianSinfieldGallery,BurfordTheartistworkedoverthewholecanvaswiththinveilsofstiff,chalkypaint,scumbledanddraggedoverdriedunderlayers.Theinteractionbetweenthetwolayersproducesasoft,pearlyeffectwhichisparticularlyevocative.Eachcolormodifiestheprecedingoneandcreatessubtleharmoniesoftoneandcolor.

DrybrushThisismostsuccessfulwhenthereisalreadysomeexistingtexture,eitherthatof

thecanvasorthatprovidedbypreviousbrushstrokes,whichhelpstobreakup

thepaint.Withdrybrush,asmallamountofneatcolorispickeduponabrush

andskimmedlightlyoveradrypaintingsurface.Thepaintcatchesontheraised

“tooth”ofthecanvasandleavestinyspecklesoftheground,ortheunderlying

color,showingthrough.Thebrushstrokesshouldalwaysbemadequicklyand

confidently,asoverworkingdestroystheeffect.

Theragged,brokenqualityofadrybrushstrokeisextremelyexpressive,and

thistechniqueisparticularlysuitableforwhenyouwanttosuggestanddepict

naturaltexturesandeffectsinyourpainting,suchasweatheredwoodandrock,

longgrass,orthesparkleoflightonwater.

BlendingThesoft,pliantconsistencyofoils,andtheirprolongeddryingtime,enablethe

artisttobrushandrebrushtheareawheretwocolorsortonesmeet,sothatthey

mergetogetherimperceptibly.

Dependingonthesubjectandthestyleofthepainter,blendingcanbe

achievedsimplybydraggingonecolorovertheedgeofthenextsothattheyare

roughlyknittedtogetherbutthemarksofthebrushareevident.Alternatively,it

caninvolvemethodicallystrokingwithasoft-hairbrushorfanblender,tocreate

asmooth,highlyfinishedjoininwhichthemarksofthebrushareinvisible.

DrybrushTwocontrastingusesshowthetechnique’sversatility.

ArthurMadersonPointingOiloncanvas37.5×27.5cm(15×11in)InArthurMaderson’spainting,dry,chalkypaint,depositedonthecrestsofthecanvasweave,createsbrokenstrokessuggestingmovementandlightonwater.

AnnabelGaultTreesOilonpaper26×35cm(103/8×14in)RedfernGallery,LondonAnnabelGaultusesrapidcalligraphicdrybrushstrokestocapturethegesturesofwindswepttrees.Theeconomyoflineisreminiscentoforientalbrushwork.

BlendingBoththesepaintingsapplydifferentwet-in-wetblendingtechniques,inordertoachievedistinctiveresults.

DerekMynott(1926–94)TowardsLotsRoad,1990Oiloncanvas55×47.5cm(22×19in)DerekMynott’smeticulousanddistinctbrushstrokesblendthewetpainttoallowtinygradationsoftoneandhue,creatinganimpressionofsoft,hazylight.

RichardSmithPensiveOiloncanvas30×40cm(12×16in)BrianSinfieldGallery,BurfordInhisstrikingfigurestudy,RichardSmithgentlyblendedpaintappliedwet-in-wet;thissubtleuseoftoneandcolorcapturestheyouthfulsheenofthemodel’sskinandhair.

TwostylesofblendingWithroughblending(top),thecolorsareroughlyknittedtogether,andthebrushmarksareevident.Incontrast,smoothblending(above)producesahighlyfinishedjoininwhichthemarksofthebrushareinvisible.SEEALSOBRUSHES78GLAZING170THELANGUAGEOFCOLOR214MIXINGCOLORS220

WATERCOLORTECHNIQUESThismediumhasadelicacyandtransparencythatmakesitperfectfor

capturingthesubtlenuancesoflightandcolorinnature.Becausethepaintis

transparent,thewhitereflectivesurfaceofthepapershinesthroughthe

colors,andgivesthemtheiruniqueluminosity.Thefluidnatureofwatercolor

makesitlesspredictablethanotherpaintingmedia,butthisismorethan

compensatedforbytherangeofexcitingandbeautifuleffectsitcancreate–

sometimesmorebyaccidentthandesign.Theelementofchanceandriskcan

makewatercolorafrustratingmedium,aswellasanexcitingandchallenging

one.However,armedwiththerightequipmentandabasicunderstandingof

howpigments,waterandpaperinteract,youcanstayonestepaheadofthe

game.

J.M.W.Turner(1775–1851)VeniceSuburb,Moonlight,1821Watercoloronpaper22×31.9cm(83/4×123/4in)TateGallery,London

WASHTECHNIQUESWashesaretheveryfoundationofwatercolorpainting.Oneoftheunique

qualitiesofthemediumisthewayinwhichatmosphereandlightcanbe

conveyedbyafewbrushstrokessweptoversparklingwhitepaper.

ChoosingpaperTheappearanceofawashdependsonseveralfactors:thetypeofpigmentused

andthelevelofdilution;thetypeofpaper;andwhetherthesurfaceiswetordry

whenthewashisapplied.Forexample,whenwashesareappliedtoan

absorbent,low-sizedpaper,theydrywithasoft,diffusedquality.Onhard-sized

paper,wetwashesspreadmorequicklyandwithlesscontrol,butthiscancreate

excitingeffects.Whenawashislaidondampenedpaper,thepaintgoesonvery

evenly,becausethefirstapplicationofwaterenablesthepigmenttospreadout

onthepaperanddissolvewithoutleavingahardedge.Workingondrypaper

givesamuchsharper,crispereffect,andsomepaintersfinditamorecontrollable

method.

Low-sizedpaperforsoftanddiffusedwashes

Hard-sizedpaperforquick-spreadingwashesSizedpaperTheeffectofpaintingwashesonlow-sizedpaperandhard-sizedpaper.

Medium-sizedwetpaperforsofterwashes

Medium-sizeddrypaperforsharper,crisperwashesDampanddrypaperWasheslaidondamppaperanddrypaper,bothmedium-sized.

Layingwashes

Thesetipswillhelpyoutomakesuccessfulwashes.

•Mixmorecolorthanyouthinkwillbeneededtocoveranarea–youcannotstopinthemiddleoflayingawashtomixafreshsupply.

•Awatercolorwashdriesmuchlighterthanitlookswhenwet,soallowforthiswhenmixingpaint.•Tiltingtheboardataslightanglewillallowawashtoflowsmoothlydownwardwithoutdripping.•Usealargeroundorflatbrush.Thefewerandbroaderthestrokes,thelessriskofstreaksdeveloping.

•Alwayskeepthebrushwellloaded,butnotoverloaded.Streakingiscausedwhenabrushistoodry,butifyourbrushisoverloaded,washescanrunoutofcontrol.

•Don’tpresstoohard.Sweepthebrushlightly,quicklyanddecisivelyacrossthepaper,usingthetip,nottheheel.

•Neverworkbackintoapreviouslylaidwashtosmoothitout–itwillonlymakemattersworse.

Wash-layingequipmentAswellasnaturalsponges,synthetic-spongerollersandspongebrushes(above)canbeusedtolayasmoothwash.Foradense,thickcovering,makesurethespongeisfilledwithplentyofpaint.Forpalertonesorvariegatedeffects,squeezeoutsomeofthepaint.

RobertTilling

Rocks,LowTideWatercoloronpaper50×65cm(20×26in)Tillingusesthewet-in-wetmethodtoexploretheinteractionsofsky,seaandland.Hemixeslargequantitiesofpaintinoldteacupsandappliesitwithlargebrushes,tiltinghisboardatanacuteanglesothatthecolorsflowdownthepaper,thenreversingtheangletocontroltheflow.Whenthepaperhasdried,hepaintsthedarkshapesofrocksandheadlandwet-on-dryformorecrispdefinition.

AchievingsmoothwashesLayingalarge,overallwashfreeofstreaksorrunsrequirespractice.Where

heavywashesaretobeapplied,thepapermustbestretchedandtapedfirmlytoa

board,topreventcocklingorwrinkling.Opinionsvaryastowhetherlargeareas

ofwashshouldbelaidondryordamppaper.Someartistsfindthatauniform

toneiseasiertoachieveondrypaper,whileothersfindthatthepaintstreaks.

Somefeelthatwashesflowmoreeasilyondamppaper,andstillothersfindthat

slightcockling,evenofstretchedpaper,canproducestreaksandmarksasthe

paintcollectsinthedips.Resultsvary,too,accordingtothetypeofpaperused;

theonlyansweristoexperimentforyourself.

SEEALSOWATERCOLORPAPERS28STRETCHINGPAPER33WATERCOLORBRUSHES96WATERCOLORACCESSORIES102FLATANDGRADEDWASHES184WET-IN-WET188WET-ON-DRY189

FLAT&GRADEDWASHESTherearetwobasictypesofwash:aflatwashisevenlytonedandisoftenused

tocoverthewholeareaofthepaperwithaunifyingbackgroundcolor.A

gradedwashmovesgraduallyfromlighttodark,fromdarktolight,orfrom

onecolortoanother.Gradedwashesaremostoftenusedinpaintingskies,

wherethecolorfadesgraduallytowardsthehorizon.

FlatwashesWatercoloristsnormallyemployflatwashesasintegralpartsofapainting,

frequentlyoverlayingonewashwithanother.However,aflatwashisalsoused

merelytotintwhitepaperasabackgroundforbodycolororgouache.

1Dampenthepapersurfacewithasponge.

2Drawasinglestrokeacrossthetop.

3Paintasecondstrokebeneaththefirst.

4Evenupanypaintthatgathersalongthebase.

LayingabasicwashHeretheflat-washmethodisusedtocreateanoverallskyeffectusingdilutedindigoblue.

1Mixupplentyofcolorinasaucerorjar.Placetheboardataslightangle,thendampenthepapersurfacewithwater,usingamopbrushorasponge.

2Loadthebrushwithpaintanddrawasingle,steadystrokeacrossthetopofthearea.Duetotheangleoftheboard,anarrowbeadofpaintwillformalongthebottomedgeofthebrushstroke;thiswillbeincorporatedintothenextstroke.

3Paintasecondstrokebeneaththefirst,slightlyoverlappingitandpickingupthebeadofpaint.Continuedownthepaperwithoverlappingstrokes,eachtimepickinguptheexcesspaintfromthepreviousstroke.Keepthebrushwellloadedwithpaint.

4Useamoist,cleanbrushtoevenupthepaintthatgathersalongthebaseofthewash.Leavetodryinthesametiltedposition,otherwisethepaintwillflowbackanddry,leavinganuglytidemark.

GradedwashesThemethodofapplyingagradedwashisthesameasforaflatwash,exceptthat

witheachsuccessivebrushstrokethebrushcarriesmorewaterandlesspigment

(orviceversaifyouareworkingfromlighttodark).

Ittakesalittlepracticetoachieveasmoothtransitionintone,withnosudden

jumps.Thesecretistoapplyasufficientweightofpaintsothattheexcessflows

verygentlydownthesurfaceofthepaper,tobemergedwiththenext

brushstroke.

Wash-layingtechniqueInthesequencebelow,thegraded-washtechniqueisusedtocreateanotherskyscene.Cobaltblueisdilutedwithwaterineachsubsequentbrushstroke.

1Dampenthepaperasforlayingaflatwash,andlayalineofcoloratfullstrengthacrossthetopoftheareatobepainted.Allowthecolortospreadandevenout.

2Quicklyaddalittlemorewatertothepaintonyourpaletteandlayasecondbandofcolor,slightlyoverlappingthefirst.

3Continuedownthepaper,addingmorewatertothepaintwitheachsucceedingstrokeandendingwithastrokeofpurewater.Aswithflatwashes,thebrushusedtomopuppaintalongthebaseofthewashmustbecleanandmoist.Leavetodryinthesametiltedpositionasforflatwashes.

1Layalineofcoloratfullstrengthacrossthetop.

2Addmorewaterandlayasecondbandofcolor.

3Continuedownthepaper,addingwatertothepaintwitheachstroke.

VariegatedwashesThetechniqueshownaboveenablesyoutolaytwoormorecolorsinawash.Mixyourchosencolorsbeforehand,andthenapplythefirstlineofcoloralongthetopofthepaper.Alwayswashingthebrushbetweencolors,applyanothercolor,partlyonblankpaperandpartlytouchingthefirst.Repeatthiswithanyothercolors.

VarietyandcontrastAflowerpainting,atable-topstilllifeandalandscapedemonstratesomeofthevarietyoftechniqueandcontrastofstylewhichcanbeachievedwithwatercolor.

JohnBlockleyShopFlowersWatercoloronpaper43.2×43.2cm(17×17in)Theflowerpaintingbelieswatercolor’sreputationforbeingamediumforlittleoldladies.Blockleyattackshissubjectswithgusto,usingbroadhouseholdpaintbrushestoapplyverticalstreaksofcolorintheforeground.

SophieKnightStill-lifeReflectionsWatercolorandacryliconpaper35×55cm(14×22in)Watercoloriscombinedwithacrylicpainttogiveitbodywhileretainingitstranslucence.Mostofthepaintisappliedwet-in-wet,sothattheshapesandcolorsaresuggestedratherthanliterallydescribed.

RoyHammondLondonSunsetWatercoloronpaper16.2×23.7cm(61/2×91/2in)ChrisBeetlesGallery,LondonTheeveningskyhasbeenbeautifullydescribedbymeansofgradedwashesofpale,pearlycolor.Thedarktonesofthebuildings,paintedwithoverlaidwashes,accentuatetheluminosityofthesky.

DifferentapproachesExperimentwithwatercolorandgettoknowitscharacteristics.Withexperience,youwilldevelopapaintingstyleasuniqueandindividualtoyouasyourhandwritingstyle.

ItisinterestingtocomparethetwoverydifferentapproachestoasimilarthemeadoptedherebyPennyAnsticeandRonJesty.Workingondamppaper,Ansticeapplieswetpoolsofcolorandallowsthemtofloodtogether,relishingtheelementofchancethatmakeswet-in-wetsuchanexcitingtechnique.

Incontrast,Jestyusesacarefulandmethodicalapproach,buildingupformandtonewithsuperimposedwashesappliedwet-on-dry.Heleavesthepaintingtodrybetweenstagessothatthecolorsaren’tmuddiedbutremaincrispandclear.

PennyAnsticeNectarinesWatercoloronpaper30×45cm(12×18in)

RonaldJestyThreeFigsWatercoloronpaper15×20.6cm(6×81/4in)SEEALSOWASHTECHNIQUES182WET-IN-WET188WET-ON-DRY189SKIES286

WET-IN-WETWet-in-wetisoneofthemostexpressiveandbeautifultechniquesin

watercolorpainting.Whencolorsareappliedtoeitheradampsheetofpaper

oranareaofstill-wetpaint,theyrunoutoverthewetsurface,givingasoft,

hazyedgetothepaintedshape.Thistechniqueisparticularlyeffectivein

paintingskiesandwater,producinggentlegradationsoftonewhichevokethe

ever-changingqualityoflight.

ChoosingpaperItisessentialtochoosetherighttypeofpaperforwet-in-wet.Avoidpapers

whicharetoosmoothorwhichareheavilysized,asthepainttendstositonthe

surface.AgentlyabsorbentNot(cold-pressed)surfaceisideal,allowingwashes

tofuseintothepaperstructure.Thepapershouldalsoberobustenoughtobear

uptofrequentapplicationsofwaterwithoutcockling.Lighterpapersmustbe

stretchedandtapedtotheboard.Withheavier-gradepapersof410gsm(200lb)

orover,youmaygetawaywithoutstretching,butwhereheavyapplicationsof

washaretobeused,itisbesttoerronthesideofcaution.

ControllingAlthoughwet-in-wetpaintingproducesspontaneouseffects,ittakespractice

andexperiencetobeabletojudgehowwetthepaperandthestrengthofthe

washesneedtobe,inordertocontrolthespreadandflowofthepaint.Usea

softspongeorlargebrushtodampenthepaperwithcleanwater.Thesurface

shouldbeevenlydampoverall;useatissuetoblotupanypoolsofwater,then

takeyourcourageinbothhands–andyourbrushinone–andapplythecolors.

Workquicklyandconfidently,allowingthecolorstodiffuseandgowherethey

will.Somedegreeofcontrolcanbegainedbytiltingtheboardinanydirection,

butonlyslightly–thisiswheretheinterestandcreativetensioncomein.Ifa

washrunsoutofcontrolorgoeswhereitshouldn’t,liftoutsomeofthecolor

withasoft,drybrush,orgentlyblotitwithatissue.

DilutionandcolorMakesureyoudon’tover-dilutepaint,asthiscanmakethefinishedpicture

appearpaleandwan.Becauseyouhavewettedthepaper,itispossibletouserich

paint–butnotsothickthatitdoesn’tspread.Thepaintwillkeepitsrichhueas

itsoftensonthedamppaper.Thecolorwillappeardarkerwhenwetandwilldry

toalightershade,particularlywhereanabsorbentpaperisused,somake

allowancesforthiswhenapplyingpaint.

Wet-in-weteffectsPaintapplieddirectlyontowetpaper(top).Paintappliedintowetpaint(center).Controlledsingle-colorpaintrunonwetpaper(bottom).

TiltingtheboardTheboardshouldbetiltedatanangleofroughly30degreessothatthecolorscanflowgentlydownthepaper.Iftheboardislaidflat,washescannotspreadanddiffuseeasily,andthereisadangerofcolorscreepingbackintopreviouslylaidcolors,creatingunwantedmarksandblotches.SEEALSOWATERCOLORPAPERS28STRETCHINGPAPER33WASHTECHNIQUES182

WET-ON-DRYInthisclassictechnique,tonesandcolorsareappliedinaseriesofpure,

transparentlayers,oneovertheother,eachwashbeingallowedtodrybefore

thenextisadded.

SuperimposedcolorThedrysurfaceofthepaper“holds”thepaint,sothatbrushstrokeswillnot

distortorrunoutofcontrol.Lighttravelsthrougheachtransparentwashtothe

whitepaperbeneath,andreflectsbackthroughthecolors.Superimposedwashes

ofthin,palecolorresultinmoreresonantareasofcolorthancanbeachievedby

asingle,flatwashofdensecolor.

ChoosingpaperThemostsuitablepaperforthistechniqueisonewhichissurface-sized,

presentingasmooth,hardsurfacethatholdsthepaintwell.Workingwet-on-dry

requiresalittlepatience,aseachlayermustdrybeforethenextisapplied;

otherwisethecolorswillmixandbecomemuddied,andcrispnessanddefinition

arelost.Tospeeduptheprocess,youcanuseahairdryeronacool-to-warm

setting–letthewashsinkinalittlefirst,otherwiseitwillgetblownaroundon

thepaperandloseitsshape.

PatrickProcktorPortraitofEmilAsanoWatercoloronpaper63.5×47cm(251/2×183/4in)RedfernGallery,London

Thesuccessofthispaintingreliesonthesimplicityofthedesignandthecontrolled,almostrestrained,useoftwobasicwatercolortechniques.Aseriesofflatwashesindicatesthewallsandfurnishings,capturingtheorientalsimplicityoftheinterior.Thepatternoftheblouseemploysthewet-in-wettechnique,successfully

conveyingthesoftnessandfluidcolorofthemodel’scostume,whichisalsoreflectedinthetabletop.Note,too,thesoftnessofthehairlineagainstthebackground,againachievedbyworkingwet-in-wet.

KeepingcolorsfreshIfyouapplytoomanylayersofpaint,theattractivedelicacyandfreshnessofthemediummaybelost.Itisbesttoapplyafewlayersconfidentlyratherthanriskmuddyingthepaintingbycontinuallyaddingmore,soitisadvisablealwaystotestcolorsbylayeringthemonscrappaperbeforecommittingthemtothesurface.Anothercommoncauseofmuddycolorsisdirtywater,soalwaysrinseyourbrushthoroughlybetweencolorsandensurethatyouregularlyrefillyourwaterjarwithcleanwater.

CREATINGHIGHLIGHTSManyinexperiencedwatercoloristsmakethemistakeoftryingtocoverevery

partofthepaperwithpaint:infact,withwatercolorthisisneithernecessary

nordesirable.Thelight-reflectingsurfaceofwatercolorpaperprovidesa

uniquelybrilliantwhitewhichcanbeusedtogreateffect,addingsparkleto

yourcolorsandallowingthepaintingto“breathe.”Describedbelowaresome

ofthetechniquesthatmaybeusedtomanipulatethepainttocreatewhite

highlightsinawatercolorwash.

ReservingwhiteareasThesimplestwaytocreatewhitehighlightsinawatercolorpaintingistopaint

aroundthem,therebypreservingthewhiteofthepaper,withitsbrilliantlight-

reflectingproperties.Reservinghighlightsinthiswayrequirescarefulplanning,

becauseitisnotalwayspossibletoretrievethepristinewhiteofthepaperoncea

colorhasbeeninadvertentlyapplied.

Whenyoupaintaroundanareatobereservedforahighlight,thepaintwill

drywithacrisphardedge.Forasofteredge,workondamppaperorblend

colorededgesintothewhiteareawithasoft,dampbrushwhilethepaintisstill

wet.

LiftingoutAnothermethodofcreatinghighlightsisbygentlyremovingcolorfrompaper

whileitisstillwet,usingasoftbrush,aspongeorsometissue.Thislifting-out

techniqueisoftenusedtocreatesoft,diffusedhighlights,suchasthewhitetops

ofcumulusclouds.Itcanalsobeusedtosoftenedgesandtorevealonecolor

beneathanother.

Paintcanbeliftedoutwhenitisdrybygentlecoaxingwithadampsponge,

brushoracottonbud.Theresultswillvaryaccordingtothecolortobelifted

(strongstainerssuchasalizarincrimsonandphthalocyaninegreenmayleavea

faintresidue)andthetypeofpaperused(paintismoredifficulttoremovefrom

soft-sizedpapers).Insomecases,pigmentmaybeloosenedmoreeasilyusinghot

water,whichpartiallydissolvesthegelatinesizeusedonthesurfaceofthepaper.

Usingbodycolor

Someofthegreatestwatercolorists,fromDürertoTurnertoSargent,used

touchesofbodycolorforcreatingthehighlightsintheirpaintings,withsome

breathtakingresults.Aslongastheopaquepartsofyourpaintingareas

sensitivelyandthoughtfullyhandledasthetransparentareas,theywillintegrate

naturallyintothewholescheme.

CreatingasoftedgeUsedamppaperorblendintothewhiteareawithasoft,dampbrush.

LiftingoutwetpaintUseasoftbrush,aspongeortissueforcreatingsofthighlights.

LiftingoutdrypaintUseadampsponge,brushorcottonbud.

UsingbodycolorSmallamountsofbodycolorcanprovidethefinishingtouches.

WilliamDealtryNorthYorkshireStreamWatercoloronpaper16.2×22.5cm(61/2×9in)BrianSinfieldGallery,BurfordInthisfreshpainting,broadwasheshavebeenrapidlymanipulatedwithaflatbrush,simplifyingthescenealmosttoabstraction,yetkeepingitsessentialcharacter.Theunpaintedareasservetogiveanimpressionofmovementandchanginglight.

TrevorChamberlainBowlsMatch,SidmouthWatercoloronpaper22.5×30cm(9×12in)Chamberlain’spaintingofaquintessentialcountrysceneexudesanairofcalmandtranquillity.Theeffectofthesunlightglancingofftheplayers’whiteshirtsisskilfullywroughtbymeansofalittlejudiciousliftingoutofcolortocreatesuffusedhighlights.

HerculesB.Brabazon(1821–1906)Cadiz,1874Watercolorandbodycolorontintedpaper26.2×35cm(1O1/2×14in)ChrisBeetlesGallery,LondonAlthoughhedidnotreceivepublicrecognitionuntilhewas71,Brabazon’sbravuratechniqueandboldlyconceivedcompositionsplacedhimamongthemostprogressiveartistsofhisday.Thispaintingistypicalofhisabilitytoparedowntotheessentialsofhissubject.Itispaintedwithtransparentcolorontintedpaper,withrich,creamyaccentsprovidedbywhitebodycoloroverlaidwithwatercolor.

MaskingoutBecauseofthetransparentnatureofwatercolors,lightcolorsandtonescannot

bepaintedoverdarkones,astheycaninoilsoracrylics.Lightorwhiteareas

mustbeplannedinitiallyandpaintedaround.Thisisnotdifficultforbroadareas

andsimpleshapes,butpreservingsmallshapes,suchashighlightsonwater,can

beanuisance,asthemethodinhibitstheflowofthewash.

Onesolutionistosealofftheseareasfirstwithmaskingfluid,thusfreeing

yourselffromtheworryofaccidentallypaintingoverareasthatyouwishtokeep

white.

UsingmaskingfluidMaskingfluidisaliquid,rubberysolutionwhichisappliedtopaperwitha

brush.Itdriesquicklytoformawater-resistantfilmwhichprotectsthepaper

underneathit.Whenboththemaskingfluidandthesurroundingpaintaredry,

thefluidcanberemovedbyrubbingwithacleanfingertiporwithaneraser.

Maskingfluidcanalsobeusedinthelaterstagesofapainting,inorderto

preserveareasofanyspecifictoneorcolorinasurroundingwash(alwaysmake

suretheareatobepreservediscompletelydrybeforeapplyingthefluid).

Ideally,maskingfluidshouldberemovedfromapaintingwithin24hoursof

application,otherwiseitwillbedifficulttoruboffandmayleaveaslightresidue.

Ifyouintendtousemaskingfluid,thenchooseapaperwithaNot(cold-

pressed)surface,fromwhichitiseasilyremoved;itisnotsuitableforrough

papers,asitsinksintoindentsandcannotbepeeledoffcompletely.

Blades,sandpapersandsharpenedbrushhandlesmakeusefulhighlightingtools.

ScratchingoutFinelinearhighlights,suchaslightcatchingthebladesofgrass,canbescratched

outofapaintedsurfacewhenitisdry,usingasharp,pointedtool,forinstancea

scalpelorcraftknife,orevenarazorblade.Avoiddiggingthebladeintothe

paper,andworkgentlybydegrees.

DiffusedhighlightsAmorediffusedhighlight,suchasthepatternoffrothywateronoceanwavesor

waterfalls,canbemadebyscrapingthesurfacegentlywiththesideoftheblade

orwithapieceoffinesandpaper.Thisremovescolorfromtheraisedtoothof

thepaperonly,leavingcolorintheindentsandcreatingamottled,broken-color

effect.

Moredelicate,mutedhighlightscanbescratchedoutofpaintthatisnotquite

dry,usingthetipofapaintbrushhandle,orevenyourfingernail–Turnerissaid

tohavegrownonefingernaillong,especiallyforscratchingouthighlightsfrom

hiswatercolors.

ScratchedhighlightsandmarksTheexamplesaboveshowfourwaysofcreatinghighlights:(fromtoptobottom)scratchingwithabladepoint;scratchingwithabladeedge;scrapingwithabluntpaintbrushhandle;scrapingwithasharpenedbrushhandle.

Highlightscreatedwithsandpaper

CleaningbrushesMaskingfluidistoughonbrushes;evenwithcarefulcleaning,driedfluidcanbuilduponbrushhairsoveraperiodoftime.Alwaysusecheapsyntheticbrushestoapplyfluid–notyourbestsable!Thebestmethodofcleaningsyntheticbrushesistorinsetheminlighterfuelandleavethemtodry.

UsingmaskingfluidShakethebottlebeforeusingtoensurethecorrectconsistency.Too-thinfluidwillnotresistpaint.Onceopened,abottleofmaskingfluidhasashelflifeofaroundoneyear.Afterthis,itwillnotworkwell.Excessiveheatcanmakeitunworkable.Whenpaintinginhotclimates,storemaskingfluidsomewherecool,andworkintheshadewhenapplyingittopaper.

ErasingmaskingfluidUseapencileraserorafingertip.

ShirleyTrevenaWhiteLiliesonaPatternedScreenWatercolorandgouacheonpaper45.5×35cm(181/4×141/4in)Ontheorientalscreen,thepatternswerepaintedwithmaskingfluidbeforethedarkwasheswereapplied.Themaskwasthenremovedandthemother-of-pearlcolorspaintedin.

Masking-fluideffects

Maskingfluidisaninvaluableaccessorytowatercolorpainting.Useitwhereyouwantlightareasorhighlightstoappearinyourpicture.Applypaintoverthemaskingfluidandthenremoveittorevealthewhiteofthepaperorthepreviouslylaidcolor.SEEALSOWATERCOLORPAPERS28PIGMENTANDCOLOR92BODYCOLOR93WATERCOLORACCESSORIES102WATERCOLORBRUSHES96

TEXTURESANDEFFECTSOneofthemainattractionsofwatercolorisitsfreshnessandimmediacy–its

powertosuggestwithoutoverstatement.Theexperiencedartistknowsthat,

veryoften,magicalthingshappenquiteunexpectedlywhenwaterandpigment

interactonpaper;thepaintactuallydoestheworkforyou,producing

atmosphericeffectsorpatternsthatresemblenaturaltextures.A“bloom”

appearsinawash,resemblingastormcloud;awashdrieswithaslightlygrainy

qualitythataddsinteresttoaforeground;oraswiftlyexecutedbrushstroke

catchesontheridgesofthepaperandleavesabroken,speckledmark

suggestiveoflightonwater.

SubtletyandrestraintBecausetheseeffectsoccurnaturally,theydothejobwithoutappearinglabored.

Ofcourse,itispossiblefortheartisttotakeaninterventionistapproachand

deliberatelymanipulatethepaintorevenaddthingstoit,inordertoimitate

certaintexturesandsurfaceeffects.Someofthesetechniquesaredescribed

below,butitisveryimportanttorealizethat,iftheyareoverdone,texturing

techniquescaneasilyappearfacile.Youshouldonlyusethemwithsubtletyand

restraint,sothattheyareincorporatednaturallywithinthepaintingasawhole.

GranulationThisisaphenomenonwhichoftenoccursseeminglybyaccident,yetcanimpart

abeautiful,subtletexturetoawash.Certainwatercolorpigmentsshowa

tendencytogranulate:thepigmentparticlesoftheearthcolors,forexample,are

fairlycoarse.Asthewashdries,tinygranulesofpigmentfloatinthewaterand

settleinthehollowsofpaper,producingamottledeffect.

Onlyexperienceandtestingwillenableyoutotellhowmuchgranulationmay

takeplace.Somecolorsgranulateonlywhentheyarelaidoverapreviouswash;

andgranulationmaynothappenatall,ormaybehardlynoticeable,ifpaintis

heavilydiluted.

Flocculation

Asimilargrainyeffectcanbeproducedbypigments,suchasFrenchultramarine,

Asimilargrainyeffectcanbeproducedbypigments,suchasFrenchultramarine,

whichflocculate:thepigmentparticlesareattractedtoeachotherratherthan

dispersingevenly.Thiscausesaslightspecklingwhichlendsawonderful

atmosphericqualitytoskiesandlandscapesinparticular.

Simplybyexperimentingwithwatercolorpaints,andbyknowingwhichcolors

havethissettlingtendency,itispossibleforyoutosuggestallsortsofdifferent

texturesinyourpaintings,suchasweatherbeatenrocks,newlyfallensnow,or

sand,quiteeffortlessly.

PigmentgranulationSomepigmentsshowatendencytogranulateorflocculate,producingsubtlytexturedwashes,whileothersproduceflat,evenwashes.Anunderstandingofhowdifferentpigmentsbehavewillopenupexcitingpossibilitiesforcreatingparticulareffects.

Experimentwithvariouscolorsandmakestofindoutwhichpigmentstendtogranulateorflocculate.

GranulationofpigmentsCertainwatercolorpigmentsseparateout,givingagranulareffectwhichcanbesubtlydescriptiveandexpressive.

Ineachofthethreepaintingsonthispage,theartistshavemadequitedeliberateuseofgranulation.ItenlivensthebackgroundwashinPatrickProcktor’sportrait,whileTrevorChamberlainandRobertTillinghaveusedittosuggestsubtle,atmosphericeffectsintheskyandlandscape.

TrevorChamberlainRainatBudleighSaltertonWatercoloronpaper17.5×25cm(7×10in)

RobertTilling

EveningLightWatercoloronpaper65×50cm(26×20in)

PatrickProcktor

VascoWatercoloronpaper50.8×35.5cm(203/8×141/4in)RedfernGallery,London

BloomsBlooms,orbackruns,willsometimesoccurwhenawetwashisfloodedinto

another,drierwash;asthesecondwashspreads,itdislodgessomeofthe

pigmentparticlesbeneath.Theseparticlescollectattheedgeofthewashasit

dries,therebycreatingapale,flower-likeshapewithadark,crinklededge.

Althoughbloomsareusuallyaccidental–andoftenunwanted–theycanbe

usedtocreatesometexturesandeffectsthataredifficulttoobtainusingnormal

paintingmethods.Forexample,aseriesofsmallbloomscreatesamottled

patternsuggestiveofweathered,lichen-coveredstone;inlandscapes,bloomscan

representamorphousshapessuchasdistanthills,trees,cloudsorripplesonthe

surfaceofastreamandaddtextureanddefinitiontotheformsofleavesand

flowers.

DrybrushThedrybrushtechniqueisinvaluableinwatercolorpainting,becauseitcan

suggestcomplextexturesanddetailsbyaneconomyofmeans.Drybrushisused

mostofteninlandscapepainting,tosuggestarangeofnaturaleffectssuchas

sunlightonwater,thetextureofrocksandtreebark,orthemovementofclouds

andtrees.

Moistenyourbrushwithaverylittlewater,andthentakeupasmallamount

ofpaintonthetip.Removeanyexcessmoisturebyflickingthebrushacrossa

papertissueoradryragbeforelightlyandquicklyskimmingthebrushoverdry

paper.

CreatingbloomsIttakesalittlepracticetocreatedeliberateblooms.Applythefirstwashandallowittodryalittle.Whenthesecondwashisapplied,thefirstshouldbedampratherthanwet;ifitistoowet,thewasheswillmergetogetherwithoutabloom.

MakingsmallbloomsSmall,circularbloomsareformedbydroppingpaintfromtheendofabrushintoadampwash.Youcanalsocreatepalebloomsinadarkerwashbydroppingclearwaterintoit.

DrybrushtechniqueThisismosteffectiveonroughtexturedpaper,wherethepigmentcatchesontheraisedtoothofthepaperandmissesthehollows,leavingtinydotsofwhitewhichcausethewashtosparklewithlight.

JohnLidzey

InteriorwithHatWatercoloronpaper45×30cm(18×12in)UnpredictableeffectsTheexperiencedwatercoloristhasexperimentedwitharangeoftechniques,andknowshowtoexploittheelementof“happyaccident”inthepaint.

Themercurial,unpredictablenatureofwatercolorisoneofitschiefjoys.Inthestill-lifepaintingsonthispage,bothartistshaveusedthedescriptivepotentialofbackrunstosuggesttexturesandenrichthepicturesurface.

ShirleyTrevenaFourFlowerpotsWatercoloronpaper27.5×21.5cm(11×85/8in)BrushmarksandeffectsBrushmarksandeffectsplayavitalandexpressivepartinwatercolorpainting.

JohnBlockley

TableFlowersWatercoloronpaper47×38cm(181/2×15in)JohnBlockley’spaintingmethodinvolvesacontinualanddaringprocess.Hemakessomeareaswetterthanothers,thendriesonlysomepartswithahairdryer.Hethenplungesthepaintingintoabathofwater;thedrypaintremainsintact,butthewetpaintfloatsoff,leavingareasofwhitepaperlightlystainedwithcolor.

HansSchwarzGlazzCampbell,afterTrainingWatercoloronpaper80×55cm(32×22in)HansSchwarzhasusedaboldanddirectapproach,thebrushmarksfollowingandsculptingtheformsofthefaceandfiguretocreatealively,energeticportrait.

UsingsaltUnpredictableeffectscanbeobtainedbyscatteringgrainsofcoarserocksaltinto

wetpaint.Thesaltcrystalssoakupthepaintaroundthem;whenthepictureis

dryandthesaltisbrushedoff,apatternofpale,crystallineshapesisrevealed.

Thesedelicateshapesareveryeffectiveinproducingtheillusionoffallingsnow

inawinterlandscape,orforaddingahintoftexturetostonewallsandrock

forms.

Althoughitmayseemaneasytechnique,timingtheapplicationofsalt

requirespractice.Thewashshouldideallybesomewherebetweenwetanddamp,

neithertoowetnortoodry.Applyingsalttoawetwashwillcreatelarge,soft

shapes;applyingittoabarelydampwashwillproducesmaller,moregranulated

shapes.Applythesaltsparinglytoahorizontalsurface,letitdry,andthenbrush

thesaltoff.

UsingaspongePaintingwithaspongecancreatetexturesandeffectswhichareoftenimpossible

torenderwithabrush.Forexample,amottledpatternsuggestingclumpsof

foliageorthesurfaceofweatheredstonemaybeproducedbydabbingwitha

spongedippedinsomepaint.Useanaturalsponge,whichissofterandmore

absorbentthanasyntheticspongeandhasanirregular,moreinterestingtexture.

WaxresistAbrokentexturecanbecreatedbyrubbingordrawingwithawhitewaxcandle

oracoloredwaxcrayonandthenoverpaintingwithwatercolor.Waxadheres

unevenlytopaper,catchingontheraisedtoothandleavingthehollows

untouched.Whenawashofcolorisapplied,thewaxrepelsthepaint,causingit

tocoagulateindroplets.Thebroken,batik-likeeffectcreatedbywaxresistcan

beusedtosuggesttexturesandsurfaceeffects,suchasrocks,treebark,sand,or

lightonwaterorgrass.

ThistechniqueworksbestonaNotorroughsurface.Skimacandleorwax

crayonacrossthepapersothatittouchesthehighpointsbutnottheindents,

thenapplyyourwatercolorsinthenormalway.Whenthepaintingiscompletely

dry,thewaxcanberemovedbycoveringitwithabsorbentpaperandpressing

withacoolironuntilthepaperhasabsorbedallthemeltedwax.

UsingturpentineInavariationontheresisttechnique,turpentineorwhitespiritcanbesparingly

appliedtowell-sizedpaper,allowedtodryslightlyandthenpaintedover.The

paintandthesolventwillseparate,creatinganinterestingmarbledeffect.

UsingsaltAssaltcrystalssoakuppaint,apatternofshapesemerges.

UsingaspongeApplypaintlightlywithanaturalspongefortexturaleffects.

UsingacandlePaintoverrubbed-ordrawn-onwaxtocreatenatural-lookingtextures.

UsingturpentineAnotherversionoftheresistmethodinvolvesapplyingturpentine.

Turpentine,saltandwaxcanbeusedtocreateunpredictabletextures.SEEALSOPIGMENTANDCOLOR92ACCESSORIES102WASHTECHNIQUES182

CREATINGHIGHLIGHTS190WATERCOLORPAPERS28WATERCOLORBRUSHES96WATERCOLORACCESSORIES102

GOUACHETECHNIQUESGouacheissomewhatunderratedasapaintingmedium,consideringhow

versatileitis.Likewatercolor,itcanbethinnedwithwatertoafluid

consistency,butitsrelativeopacitygivesitamoreruggedquality,idealfor

bold,energeticpaintingsandrapidlandscapesketches.Whenwet,gouache

canbescrubbed,scratchedandscumbled,andinterestingthingshappenas

colorsruntogetherandformintricatemarbledandcurdledpatterns.

WashesandtonesGouacheisequallysuitableforamoredelicate,lyricalstyleofpainting,inwhich

washesofthin,semi-transparentcolorarebuiltupinlayerswhichdrywitha

soft,matt,velvetyappearance.

Withgouachecolors,tonesmaybelightenedeitherbyaddingwhiteorby

thinningthepaintwithwater,dependingontheeffectyouwishtoachieve.

Thinningwithwatergivesgouacheasemi-opaque,milkyquality,whileadding

whitegivesadense,opaquecovering.

Paintingdark-over-lightGouacheistechnicallyanopaquepaint,soyoucan,intheory,applylightcolors

overdark.Inpractice,though,itisbesttosticktothedark-over-lightmethod,

asgouacheisnotasopaqueasoilsoracrylics–infactsomecolorsareonlysemi-

opaque.Gouachewillcompletelycoveracolorifusedverythickanddry,but

thisisnotadvisable,asitmayleadtosubsequentcrackingofthepaintsurface.

SolubilityBecausegouachecolorscontainrelativelylittlebinder,theyremainsolublewhen

dry,soanapplicationofwetcolormaypickupsomecolorfromthelayerbelow.

Thiscanbepreventedbyallowingonelayertodrycompletelybeforeapplying

thenext.Applythepaintwithalighttouch,andavoidoverbrushingyourcolors.

UsingwhiteTherearetwowhitesavailable:permanentwhite(sometimescalledtitaniumwhite)andzincwhite.Permanentwhitehasthegreatercoveringpower;zincwhiteiscoolandsubtle.

VersatilegouacheThesesketchbookexamplesillustratetheversatilityofgouachepaintandshowtherelativeopacityofthisunderratedmedium.

Addedwhite

Thinnedandwater

LighteningtonesTheexamplesabovedemonstratehowgouachecolorscanbemodifiedbyaddingeitherwaterorwhitepaint.

MakingandusinggouacheimpastoTheimpastotechniqueisusuallyassociatedwithoiloracrylicpainting,buttheadditionofimpastogelturnsgouacheorwatercolorpaintintoathick,malleablepaste.Youshouldmixthegelapproximatelyhalf-and-halfwiththepaint,andapplytothesupportwithaknifeorabrushtomaketexturedeffects.

JaneCamp

LastChukkaGouacheonpaper35×25cm(14×10in)WestcottGallery,DorkingThisisamarvelousexampleofthefluidandvigoroususeofgouachetoconveymovementandenergy.Thebeautyofthemediumisitsinherentabilitytocreateappropriatetexturalmarks,almostofitsownfreewill.

SallyKeirRedPoppiesGouacheonpaper24×26.5cm(93/8×103/8in)Althoughlackingtheluminouseffectofpurewatercolor,gouachehasabrilliant,light-reflectingqualitythatisideallysuitedtoflowerstudies.Thispaintinghasalltheclarityanddetailofbotanicalillustration,butthevibrantintensityofgouachecolorskeepsthesubjectaliveinawaythatmanydetailedflowerpaintingsfailtodo.SEEALSOWASHTECHNIQUES182TEXTURESANDEFFECTS194GOUACHE104

ACRYLICTECHNIQUESAcrylicsseemtodivideartistsintotwocamps.Thosewhodislikeacrylicstend

tocomparethemunfavorablywithtraditionalpaintingmedia.However,those

whouseacrylicsrecognizethattheyareauniquemediumintheirownright.

Theremarkablethingabouttheserelativelynewpaintsistheirextraordinary

versatility.Althoughoil,watercolorandgouachetechniquescanbeused

successfullywithacrylics,themediumneverthelessretainsitsowndistinct

characterandcreativepossibilities.

LeonardRosomanJamesKnoxandLucyAbel-SmithAcryliconcanvas75×125cm(30×50in)TheFineArtSociety,London

WASHTECHNIQUESWhenacrylicpaintsaredilutedwithenoughwaterand/ormedium,they

behaveinawaythatissimilartotraditionalwatercolorsandoils,producing

delicatewashesandglazesthroughwhichthewhitesurfaceofthepaperor

canvasshines,therebyenhancingtheluminosityofthecolors.

WatercoloreffectsThemaindifferencebetweenacrylicsandwatercolorsisthatacryliccolorstend

todrywithasmootherandslightlymoremattfinishthanwatercolors.However,

oncethecolorisdry,acrylicpaintisinsolubleandpermanent.Thismeansthat

successivewashesoftransparentcolorcanbebuiltuptoachievethedepthof

tonerequired,withoutdisturbingtheunderlyingcolors.

Anotheradvantageofacrylicsisthatthereisawiderchoiceofsupportson

whichtowork.Allthetraditionalwatercolorpapersaresuitable,andacrylic

washescanalsobeuseddirectlyontounprimedcanvas,aswellasgessoboards

andothersurfacesprimedforacrylics.

NickAndrewCrownAcryliconpaper46.2×46.2cm(181/2×181/2in)OnLineGallery,Southampton

NickAndrew’smethodofcreatingacrylicwashesistobeginwithverywetwatercolorpaper,andsubsequentlytosprayafinemistofwaterontotheareaswhereheisworking,tokeepthemdamp.Thisextremelyliquidtechniqueallowshimtoachievesubtleblendsanddiffusionsofcolor.

AcrylicwashesTheexamplesaboveshowhowunderlyingwasheswillmaintaintheirstrengthoftonethroughsubsequentlayers.

ControllingwashesOneproblemwithusingwatercoloriscontrollingawashsothatthecolorisevenlydistributed.Withacrylics,thisproblemcanbesolvedbyaddingeitherflowimproveroralittlemattorglossmediumtoawash.Thisthickensthepaintjustenoughtohelpitrollsmoothlyontopaperorcanvas.Brushstrokesholdtheirshapebetterwhenappliedwithmediumandwaterratherthanwateralone,andareeasiertocontrol.Aswithwatercolors,fluidwashesshouldbeappliedswiftlyandconfidently,andleftalone.

KeithNewPathAcrosstheCommonAcrylicandpastelonpaper83.9×58.9cm(331/2×231/2in)

LlewellynAlexanderGallery,LondonSpatteringisanimportantpartofKeithNew’spaintings.Hesometimesmasksoffpartsofthesurfacetousedifferentspatteringmethods.Inthiscalm,monumentalpainting,spatterwasappliedontopofscratchedandsandpaperedacrylicwashesoverlaidwithpastel.Somefurtherpastelworkwasthenapplied,tounifythevariouspartsoftheimage.

Spattering

Spattering,orflickingpaintontoasupport,isaneffectivemeansofsuggesting

Spattering,orflickingpaintontoasupport,isaneffectivemeansofsuggesting

texturessuchassandandpebbles,orseafoam.Itcanalsobeusedtoenlivenand

addinteresttoalargeareaofflatcolor.

Therearetwomethodsofspattering.Oneistodipanoldtoothbrushinto

fairlythickpaintand,holdingithorizontallyabovethepaintingsurface,quickly

drawathumbnailthroughthebristles.Thisreleasesashoweroffinedroplets

ontothepainting.

Thesecondmethodistoloadapaintbrushandthentapthebrushsharply

acrossyouroutstretchedfingeroracrossthehandleofanotherbrush.Thiswill

produceaslightlydenserspatter,withlargerdropletsofpaint.

Foreithermethod,laythepaintingflatonatableoronthefloor,otherwise

spatteredpaintmayrundownthesurface.Usescrappapertomaskoffareasthat

arenottobespattered.

ExperimentingwithspatteringSpatteringisarandomandfairlyunpredictabletechnique,soexperimentonscrappaperbeforeusingitonapainting.Varythedistancebetweenthebrushandthepaintingsurfacetoincreaseordecreasethedensityofthedots.Tryspatteringontoadampsurface,sothatthedotsbecomesoftenedanddiffused,orspatterwithtwoormorecolors,oneaftertheother.

UsingatoothbrushThismethodgivesafairamountofcontroloverhowmuchisspattered.

UsingtwobrushesAlargerareacanbespatteredusingthistechnique.

UsingtransparentcolorsForbestresults,restrictyourmixturestotransparentcolors.Glazingwithopaquecolorsislesssuccessful,asthecolorsappearsomewhatmuddy.

UnifyingwithglazesIfcolorsandtonesappeardisjointed,afinalglazewithasoft,transparentcolor,suchasrawsienna,willhelptopullthepicturetogethersotheelementsharmonize.

ModifyingwithglazesUnsatisfactorycolorareascanbecorrectedwithathintoneofadifferentcolor.Forexample,ahotredcanbetoneddownwithaglazeofitscomplementarycolor,green(andviceversa).Ifthebackgroundofalandscapeappearstoadvanceinthepicture,aglazeofcoolblueorblue-graywillmakeitrecede.

Rawcanvasstainedwiththinnedpaint

AcrylicsforstainingFluidacrylicsareparticularlysuitableforstainingtechniques.Youwillfindithelpfultoaddflowimprover(water-tensionbreaker)tothepaintusedforstaining.Thisimprovestheflowofthepaint,makingiteasiertoapplyinflat,evenwashesoverlargeareas.Italsohelpstomaintainthebrillianceofthecolor,whichisoftendiminishedwhendilutedinthinwashes.

GlazingTheprincipleofglazinginacrylicsisthesameasforoilpainting–successive

thin,transparentwashescreateareasofglowing,translucentcolor.Butacrylicis

evenbettersuitedtothetechnique,sinceyoudon’thavetowaitlongforeach

layertodry.Becausedrycolorsareinsoluble,itispossibletobuildupmany

transparentlayersinordertocreatecolorswiththebrillianceandclarityof

stainedglass,withnodangerofpickingupthecolorbeneath.

GlazingtechniquesPaintforglazingcansimplybedilutedwithwater,butitdriestoadull,matt

finish,andcolorslosesomeoftheirintensity.Addingglossmediumgivesmuch

betterresults:itincreasesthetransparencyofthepaintwhileretainingits

bindingqualities,enrichesthecolorsandmakesthepaintflowmoreevenly.

Placethesupporthorizontallysothatthecolordoesnotrunoutofcontrol,

applytheglazewithasoft-hairedbrushandallowtodry.

Sinceaglazeistransparent,theeffectsaremostnoticeablewhenadarkcolor

Sinceaglazeistransparent,theeffectsaremostnoticeablewhenadarkcolor

islaidoveralightone,althoughyoucansubtlymodifyadarkercolorbyglazing

light-over-dark.

StainingInthistechnique,raw,unprimedcanvasisstainedwithacryliccolorswhichare

thinnedwithwaterandmediumtoacreamyconsistency.Whiletheacidsinoil

paintwillattackanddestroyrawcanvasintime,acrylicsarenon-corrosive,so

sizingandprimingarenotnecessary.

Laythecanvashorizontally,andbrushorpourthecolorontothesurface.

Colorsmaybemanipulatedbytiltingthecanvasorusingsponges,squeegees,

brushesorimprovisedtools.Asunprimedcanvasisporous,thethinnedcolor

willpenetratethroughtotheback,andthepaintbecomesanintegralpartofthe

canvas.

GigolAtlerSuffolkLandscapeAcryliconpaper38.5×52cm(15×201/2in)

Inthisdynamicpainting,theartistusedacrylicstocombinethetransparencyofwatercolorwiththeopacityofoilpaint.Heappliedacadmiumredwashoverawhitegroundtoprovideanoverallluminescence,andthenbuiltuptheskyandlandwithaseriesoftransparentglazes.

GlazingandstainingUsingacrylicsinwashesallowsyoutobuildupadelicatepaintsurfacewithlayered,transparentglazes,ortoachieverich,stainedcolorsoncanvas.

BarclaySheaks

TheFrenchMarket,NewOrleansAcryliconhardboard60×75cm(24×30in)

BarclaySheaksusedthebrownofsandedandcleanedhardboardasanundercolor,andmixedpaintandneatacrylicglossmediumforvibrant,luminousglazes.

BrianYaleJapanAcryliconcanvas115×100cm(46×40in)

Severallayersofverythin,water-dilutedpaintwereusedbyBrianYaletostainrawcanvas,providingasoft,mattsurfaceforstencillingthickerpaint.

PaulAppsZebrasAcryliconboard42.5×60cm(17×24in)

ThetactilequalityofPaulApps’spaintingwasachievedusingtexturegel,overlaidwithglazes.Thethinnedcolorsettledinthecrevices,accentuatingthecraggytextureofthethickpaint.SEEALSOSUPPORTS14WATERCOLORTECHNIQUES180PAINTS110MEDIUMS118OPTICALMIXING220COLORHARMONY225

TEXTURALEFFECTSExploittheversatilityofacrylicsbybuildinguprichandvariedtextural

surfaces,usingimpasto,collageandmixed-mediatechniques.

CollageAcrylicgloss,mattandgelmediumsallhaveexcellentadhesivepropertiesand

drytransparently,sotheyareidealforbindingcollagematerialstoasurface.

Objectssuchascoloredpapers,tissue,metalfoil,magazinecut-outs,fabrics,

leaves,pebblesandweatheredwood,togiveafewexamples,canbepressedinto

thick,wetacrylicpaintoralayerofmodellingpaste.

ImpastoForimpasto,useacrylicpaintstraightfromthetubeordilutedwithalittle

water,mattorglossmedium,oracombinationofanyofthese.Thepaintshould

bemalleable,yetthickenoughtoretainmarksandridgesleftbythebrushor

paintingknife.Paintcanbefurtherstiffenedbymixingwithgelmediumor

texturepaste.

MixedmediaBecauseitissoversatileandfast-drying,acryliclendsitselfexceptionallywellto

mixed-mediawork.Artistsoftencombineacrylicswithwatercolor,gouacheand

ink,andwithdrawingmediasuchaspastel,pencilandcharcoal,asameansof

extendingtheirrangeofexpression.

UsingfoundobjectsLearntocultivateagracklementalitywhenconsideringmakingcollages.Almostanythingcanbeused!

JillConfavreuxTailEndsofSummerAcrylicandcollageoncanvas75×100cm(30×40in)

Collageexploitsthecontrastsofshape,colorandsurfacetexturebetweendifferentmaterials.JillConfavreuxstucktissueandwatercolorpapertothinacrylicwashes,andthenembeddedleafskeletons,tosuggestpeacocktailsandleaves.Thiswasglazedwithgoldacrylicpaint,ontowhichcrumpledplasticwrapwasdropped.Whenthefilmwaspeeledawayfromthedrypaint,thefinaltextureunifiedthepainting.

EmbeddingheavyobjectsLayyourpictureflatuntiltheacrylicmediumisdry;ifyouworkvertically,thewetpastemayslump,takingtheobjectswithit.

Developingcollage

Collagecompositioncanbedevelopedwithpreciseshapes,freeshapes,orsculptedshapeswithfoldedandcrumpledforms.Objectscanbepaintedbeforebeingfixedtothesupport,orthecompletedworkmaybeenrichedwithacryliccolorsand/orothermedia.

ProtectingcollagesApplyacoatofmattorglosspicturevarnishtoacompletedcollage,orframeitunderglass.

DebraManifoldStillLifewithMat’sHatAcrylicandoilpastelonboard35×37.5cm(14×15in)

Themixed-mediacombinationofacrylicsandpastelsispopular.DebraManifoldmakesaboldacrylicunderpainting,beforeworkingoilpastelsontop.Furtheracrylicwashesproduceawax-resisteffect.

DonaldMcIntyreCottagebytheSeaAcryliconboard50×75cm(20×30in)

Thelively,impastedsurfaceofthispaintingcomesfromtheartist’suseofpaintstraightfromthetube.Evenwhenappliedinverythicklayers,acrylicpaintremainsflexibleandwillnotcrack.

Chapter7

COLOR&COMPOSITION

Whyisitthatsomepaintingsdrawustothemlikeamagnet,whileothersfailtocaptureourinterest?

Often,theimmediacyofapicture’simpactisduetoastrongexpressivedesignandknowledgeableuseof

color.“Art”isnotmerelyaboutrepresentingtheoutwardappearanceofagivensubject;itisjustasmuch

aboutselectingitsessence,accentuatingandholdingitfortheviewer’scontemplation.Artframesour

viewofasceneandfreezesthemomentinanorderedbeautyoflineandshape,formandspace,andcolor

andtone.

PERMANENCEOFPIGMENTSThepermanence,orlightfastness,ofapigmentreferstoitsresistanceto

gradualfadingonexposuretolight.Thisdependsmainlyonthechemical

natureofthepigment;however,somecolorswhicharelightfastwhenusedat

fullstrengthloseadegreeoflightfastnesswhenstronglydilutedormixedin

tintswithwhite.

RangeTherangeofpermanentcolorsisextremelywide,soitispossibletoentirely

avoidtheuseoffugitivecolors,whichfadeonexposuretobrightlight,oronly

moderatelypermanentcolors.Earthcolorsarethemostpermanent.

Afewcolorsactuallyfluctuate,fadingonexposuretolightbutrecoveringin

thedark–PrussianblueandAntwerpbluearetwoexamples.

LightfastnessstandardsTheASTM(AmericanSocietyforTestingandMaterials)systemhasrecently

beenestablishedfortheacceleratedtestingofartists’colors,relatingto20years

ofgalleryexposure.Thistestrepresentsthemostabsoluteclassificationinusefor

artists’materials.TheASTMcodesforthepermanenceofpigmentsareshown

below,andareusedthroughoutthisbook.

Manufacturers’codesReputablepigmentmanufacturerscodetheircolorsaccordingtotheir

permanence,thecodeappearingeitherontheirtubeorjarlabels,orintheir

cataloguesandleaflets.Somealsogiveinformationontoxicity,whetherthe

colorsaretransparentoropaque,andwhethertheyaresusceptibleto

atmosphericpollutants.Thecodesforpermanence(shownbelow)arethemost

commonlyused.

Notallmanufacturersusethesamelightfastnessstandard.Some,forexample,

useBritishStandard1006,alsoknownastheBlueWoolScale.Lightfastness

ratings,therefore,varybetweenonebrandofpaintandanother.

PigmentqualityAllmanufacturersidentifytheircolorsfortheirlightfastnessandpermanenceandwilldisplaytheASTM,staroralphabeticalrating.

ASTMcodesforlightfastness:ASTMI:excellentlightfastnessASTMII:verygoodlightfastnessASTMIII:notsufficientlylightfastCommoncodesforpermanence****orAAExtremelypermanentcolors***orADurablecolors,generallysoldaspermanent**orBModeratelydurablecolors*orCFugitivecolors

TypicalpermanentcolorsLefttoright:rawumber,rawsienna,yellowochre.

TypicalfluctuatingcolorsLefttoright:Prussianblue,Antwerpblue.

TypicalfugitivecolorsLefttoright:naphtholcrimson,rubyred,reddishviolet.

ChoosingpigmentsGood-qualitymaterials,combinedwithsoundtechnicalpracticeinthepreparationofsupportsandapplicationofmedia,willhelpyourworktosurvivetherigorsoftreatmentandtime.Whichpigmentsyouchooseisthereforeanextremelyimportantpartoftheprocess–itisalwaysworthusingonlythebest(usuallyidentifiedincataloguesandonpackagingas“Artists’quality”).Althoughthesepigmentsmaybeexpensive,theextracostiswellworththeinvestment.

PigmentationandpaintThissceneshowstheendofonephaseinthemanufactureofpaint;thepigmenthasbeenselected,ground,mixedwiththebinderandmilledforsmoothnessandconsistency,withrigorousqualitychecksateverystage.Thepaintisthenpackedintothevariouscontainersused–pansandtubesforwatercolor,tubesandjarsforacrylics,andtubesforgouacheandoilpaints–anddispatchedtodistributorsandart-supplystores.

FormsofpigmentAllcoloredpaintinganddrawingmediaincludepigmentsofvaryingquality;theselectionaboveshowsonlyafewofthehundredsofcolorsandtonesavailable.SEEALSOOILPAINTS64WATERCOLORPAINTS87PIGMENTS92READINGAPAINTTUBE387

THELANGUAGEOFCOLORKnowinghowtomixandusecolorsiscrucialtothesuccessofanypainting.

Yet,becausecolorisessentiallyanabstractconcept,manyartistsfindita

difficultandbewilderingarea.Thislackofconfidenceislargelytheresultof

ignoranceofthebasicprinciplesofcolor.Here,asalways,therearecertain

rulesandguidelinestofollow.

ThecolorwheelOneofthemostimportanttoolsfortheartististhecolorwheel.Thisisa

simplifiedversionofthespectrum,bentintoacircle.Itisanarrangementofthe

primarycolors(red,yellowandblue)andthesecondarycolors(orange,greenand

violet),fromwhichallothers,includingthegrays,brownsandneutralcolors,are

mixed.

NamesandcolorsAllartists’pigmentcolors,whateverexoticnamesmanufacturersmaygivethem,areonlypermutationsofthosethatareshownonthecolorwheel.

PrimarycolorsTheprimarycolorsareequidistantonthecolorwheel.Aprimarycolorisone

thatcannotbemadebythemixingofanyothercolors.Intheory,theprimary

colorscanbemixedinvaryingproportionstoproduceeveryothercolorknown,

butinpracticethingsarenotthatsimple,becausepurered,yellowandbluedo

notexistinpigmentcolors.

Secondarycolors

Asecondarycolorisobtainedbymixingequalquantitiesofanytwoprimary

colors.Thus,blueandyellowmakegreen,redandyellowmakeorange,andred

andbluemakeviolet.

TertiarycolorsAtertiarycolorismadebymixinganequalquantityofaprimarycolorwiththe

secondarynexttoitonthecolorwheel.Forexample,ifyoucombineredwithits

neighbortotheright–orange–yougetred-orange;ifyoucombineredwithits

neighbortotheleft–violet–yougetred-violet.

Byadjustingtheproportionsoftheprimaryandsecondarycolors,youcan

createawiderangeofsubtlecolors.Furtherintermediatecolorscanbemadeby

repeatedlymixingeachneighboringpairuntilyouhaveanalmostcontinuous

transitionofcolor.

Colorrelationships

Therearetwobasicwaysinwhichcolorsreactwitheachother:theycontrastor

Therearetwobasicwaysinwhichcolorsreactwitheachother:theycontrastor

harmonize.Itispossibletoexploretherelationshipsofcolorsaccordingtotheir

positionsonthecolorwheel(opposite).Goingroundthewheel,youcanseethat

thosecolorsthatharmonizeareclosetoeachother,andthosethatcontrastare

wellapart.

RelatedcolorsColorsthatareadjacenttooneanotheronthecolorwheelformarelated,

harmonioussequence.Theclosestrelationshipsarebetweenshadesofonecolor,

orbetweenaprimarycolorandthesecondarywhichcontainsthatprimary,such

asblueandblue-greenorblue-violet.

ComplementarycolorsThecolorsoppositeoneanotheronthecolorwheelarecontrastingpartners,

calledcomplementarycolors.Therearethreemainpairs,eachconsistingofone

primarycolorandthesecondarycomposedoftheothertwoprimaries:thusredis

thecomplementaryofgreen,blueoforange,andyellowofviolet.These

relationshipsextendtopairsofsecondarycolors,sothatred-orangeis

complementarytoblue-green,blue-violettoyellow-orange,andsoon.

Iftwocomplementarycolorsofthesametoneandintensityarejuxtaposed,

theyintensifyeachother.Theeyejumpsrapidlyfromonecolortotheother,

causinganopticalvibrationthatmakesthecolorsshimmer.

PeterGrahamJapaneseGirlwithFlowersOiloncanvas60×75cm(24×30in)ComplementariesTheapparentriotofcolorthatiscontainedinthisstilllifeis,infact,skilfullycontrolledbyallowingtwosetsofcomplementarycolors–redandgreen,andorangeandblue–topredominate.Thewhiteareasactasafoilforthevibranthues.

DefiningtermsThetermsusedtodescribethepropertiesofcolors,suchas“hue”and“tone,”areoftenusedinaccurately,oraremisleading.

HueHueisanotherwordforcolor,andreferstothegeneralizedcolorofanobject.Itisusedwhendescribingcloseorsimilarcolors:cadmiumred,alizarincrimsonandvermilion,allreds,arecloseinhue.

IntensityIntensity(alsoreferredtoaschromaorsaturation)referstohowbrightorstrongacoloris.Vivid,purecolorsarestronginintensity;pale,grayedcolorsareweak.Avibrant,intensecolor,forexamplecadmiumred,willbecomelessintenseaswhiteisaddedanditbecomespink.Theintensityofacolorcanalsobereducedbymixingitwithitscomplementary,whichwillmakeitbecomegrayed.

ToneTone,orvalue,referstotherelativelightnessordarknessofacolor.Somecolorsarebynaturelighterintonethanothers:forexample,comparelemonyellowwithburntumber.

TintsandshadesWhenwhiteisaddedtoacolorinordertolightenit,theresultantmixisreferredtoasatintofthatcolor.Shadesaredarkertonesofacolor,whichareachievedbyaddingblack.

WarmandcoolcolorsColorsareeitherwarmorcool.Broadly,thewarmcolorsarethosethatfall

withintheyellow-orange-redsectionsofthecolorwheel,whereasthecoolcolors

rangethroughthepurple-blue-greensegments.Becausewarmcolorsappearto

comeforwardinthepicturespaceandcoolcolorsseemtorecede,opposing

warmandcoolcolorshelpstocreatespaceandforminacomposition.

DepthandspaceBecausetheeyeperceivescoolcolorsasbeingfurtherawaythanwarmones,contrastsofwarmandcoolareusedtocreateanillusionofrecedingspaceinlandscapes.ThereisanimpressionofspaceinTerryMcKivragan’spainting.Theforegroundcontainswarmearthcolors,whichcomeforward;movingbacktothehorizon,thecolorsbecomeprogressivelycoolerandthetonelighter.

TerryMcKivraganNorfolkBroadsAcryliconboard52.5×67.5cm(21×27in)

TheeffectoflightEachcolorhasitsowndegreeofwarmthorcoolness:forinstance,lemonyellowisacoolyellow,whilecadmiumyellowiswarm.Thecoloroftheprevailinglightalsodeterminesthewarmthofacolor.Here,forexample,lateafternoonlighttingeseverycolorwithitswarmth(exceptintheshadowareas,whicharecorrespondinglycool).

ArthurMadersonWinterSunlight,NormandyOiloncanvas70×85cm(28×34in)

AnthonyFryAsharaf,CochinOiloncanvas30×32.5cm(12×13in)BrowseandDarby,LondonColoranddesignTheapparentlycasualdesignofthispaintingbeliesitsstrongorganization.Usingnear-flatareasofvibrantcolor,creativeofspaceandlight,AnthonyFryarrivesatakindofpureharmony,thekindthatMatissecalled“spiritualspace.”

Tonalkey

Thetonesandcolorsinapaintingcanbecomparedtomusicalnotes.Toomanydifferenttonesproducevisualdissonance,whereasacontrolledrangeoftones,keyedeithertothelightorthedarkendofthescale,producesharmonyandunderlinestheemotionalmessage.TrevorChamberlain’spaintingisanexampleofhowalimitedrangeoftones,massedintoawell-structuredarrangement,canlendstrengthandunitytoabusysubject.

TrevorChamberlainTehranBazaarOilonboard17.5×25cm(7×10in)ToneandmoodKenHowardisverymuchatonalpainter,andthisearlyworkderivesitscharmfromitsquietstatementandharmonioustonalityofcolor.Likethegreatstill-lifepaintersbeforehim,fromChardintoMondrian,hemanagestobestow,evenonasimplearrangementofeverydayobjects,asenseofsignificanceanddignity.

KenHoward

StillLifeOiloncanvas60×50cm(24×20in)SEEALSOMIXINGCOLORS220COLOREXPRESSION224COLORHARMONY225COLORCONTRAST226COMPOSITION228

TONALVALUESTheword“tone”tendstothrowpaintersofalllevelsofexperienceinto

confusion.However,toneisanessentialpartofallpaintinganddrawing,

especiallyinachievingtheeffectsoflightonasubject.Tonalvaluesarevitalif

youwishtomodelform,composeapicturewell,andexpressmoodand

atmosphere.

UnderstandingtoneTonedescribestherelativelightnessordarknessofanareaofcolor.Somecolors

aremorelight-reflectivethanothersandtheyappeartobelighterintone:for

instance,ceruleanblueandPrussianbluearethesamecolor,orhue,butthe

formerhasalighttone,whilethelatterhasadarkone.

DefininghuesandintensitiesTonecanbeeasilyunderstoodwhenitdealsonlywithblack,grayandwhite.

However,itishardtodefinetonallythehuesandintensitiesofsomecolors.For

example,anobjectmayhaveanintense,warmcolor,butthatverywarmthand

intensitymaymakeyouthinkthatthetoneislighterordarkerthanisactually

thecase.

Tonesandcolorsaremodifiedbyadjoiningcolors,andacolorthatappears

darkwhenaloneonawhitecanvasmaywellseemtohavealightertonewhen

surroundedbyothercolors,andviceversa.

ToneanddesignTheframeworkoflightanddarkareasthatmakesupanypicture–thebroad

tonalpattern–isoftenwhatfirstattractstheviewer’sattentionandprovidesan

immediateintroductiontothemoodandcontentofthatpicture.

Ifthetonalpatternofapaintingisstrong,itencouragesacloserandmore

focusedexamination.Trylookingatawallofpicturesinagalleryoran

exhibition;thepictureswithawell-designedtonalpatternaretheonesthatwill

makethemostimpactonthecasualviewer.

Counterchange

Counterchangeistheplacingoflightshapesagainstdark,andviceversa.It

Counterchangeistheplacingoflightshapesagainstdark,andviceversa.It

createslively,interestingpictures,asthereversalsoflightanddarkprovide

intriguingcontrasts.Counterchangealsogivesmovementandrhythmtoa

picture,leadingtheviewerfromlighttodarkandbackagain.ThegreatDutch

painters,suchasRembrandtandVermeer,weremastersofthistechnique,and

theyusedittogreateffect,particularlyininteriorscenes.

ComparativetonesAllbluesarebasicallythesamecolor,butceruleanblueislightintone,whilePrussianblueisdarker.

TheeffectoflightThetoneofacolorchangeswiththeeffectoflight,andanycolorwillexhibitarangeoftones–themoreasurfacefacesawayfromthelight,thedarkeritbecomes.

JanVermeer(1632–75)AYoungWomanStandingataVirginalOiloncanvas51.5×43.3cm(201/2×173/4in)NationalGallery,London

MIXINGCOLORSLearningtomixcolorsisthefirststeptowardsachievingasuccessfulpainting.

Initiallyitiscertaintoinvolvesometrialanderror,buttherearesomegeneral

guidelinesthatwillhelpyoutoachievesuccess.

TheoryandpracticeThecolorwheelisoflimitedusetotheartistwhenitcomestomixingactual

paint,becausepigments,unlikelight,arenotpure.Inaddition,pigments

invariablyhaveaslightbiastowardsanothercolor.

Blueandyellowmakegreen?Intheory,blueandyellowmakegreen;butinpractice,mixinganyoldyellow

andbluecouldendupwithmud.Ultramarineblue,forexample,hasareddish

undertone,whilelemonyellowhasagreenishone.Thesered-and-green

undertonesarecomplementarycolors;whentwocomplementariesaremixed

theymakegray–whichiswhytheresultisamuddygreen.

Tomixacleangreenfromblueandyellow,itisimportanttochoosetheright

blueandtherightyellowfortheparticularshadeyouwant.

Acleangreenandamuddygreen

Palettefor“clean”colorsThesecolors,shownbelow,givethewidestrangeformixingpure,cleancolors.Lemonyellow(green-shadeyellow)Cadmiumyellow(red-shadeyellow)Cadmiumred(yellow-shadered)Permanentrose(blue-shadered)Phthaloblue(green-shadeblue)Frenchultramarine(red-shadeblue)Viridian(blue-shadegreen)Phthalogreen(yellow-shadegreen)

MixingcomplementariesWhentwocomplementarycolorsarejuxtaposed,theyintensifyeachother.

However,whentheyaremixedtogethertheyneutralizeeachotherandform

neutralgraysandbrowns.Dependingonthecolorsusedandtheproportionsof

each,itispossibletocreateawiderangeofcolorfulneutrals.

Takecomplementaryredandgreen,forexample.Bymixingtheseinvarying

quantitiesyouachievemuted,earthycolors.Addingwhitetothemixturecreates

aseriesofdelicatelycoloredgrays,whichprovideamarvelousfoilforbrighter,

morevibrantcolors.Thegraysproducedinthiswayaremorelivelythanthe

steelygraysmadebymixingblackandwhite.

ArthurMadersonFromtheBathroomOiloncanvas65×80cm(26×32in)OpticalmixingFollowingtheImpressionisttradition,Madersoncreatesashimmeringillusionoflightwithmyriadflecksanddabsofjuxtaposedcolor.Thecolorsmixopticallywhenviewedatadistance,andappearmorevibrantthaniftheyhadbeenmixedtogether.

ModifyingcolorsIfacolorappearstoostrident,itcanbetoneddown,eitherwithacomplementarycolororwithanearthcolor.

Tonedownredandgreenwithrawumber

Aredthatistoohotcanbecooledwithalittlegreen–andviceversa

AddingblacktoacolortendstodullitMakinggraysComplementarymixingproducesneutralgrays,morecolorfulthanthosewhichcomeready-mixedastubecolors.

Mixvioletandyellowtogethertoformwarmgray

Mixredandgreentogethertomakeearthybrown

Addwhitetored-greenmixturestoproducedelicategrays

PalettelayoutGetintothehabitoflayingoutcolorsonthepaletteinthesamesystematic

ordereachtimeyoupaint.Youwillthusknowwhereeachcoloriswithout

havingtosearchforit,soyoucanconcentrateonobservingyoursubject.

Someartistsarrangecolorsintheorderofthespectrum,withred,orange,

yellow,green,blueandvioletrunningacrossthepalette,andwhiteandearth

colorsdowntheside.Othersarrangetheircolorsfromlighttodark,oralign

warmcolors(reds,orangesandyellows)ononesideandcoolcolors(blues,

greensandviolets)ontheother.Whichevermethodyouchoose,stickwithit.

KeepingcolorscleanMakeseveraldabsofeachcoloronyourpaletteratherthanonelargeone.Thismakesiteasiertokeepcolors,particularlythelightones,cleanandclear.

Spectrumorder

Lighttodark

Warmandcool

PreferredlayoutsTheexamplesaboveshowsomeofthemethodsemployedbyprofessionalsforlayingoutcolorontheirpalettes.

Brokencolorsblendatadistance

Basecolormodifiedwithatransparentglaze

BrokencolorTheImpressionistsusedabroken-coloreffect,inwhichcolorsweremadeupof

smallflecksanddashesofpaint.Becauseeachcolorremainsunmixedonthe

picturesurface,lesslightisabsorbedthanifthesamecolorsweretobemixedon

thepalette.Whenviewedfromanadequatedistance,thecolorsblend,andhave

avibrant,luminousquality.

GlazingGlazingisanotherwayofproducingopticalmixes.Forexample,ifyouapplya

blueglazeoverayellowground,thegreenproducedismuchmorelivelythan

oneproducedbymixingblueandyellowpigments.Lightentersthetransparent

filmandisrefractedfrombelow,toproducearich,glowingeffect.

Colorinteraction

Colorsandtonesshouldneverberegardedinisolation,butintermsofhowthey

Colorsandtonesshouldneverberegardedinisolation,butintermsofhowthey

relatetothosearoundthem.Allcolorsandtonesareinfluencedbyneighboring

ones;whentwocolorsareviewedsidebyside,thecontrastbetweenthemis

enhanced.Eachtouchofcoloraddedtoapaintingalterstherelationshipofthe

colorsalreadythere:abrightcolorappearsricherwhenitisplacednexttoa

neutralormutedcolor;similarly,adarktoneappearsevendarkerwhenitis

placednexttoalightone.

HarmoniouspaintingInexperiencedpainterswilloftenworkononesmallareaofapaintinguntilitis

“finished,”andthenmoveontothenextarea.Thisgenerallyleadstoa

disharmoniousandconfusedpainting,becauseeachcolorisunrelated.

Itisbettertoworkonallareasofthecompositionatonce.Workfrom

landscapetoskyandbackagain,orfromfiguretogroundandbackagain.Keep

youreyesmovingaroundthesubject,assessingandcomparingonecoloragainst

another,onetoneagainstitsneighbor,andmakeadjustmentsasyougo.Inthis

wayyourpaintingwillgrowanddevelop,emergingfinallyasahomogeneous

massofcolorandtone.Paintingisacontinuousprocessofbalancing,judging,

alteringandrefining–whichiswhatmakesitsoabsorbing.

Brightcolorsseemrichernexttoneutralcolors

Darktonesintensifynexttolightones

TomCoatesStudyofaBabyOilonpanel35×25cm(14×10in)Inthisunfinishedpainting,thesubjectandbackgroundareprogressingatmoreorlessthesamepace.Theartistmodifiesthecolorsandformsofbothpartsofthework,keepingtheimagefluidandmovingtowardsanintegratedstatement.

LeslieWorthWindsurferonBoldermereWatercoloronbrownpaper22.5×28.7cm(9×111/2in)BrightandneutralcolorsThoughatinyshape,thewindsurfboardisverymuchthefocalpointofthispicture.Surroundedbydarktonesandneutralcolors,thesharpaccentofthewhitesailsingsoutwithapiercingnote.SEEALSOOILPALETTES84GLAZING170WASHTECHNIQUES182TONALVALUES219COLORHARMONY225OILPAINTS64WATERCOLORPAINTS87ACRYLICPAINTS110THELANGUAGEOFCOLOR214BROKENCOLOR256

COLOREXPRESSIONOneofthemostimportantaspectsofcoloristhatitisemotive–itstimulates

alloursenses,notjustoureyes.Colorcanbeusedtosuggestandtoaccentuate

themoodofapainting,aswellastocreateanemotionalresponseinthemind

oftheviewer.Itcanbeuseddirectlyanddramaticallytoprovokeastrong

response,orinamoresubtleway.

UsingcolortosuggestmoodColorscantriggeraflowofimages,soundsandemotions.Bluemakesusthink

ofskyandsea,mountainsandstreams.Dependingonthecontextinwhichitis

usedinanimage,itcandenotefreshnessandlightness,ormelancholyand

alienation.Yellow,however,conjuresupimagesofsunshineandsummerflowers

–butitcanalsobeastrong,harsh,acidiccolor.

Warm(redandyellow)colorsdenotevitality,life,vigourandstrength,and

demandastrongemotionalreactionfromtheviewer.Cool(blueandgreen)

colorsimpartmorepassive,restfulemotions.

Thetoneofthecolor,anditsintensity,alsoplayapart.Redisavital,dynamic

color(anyfullysaturatedredobjectinapaintingwillimmediatelyattract

attention,regardlessofitssize).Itcanbecomedesaturatedbybeingmixedwith

whiteuntilitisasoft,romanticpink.Thepale,desaturatedbluethatis

associatedwithcoolnessandtranquillitycanbesovibrantinitspurestatethatit

hasasstronganeffectasred.

Fullysaturatedred

Mixedwithwhiteanddesaturated

SimieMaryles

SunsetinSummer,BackshoreAcrylicandpastelonboard55×45cm(22×18in)Lizardi/HarpGallery,PasadenaSkycolorsAvarietyofcolorsareusedtocreatemoodandexpressaninterestingsky.Here,theartistweavessmallpatchesofblue,violet,orangeandcreamywhite,tocreateanimpressionofvibratinglight.Thedrypaintislooselydraggedandscumbled,givingmovementtotheclouds.Thesamecolorsarerepeatedthroughoutthepicture,envelopingthesceneinahomogeneouslight.SEEALSOTHELANGUAGEOFCOLOR214TONALVALUES219COLORCONTRAST226

COLORHARMONYHarmonyispossiblythemostsubtleandevocativeofallthereactionsbetween

colors,anditcanbeusedwithgreateffecttocreatemoodinyourpainting.

Whilecontrastisdramaticandemphasizesthesubject,harmonyisgentleand

easyontheeye.

HowcolorsharmonizeThereisharmonybetweenthosehueswhichlieonthesamesectionofthe

spectrumorcolorwheel–betweenyellowandgreen,forexample.Colorswith

thesamecharacteristicswillbeinharmonywhentheyareplacedtogether.

Orange-brownandyellowveryoftenhavethesamewarmquality,and

harmonizewell.Thiscombinationisfrequentlyfoundinnature–thecolorsin

autumnalscenes,forinstance–asistheyellow-greenharmonyofspring

landscapes.

DominanthueAlthoughharmoniousschemesareoftenthemostpleasingandeasytohandle,

theveryunificationthatmakesthemharmoniousmaymakethemmonotonous.

Enoughvarietyoftoneandintensitypreventsmonotonyandplacesemphasison

onedominantline.Thislinecandominatethroughtonalcontrast,intensity,or

thespaceitoccupiesinthepicture.

ComplementaryaccentsAharmoniousschemecanalsobeenlivenedbytheintroductionof

complementaryaccents.Suchaccents,ifbrilliant,havepowerevenwhenusedin

smallamounts.Asmalltouchofredinagreenlandscape,forinstance,canadd

zesttoanimage.

GrenvilleCottinghamEarlyMorninginSimiWatercoloronpaper37.5×27.5cm(15×11in)

Diffusedlightwilldesaturatecolors,weakeningtheirstrengthandbrilliancesothattheyseemmoreinaccord.ThisharmonizingeffectisevidentinbothKeithRoper’sandGrenvilleCottingham’sverydifferentlandscapes,inwhichcolorsarekeyedtoaunifiedleveloftoneandintensity,underliningtheessentialtranquillityofeachscene.

KeithRoperWiltshireGouacheandpastelonpaper30×37.5cm(12×15in)KentmereHouseGallery,York

HarmonyandlightAtcertaintimesofdayandincertainweathers,colorswhichnormallycontrastwillappeartobeinharmony.

COLORCONTRASTWhencolorsofoppositecharacteristicsmeet,theycreateimpact.The

Renaissancepaintersusedlight-darkcontrast,whereastheImpressionists

exploitedcontrastsofwarmandcoolcolor,andofcomplementarycolors;

Turnerusedintensitycontrast,playingpuretintsagainstneutrals.

ComplementarycontrastWhencomplementarycolorsarejuxtaposed,theyenhanceeachother,producing

averyvibrantvisualsensation;eachcolorseemsbrighteragainstitsneighbor

thanitwouldalone.

Togiveoneexample,bluesandgreenscontrastwiththeircomplementaries–

orangeandred.Thesuccessofthiscontrastdependsverymuchonthe

proportionsused:forexample,equalamountsofthecolorscancreateajarring,

unpleasanteffect,butasmallamountofredinapredominantlygreenareacan

beveryexciting.

Themostintensesensationofcolorcontrastcomesfromcomplementary

colorswhichareequallymatchedintoneandintensity.If,however,thereisa

notabletonaldifferencebetweenthecolors,thecontrastislessdramaticor

dynamic.

SplitcomplementariesAbsolutecomplementariesdonothavetobeused,andnear,or“split,”

complementariesareoftenmorepleasingtotheeyethantrueones.Split

complementariesarethosewhichareseparatedbythetruecomplementary;for

example,violetisthetruecomplementaryofyellow,whileblue-violetandred-

violetareitssplitcomplementaries.

Thecomplementary(violet)andsplitcomplementariesofyellow

Redflecksonanareaofgreen,itscomplementarycolor

Juxtaposedcomplementarycolors

SophieKnightChinaBowlwithFruitWatercoloronpaper55×75cm(22×30in)Thisstilllifedemonstratesaneffectiveuseofcomplementarycolors.Noticehowtheartistintroducesthecomplementary,blue,tomaketheorangesappearbrighterandmoreluminous.

CompositionandcontrastTherulesofcompositionapplywhendealingwithcolorcontrast.Itisimportant

thattheareaofgreatestcontrastinthepicturedrawstheeyetoit,somakesure

thatstrongcontrastoccursatthefocalpointofthepicture,otherwiseitwillbea

distractinginfluence.Employingequalareasofstrong,contrastingcolorsresults

inaconfusingimage.Youcanachieveabalancebyvaryingtheproportionsof

thecontrastingcolors.

IntensitycontrastSaturatedcolorsappearmorebrilliantwhentheyareplacedalongsideneutral

colors.Apaintingdominatedbyneutraltonesmaybeenhancedbyplacingareas

ofpurecolornearthecenterofinterest,tocapturetheeyeandholdthe

attention.Inthesameway,acolorfulsubjectisenhancedbyrestfulneutral

passages.

TonalcontrastTonalcontrastshaveconsiderablevisualimpact;theattentionoftheviewermay

beattractedbythestrongcontrastsoftonebeforetheemotionalexpressionof

thecoloritselfisfelt.

TemperaturecontrastAllcolorshavefamiliarassociationsforus.Redsandyellows,forinstance,

conjureupsunlightandfire,andweconnectbluesandgreenswithsnow,iceand

water.

Contrastsofwarmandcoolcolorhaveseveralapplicationsinpainting.A

colorthatispredominantlywarmusuallyexpressesjoy,energyandforcefulness;

cool,subduedcolorsareusedtoexpressmoodsrangingfromcalmand

tranquillitytosadnessanddespair.

IntensifyingcolorsNeutralcolorsmakesaturatedcolorsappearmorebrilliant.

FormandspaceContrastsofwarmandcoolcolorcanbeusedtodescribeformandtocreatetheillusionofspaceanddepth.Below,thelimitedpaletteofwarmandcoolcolorsgivessculpturalmodellingtothefigure.Notethewarmtonesonthemodel’sshoulders,calvesandbuttocks;bycontrast,bluish-violettonesareusedtodescribetheindentedplaneofthesmalloftheback.

DesmondHaughtonSueOiloncanvas45×117.5cm(18×47in)

RembrandtvanRijn(1606–69)Self-PortraitAged34Oiloncanvas102×80cm(403/4×32in)NationalGallery,LondonChiaroscuroRembrandtwasamasterofchiaroscuro–thecontrastoflightagainstdark–notonlyasacompositionaldevice,butalsotoheightentensionanddrama.SEEALSOTHELANGUAGEOFCOLOR214TONALVALUES219

COMPOSITIONBeforeembarkinguponanypaintingoradrawing,itisimportanttostepback

andtoevaluateyoursubject,notonlyasaseriesofobjectsthatareoccupying

three-dimensionalspace,butalsoasaflatpattern–ajigsawofinterlocking

shapes,colorsandtones–thataddsuptoabalanceddesign.

VisualbalanceOneofthemostimportantgoalsincomposingapictureisachievingvisual

balance.Inotherwords,thevariouselementsthatmakeuptheimage–lines,

shapes,colors,tonesandtextures–mustbearrangedwithcare.

Artistsandcriticshaveputforwardmanytheoriesaboutthisbalance.The

ancientGreekphilosopherPlatoexpressedsuccinctlywhatgoodcompositionis

allabout.Hestatedthat“compositionconsistsofobservinganddepicting

diversitywithinunity”;inotherwords,apictureshouldalwayscontainenough

varietytokeeptheviewerinterested,butthisvarietymustberestrainedand

organizedtoavoidconfusionanddisunity.

ChristaGaa(1938–92)StillLifewithInkwellWatercoloronpaper20×27.5cm(8×11in)NewGraftonGallery,LondonUnityanddiversityUnityisachievedbyintroducingelementsthatrelatetoandechoeachother,suchasthebottlesandbowlsinthisstilllife.Thesevisuallinksareeffective,becausetheeyefindsrelatedformsmoresatisfyingthanunrelatedones.However,noticehowChristaGaahasalsointroduceddiversity–withoutdistractingfromtheoverallunityofthecomposition–bychoosingobjectsthatdifferinsizeandshape,andbyvaryingthespacesbetweenthem.

RoyFreer

SkyBlueOiloncanvas120×100cm(48×40in)AsymmetryFormalsymmetrylendsbalancetoanimage,butlacksexcitement.Anasymmetricalarrangement,ontheotherhand,maintainsvisualequilibriumwhilesettingupdynamictensionsandrhythms.Asymmetricalcompositioncanbelikenedtoanold-fashionedscale,inwhichasmallbutheavymetalweightononesidecanbalanceamuchlargerpileofobjectsontheother.Inthispainting,forinstance,thereisacounterpoisebetweenactiveandpassivespace–thebusyclutterofobjectsservesasastrongattraction,butisheldincheckbythelarge,simplystatedforeground.

ElsieDinsmorePopkinNudewithStripedSkirtPastelonpaper25×25cm(10×10in)PositiveandnegativeshapesThepositiveshapesofobjectsinapictureareimportant,asarethenegativeshapescreatedbyspacesaroundandbetweenthoseobjects.Thispictureworksontwolevels:asarepresentationofthesubject,andasatwo-dimensionaldesignofinterlockingshapes.

JohnMartinVineyardWorkersWatercolorandgouacheonpastelpaper20×15cm(8×6in)RhythmRhythminapaintingordrawingplaysthesameroleasinmusic;itdrawsthedifferentelementstogetherandimpartstothecompositionadistinctivemood.Thesebendingfiguresaregroupedintoabeautifullycontrolledcentraldesign,inwhichshapes,patterns,linesandcolorsrepeatandechoeachother.Thissetsuparhythmwhichunifiesthepicture.SEEALSOTONALVALUES219COLORHARMONY225

CREATINGAFOCALPOINTArepresentationalpictureshouldhaveonemainsubject–afocalpointto

whichtheviewer’seyeisinevitablydrawn.Thus,whenplanningyour

composition,yourfirstquestionshouldalwaysbe,“WhatdoIwantto

emphasize,andhowshouldIemphasizeit?”

LeadingtheeyeWhenwelookatapictureofanykind,weinstinctivelylookforavisualpathway

toguideusthroughthecompositionandmakesenseofit.Iftheelementsinthe

picturearenotconnectedinapleasingandrhythmicalway,wesoonloseinterest

becausethepicturehasafragmented,incompletefeeling.

Compositionalshapes

Thesesketchesshowseveraldifferentwaystobreakupthepicturespaceinapleasingwayandhelpyoutoorganizetheelementssothattheviewer’sattentionfallswhereyouwantit.

AnnabelGaultEastonBroadtowardsSouthwoldOiloncanvas15.3×19.8cm(61/8×73/4in)RedfernGallery,LondonCreatinglead-insThedramaofthissceneisaccentuatedbytheforcefuldirectionallinesofthesanddunes.Theeyeispropelledbackinspacetothefocalpointformedwherethesilverlightonthewatermeetsthedarktoneofthecoastline.

ValerieBatchelorCotswoldVillageWatercoloronpaper27.5×35cm(11×14in)CounterchangeTheplacingoflightshapesagainstdark,anddarkshapesagainstlight,isanothermeansofcreatingvisualpathwaysthroughapicture;theeyeisattractedbythesestrongcontrastsandwilljumpfromonetothenext.Remember,however,thatthegreatestcontrastshouldbereservedforthecenterofinterest,sokeeptonalcontrastselsewhereinthepaintingrelativelysubdued.

TheruleofthirdsTogivethefocalpointmaximumvisualimpact,takecaretoplaceitcarefullywithintheconfinesofthepicturespace.Atraditionalwaytoproduceabalanced,satisfyingcompositionistousethe“intersectionofthethirds.”Thisformulaisbasedonmathematicalprinciplesofharmonyandproportion,andhasbeenusedbyartistsforcenturies.

UsingtheruleMentallydividethepictureareaintothirds,horizontallyandvertically,andthenlocatethecenterofinterest,andanysecondaryelements,atornearthepointswherethelinesintersect.Thissimpleprincipleproduceswell-balanced,comfortablecompositionsthatareeasyontheeye.

MichaelHyamStudyofJoachimPencilandwatcrcoloronpaper22.5×12.5cm(9×5in)CreatingemphasisStressingoneelementispartlyamatterofsubordinatingtheothers,forexamplebykeepingthebackgroundlessdetailedanddistinctthantheforeground.Thelyricalbeautyofthisportraitstudyderivesfromthe“lost-and-found”qualityofthedrawnandpaintedmarks.Thesitter’sfaceisthefocusofattention,anditisherethatMichaelHyamconcentratesmoredetailandcolor.Theloosertreatmentoftheotherelementsemphasizesthemodellingofthefeaturesbycontrast.

TrevorChamberlainRailwayViaduct,WelwynWatercoloronpaper25×17.5cm(10×7in)FocusingattentionThereareseveraldeviceswhichtheartistcanusetobringattentiontothecenterofinterest,suchasplacingmoredetailinthatarea,ormoreintensecolors,contrastingshapes,ortonalcontrast.Whenahumanfigureisincludedinacomposition,theeyeisinevitablydrawntoit–evenwhen,ashere,thefigureisdwarfedbyitssurroundings.Noticehowthefocalpoint–adarktoneagainstlight–isframedbythearchoftheviaduct,givingitfurtheremphasis.

SallyStrandGirlwithMotherBendingPastelonpaper35×27.5cm(14×11in)CroppingimagesSallyStrand’sfigurecompositionsarealwaysnaturalandunposed,conveyingtheeffectofasnapshot.Deliberatelycroppingthefiguresattheedgesoftheframebringstheviewerincloseformoreintimatecontactwiththesubject.

AlisonMuskerVicolodelleRiformeWatercoloronpaper35×16.8cm(14×63/4in)Atallnarrowformatlikethisiscertainlyunusual,buthereitisappropriatetoitssubject,underliningthehauntingqualityconveyedbythispared-downimage.

LucyWillisInterior,ZabidWatercoloronpaper42.5×62.5cm(17×25in)ChrisBeetlesGallery,LondonMaintainingtensionLucyWillis’spicturesseldomsettlefortheobvious.Thefigureontherightiswalkingoutofthepainting,apparentlyfloutingtheconventionthattheviewershouldbeledintothepicture.Yetwhyistheeyeheldsofirmlywithinthepicturespace?First,theverticallineofthedoorservesasabraketotheoutgoingfigure;thenthatfigureiscounterpointedbythesmallfigureinthecorner,creatingaspatial“push-pull”sensationwhichkeepstheeyemovingaroundtheimage.SEEALSOCOLORCONTRAST226

BREAKINGTHERULESCompositionisanimportantaspectofpainting.However,anover-reliance

onmathematicalandgeometricformulasmayresultinimageswhich,though

competent,aresafeandpredictable.AsCézanneoncesaid,“WhenIstart

thinking,everything’slost.”

InstinctandintuitionItistheunexpectedandthepersonalthatmakeanimagememorable,andoften

itisbettertoletyourcreativeinstinctsdictatewhentofollowtherules–and

whentodeliberatelyfloutthem.The“rules”thatgovernpaintinganddrawing

shouldbetakenonlyasguidelinesforproducinganacceptableimage.Although

theyareusefulforthenewpainter,withexperienceyouwillfindthatgood

compositionislargelyamatterofobservation,instinctandintuition.

FormatsAsageneralrule,ahorizontalformatisthemostappropriateshapeforthebroad

sweepofalandscape,whileanuprightformatistheusualchoiceforportraits

(hencetheterms“landscapeformat”and“portraitformat”).Butamorearresting

imagemayoftenbeproducedbyreversingtheseprinciples.

SquareformatThisformatisusedlessfrequentlythanlandscapesorportraits,yetithasastabilitywhichisattractivetotheeye.Infact,itisnomoredifficultcomposingasquare-formatpicturethanarectangularone,evenwhenthesubjectisalandscape,anditiswellworthexperimentingwithdifferentformats.

BreakingawayOneofthemainreasonswhytherectangularformatdominatesallothersistheRenaissanceconventionthat“apictureisawindowopenedontheworldandthenpaintedbyanartist.”Thecontemporaryartist,lesshideboundbyconvention,realizesthattherectangularformatisjustoneofmanyshapesyoucanuseforapicture.

JohnMartinStillLifewithWateringCanOiloncanvas30×30cm(12×12in)

AnthonyGreen

TheThirtiethWeddingAnniversaryOilonboard157.5×148.8cm(63×591/2in)PiccadillyGallery,LondonSEEALSOCOMPOSITION228

Chapter8

WHATSHALLIPAINT?

Themajorityofartists,whentheyarechoosingsubjectstopaint,turntotheclassicthemes–stilllife,

landscape,interiors,wildlife,portraitureandfigurepainting.Thereare,ofcourse,manyvariationson

thesethemes.Stilllifealonecanencompassanythingfromasingleobjecttoacomplexgroupoffruitand

flowers.Townscapes,seascapes,skystudiesandgardensaremerelydifferentformsoflandscape

painting.Andwhenartistsconstructpicturespurelyfromimagination,anyoralloftheclassicthemes

couldbecombinedinasinglepicture.Thissectionofthebookcombinesmajorpaintingprojectswith

helpfulexercisestodevelopyourskills.

PAINTINGTHREEDIMENSIONSRepresentationalpaintingsareactuallyillusions–two-dimensional

interpretationsofathree-dimensionalworld.Youareabouttotakeupthe

challengeofcreatingthoseillusions.Sowhatisitthatmakesapaintedimage

believable?Tobegintoanswerthisquestion,wehavechosenalemonasa

simplesubjecttoillustratesomebasicprinciples.

ShapeOneofthewayswerecognizeanyobjectisbyitsshape–thatis,byitsprofileas

itappearsagainstabackground.Whetheritisinterpretedasasimpleoutlineor

asasilhouette,shapehelpsustodistinguishoneobjectfromanother.

Contourlines

Form

However,anoutlineprovidesverylimitedinformationaboutanobject.For

However,anoutlineprovidesverylimitedinformationaboutanobject.For

greaterrealism,youwillneedtoexplorewaysofconveyingthree-dimensional

formorsolidity.Onesimplemethodistodrawcontourlinesrepresentingthe

surfaceoftheobject.Thismayhelpyoutounderstandtheformoftheobject,

eventhoughitisasomewhat“mechanical”interpretation.

ToneTocreateamorerealisticimage,trymakinglinearmarksintheformofhatching

andcrosshatchingtocreateatonalimage–onethatinterpretsthesubjectin

termsoflightanddark.Facetedshapeshaveclearlydefinedplanes,butrounded

formsrequireagradualgradationfromlighttodark.Toevaluatetonalvalues,

studyyoursubjectthroughhalf-closedeyes.Thisallowsyoutodistinguishthe

lightestanddarkestareasfromthehalftones.

Overheadlight

Lowangleoflight

LightandshadeLightfallinguponanobjectcastsarelativelydarkareaofshadowonthe

oppositeside.Includingshadowsinyourpaintingwillhelptocreateanillusion

ofweight,becausetheobjectwillappeartoberestingfirmlyonasurfacerather

thanfloatinginspace.Shadowsarestrongestimmediatelyadjacenttotheobject,

gettinglighterastheystretchaway.

Alowangleoflightwillcastalongshadow,whereasanoverheadlightwill

castashortone.Illuminatinganobjectevenlytendstoflattenitsappearance,

whereaslightfromonlyonedirectionexaggeratesthetonalcontrast.

HighlightsHighlightsarehigh-keyareasoftone,whicharecreatedbylightreflectingback

fromasurface.Usedinconjunctionwithshadows,highlightsservetoenhance

theillusionofthree-dimensionalform.Youcancreatehighlightsbyapplying

opaquepaintoverlaidcolor,ormaskingoutareasofwhitepaperbeforeyou

applyawash.

ReflectedlightandcolorLightreflectedfromatabletopwillbrightenareasofdeepshadow.Similarly,

thecolorofthesubjectitselfmaybereflectedinthesurfaceofthetable.Adding

thesetouchestoyourpaintingmakesforgreaterrealism.

LocalcolorWeknowthatalemonisyellow–thisisits“localcolor.”However,whenpaintinganobject,itisnecessarytolookbeyondlocalcolor.Thecolorthatweactuallyseedependsonwhetherasurfaceisindirectlight,reflectedlight,orshadow.Inthisstudy(below),theartisthasusedcadmiumyellow,modifiedwithwashesofyellowochre,andamixtureofcobaltblueandburntumberfortheareasinshadow.

SEEALSOCROSSHATCHING41MASKINGFLUID102,192DRAWINGPAPERS38WARMANDCOOLCOLORS216WASHES182WET-IN-WET188WET-ON-DRY189

EXPERIMENTINGWITHPAINTBeforeyoutackleanythingtoodemanding,experimentwithyourpreferred

mediumtoseejusthowversatileitcanbe.Tryawiderangeoftechniques,

fromsimplefluidwashestothickimpasto,todiscoverdifferentwaysof

interpretingtheobjectyouarepainting.Water-solubleandquick-drying

acrylicpaintisidealforexperimentation,butbesuretowashyourbrushes

frequentlyandonlysqueezeoutasmuchpaintasyouthinkyouwilluseina

singlesession.

SubjectandequipmentChooseasimpleobjectwithasurfacepatternortexturethatiseasytointerpret

andhelpsyoutoseethevolumeandshapeofthesubject.Thepaletteusedhere

wasopaquechromiumoxide(green),lightyellowochre,titaniumwhite,anda

littleburntumberfortheareasinshadow.Glazemedium,gelmediumand

texturepastewereusedtocreatethepainteffects.Aswellasasmallcranked

paintingknife,theartistusedaNo.10roundandNos2and3synthetic-hair

brights(flatshort-bristlebrushes).

DrybrushingTrymakingasimplebrushdrawing,usingasmallamountofundilutedpaintandashort-bristlebrush.Thebrushstrokeswillsoonrundry,givingafreshsketch-likeappearancetothework.

UsingdilutedpaintHerethepaintisdilutedwithwaterandappliedaswashes,wet-in-wet.Drawthejuginpencil,thenbrushcleanwaterwithinthepenciloutline.Startingatthetop,applyalight-coloredwashtothewettedarea.Builduptheformwithsuccessivelystrongerwashes,startingfromthedarkerareas–thecolortendstoflowandbleednaturally,creatingrewardingaccidentaleffects.Removeexcesscolorwhileitisstillwet,usingacleandampbrush.Createhighlightswithwhitebodycolor.

PaintingstraightfromthetubeMixundilutedpainttomatchthelightestbackgroundcolorandbrushitoverthepencildrawing.Givethepaintingform,usingthepaintatfullstrengthordilutedwithalittlewatertomodeltheshape.Blendthetones,andaddhighlightstogiveareflectivequalitytothesurface.

AddingglazemediumGlazemediumallowsacrylicstobeusedinasimilarwaytooils.Whenaddedinsmallamountstoundilutedacrylicpaint,glossyopaquecolorsareproduced.Addingalargeramountofglazemediumcreatesthintransparentwasheswhich,whentheyareusedtooverlayothercolors,areknownasglazes.Here,thepaintwasappliedwithbristlebrushes,whichwererinsedinwaterbeforeeachchangeofcolor.

UsinggelmediumGelmedium,whichisthickerthanglazemedium,driestoatransparentgloss.Itcreatesafull-bodiedpaintwitharichdepthofcolorthatcanbeworkedlikeoilpaint.Builduptheformofthejugwithopaquepaintandthinglazes.Asacrylicsdryrelativelyquickly,youcansoonoverpaintthesurfacetomodifythecolororform.Brushmarksleftintheextra-thickpaintwilladdcharactertothefinishedpainting.

MixingwithtexturepasteCreateadistinctlytexturedpaintingbymixingacrylicpaintswithtexturepaste.Useasmallcrankedpaintingknifetoapplythepaint,allowingyourstrokestofollowthecurvedformofthejugtoemphasizeitsbulbousshape.Withacrylicpaint,youcanworkfromdarktolightorviceversawhenbuildinguptheform.Althoughrelativelydifficulttocontrol,thickpaintappliedwithaknifeimpartsasenseoffreedomandspontaneitytothepainting.

AsimplepaletteUsingjustfourcolors,acrylicpaintoffersyouawiderangeofpossibilities,fromtranslucentwashestostrongopaques.SEEALSOACRYLICPAINT110GLAZING170KNIFEPAINTING120,174MEDIUMS76,118PAINTBRUSHES78,120WASHES182WET-IN-WET188

INTERPRETINGCOLORANDPATTERNEvenasimplepaintingencompassesavarietyofskills.Inadditionto

observingandcommunicatingindividualcolorsandform,astill-lifepainter

hastocomposeandarrangeelementswithinagivenarea,andalsostrivefor

balancedcolor.Thispictureofaflowerconcentratesoncolorandshape

createdwithpaintonpaper.Brushesareeventuallyputasideastheartist

employsacollagetechniqueasasimpleandeffectivemeansoffocusingonthe

colorsandshapesevidentinthisstill-lifesubject.

MaterialsUsequick-drying,water-solublecolors.Heretheartistusedgouache,butacrylic

paints,watercolorsandevenpostercolorsorinkswillserveequallywell.

Anypaperwilldo.Leftoverscrapsfromsketchbooksandpreviousprojectsare

ideal,andusingpaperswithdifferentsurfacetextureswillservetoenrichthe

finishedwork.

Youdon’tneedscissorsunlessyouwantverypreciseshapes.Forthiscollage,

theshapesweretornfromthepaper.Youwillneedpasteandabrush.

ObservingcolorsCreateyourpaletteofcollagematerialswithpaintonpaper.Interpretthecolorsoftheobjectinfrontofyouascloselyaspossible.

FormingshapesStartbytearingthebasicshapesoftheflowerfromtheappropriatelycoloredpapersamples.Simplymodifytheshapeandscaleasyougo.

FixingpositionDry-laythearrangementontothebackground.Then,whenyouarehappywiththecomposition,pastethevariouselementsinposition.

ArrangingthecollageArrangethetorn-papershapestoapproximatetheformoftheflower.Changetheshapesandadddifferentcolors,graduallybuildingupthepictureratherlikeamosaic.

ChoosingyoursubjectItisimportanttoselectaflowerthatiswell-definedinformandcolor,andwillthuslenditselftosimpleinterpretationusingthecollagetechnique.Inthiscase,theartisthasoptedforaseasonalfloweranddecidedtofocusonasinglebloomoffsetbyahintoffoliage.Theirisisanelegantspringflowerwithdistinctiveshapesandcolors.

EllaJennings

BlueIrisPaintedandtintedpapercollage76×51cm(30×20in)AsingleflowerMakingsimplecollagesofsingleobjectswillhelpyoutoseecolorandpattern.Thisboldinterpretationofanirisismadeusinggouachetocolorthepaper,whichisthentornandarrangedonatintedcartridgepaperbackground.Itisanadvantagetoworkatafairlylargescalewhenmakingtorn-papercollages.SEEALSOCOLLAGE208GOUACHE104PAINTINGAVASEOFFLOWERS254PAPERS21,28SHAPEANDFORM236WASHES182,204

INTERPRETINGSURFACETEXTURESEachcomponentinastilllifehasanintrinsicvisualquality–hard,brittle,

soft,flexible,warm,coldandsoon.Inaddition,thesurfaceofmostmaterials

willgraduallydevelopitsownparticularcharacterorpatinaasaresultof

ageingandexposure.

CapturingtexturesHere,weseeanumberofwaystocapturetheessentialnatureofinanimate

objects,usingavarietyofmedia.Bymakinganumberofstudiesofdifferent

materials,youcanbuilduparepertoireoftechniquesthatwillhelpyouwith

yourstill-lifepainting.

HouseholdwaresandfoundobjectsEverydayobjectscanbeusedtoprovideyourstill-lifetablewithavarietyofinterestingandchallengingsurfacetextures.

WoodandceramicinpastelHere,softpastelshavebeenusedtodepictcontrastingmaterials–woodenspoonsandafired-claypot.Drawthestilllifeinsoftpencil,thenrenderthesmoothsurfaceofthespoonswithsuitablepastelcolors,blendedonthepaperwitharolledpaperstump.Drawthewoodgrainwithpastels,usinganerasertoliftoffsomeofthecolor.Renderthesurfacetextureofthepotwithshortdiagonalstrokes,usingcolorsinvarioustonestocreatethecylindricalshape.Letthepastelstrokesoverlapandblendtogether.

Woodinpencilandwatercolor

WatercolorFirstdrawtheboxinsoftgraphitepencil.Usingyellowochre,rawsiennaandburntsienna,mixwashesthatresemblethetonesofthewood.Fortheshadows,mixburntumberandcobaltblue.Wetthedrawnareaandlayawashofthelightesttone.Whenalmostdry,paintthefacesoftheboxwithdarkerwashes.Addstreakstorepresentgrain,andapplyawashfortheshadows.

ColoredpencilUsingwater-solublepencils,drawthelightwoodtones,followingthedirectionofthegrain.Buildupthecolorbycrosshatchingwheredarkertonesarerequired.Usingawetbrush,blendthepencillinestomakeacolorwash.Whendry,darkenandmodifythetonesandcreatethegrainpatternofthewood.Useaputtyeraserto

introducehighlightsandcleanupedges.

Claypotsinpastelandacrylic

PastelHavingmadeasimpleunderdrawing,youcandepictthecoloringandweatheredtextureofsomeoldclayflowerpotsbyusingoverlappingstrokesofcolor.Trynottooverworkthecolors,oryouwillrisklosingtheirfreshness.

AcrylicpaintLiquidacrylicpaintcanbeusedstraightfromthepotorthinnedwithwater.Applythecolorfreelywithaflatbristlebrush,usingasmallroundbrushfordetail.Oncethesurfaceisdry,overpaintwithopaquepaintortransparentwashestomodelthepotsandintroducethepaletonesofmildew-stainingovertheterracotta.

Drinkingglassinwatercolorandpastel

PastelItisdifficulttobeprecisewhenworkingwithpastels,souseaputtyerasertodefinethereflectionsandthehighlightsintheglass.Apaperstumpisusefulforblendingcolorsandfordrawinginfinedetail–rubthetipofthestumpontothepastel,andthentransferthecolortothework.

WatercolorMixwatercolorwashestorepresentthesilver-graytonesseeninglass.Studytheshapesofthereflectionsandblocktheminwithwashes,wet-on-dry.Leaveareasofwhitepapertorepresentthehighlights.Carefullyoutlinethedarkeredges,suchastherim,usingthetipofabrush.

FoldedfabricinoilpastelOilpastelshaveapaint-likequality,idealforrenderingthefoldsandtextureoffabric.Drawtheclothonacoarse-texturedpaperandapplycolortodelineatethesquares,allowingsomeofthepaper’stexturetoshowthrough.Describethevarioustonesbyoverlayingwithmorepastel,orscrapeitbackwithascalpel.Usethepointedbladetodrawthewarpandweftofthefabric.

RustycaninwatercolorThewornsurfaceandrustpatchesonthisoldscrew-topcanhavebeenpaintedinwatercolor.Warmandcoolgraysmixedfromrawumberandcobaltblueareusedforthemetalsurfaces,withwashesofyellowochre,greenandrawumberfortheoldlabelsandtape.Makealinedrawingofthecontainer,thenapplyalight-graywashforthemetal.Adoptasimilartreatmentforthelabelandtape.Graduallyadddeepertoneswithdabsofcolor,wet-in-wet,tobuilduptheformandcharacterofthesurfaces.

RustyironinacrylicApplyacrylicswithapaintingknifetodepictabarnacle-coveredsurface.Thickenthepaintwithtexturepaste,thenstippleitontothepaper.Mixthecolorsonapalette,orapplydabsofpainttothework,blendingthemonthesurface.Specksofunmixedcoloraddbrilliancetothework.

Forthesecondstudy,thesamecolorswereused–burntumber,yellowochre,cadmiumredmedium,processyellowandtitaniumwhite–butthepaintwasappliedwithabrush.Makesomeshortbrushstrokes,usingdifferentcolorstocreatetheformandtextureofrustymetal.Tomodifythebasecolorandadddetail,usewater-thinnedglazes.

Enamelledcoffeepotinacrylicandpastel

AcrylicThechallengeherewastosimulatethefaded,semi-mattsurfaceofoldcoloredenamel.Thisstudywasmadewithliquidacrylicpaint–alizarincrimson,cadmiumyellow,titaniumwhiteandrawumber.Toachieveagradationofcolorandtone,blendthecolorsonthepaperwhilethepaintiswet.Addtouchesofthinnedcolortocreatehighlightsandareasofchippedenamel.

PastelAsimilarstudywasmadewithsoftpastel.Useasoft-texturedvelourpapertoblendthepastelsintoasmoothgradationoftoneandcolor.Thepastelsarelaidthinly,allowingthewhitebackgroundto“grin”throughandcreatefresh,luminouscolors.Firstdrawtheoutlineinsoftgraphitepencilorink.Whenapplyingthecolor,workfromlighttodark,usingastumptoblendthepastelandabristlebrushtoeraseunwantedcolor.Addthehighlightslast.

Aluminiumcoffeepotinacrylic

Bywayofanexperiment,trycopyingthesurfaceofanaluminiumcoffeepotwithsilverandpewteracrylicpaints.Mixthemetallicpaintswithtitaniumwhitetoproducethelightertones,creatinganinfiniterangeofsoftgrays.Painttheglasstopwithwatercolor.SEEALSOACRYLICPAINTS110RESOURCESANDREFERENCES126COLOREDPENCILS42PAINTBRUSHES78,96,120PAINTINGKNIVES120PASTELS48MEDIUMS76,118OILPASTELS50WATERCOLORPAINTS87WET-IN-WET188WET-ON-DRY189

FISHONAPLATEYoucantaketheideaofpaintingasingleobjectastepfurtherbylookingat

theobjectincontext.Thisrequiresyoutoobserveavarietyoftextures,and

introducesyoutobasiccomposition.Fishonaplatemakeasimpleyet

fascinatingstill-lifesubject.Thebrittleglazedceramicoftheplateandthe

naturalcoloringanddelicatescalepatternsoftherecentlycaughtmackerel

provideanopportunitytoexplorewaysofusingpainttoexpresstheir

contrastingqualities.

UnderdrawingStarttheworkbymakingalightpencildrawingofyourcomposition.Drawthe

ellipticalshapeoftheplateinfull,butellipsescanbetrickytodrawaccurately,so

don’tbeafraidtouseanerasertomakecorrectionsasnecessary.Nextaddthe

fish,notingtheiroverallshapeandproportion.Youcanerasethelinesofthe

platethatwouldbehiddenbythefishonceyouaresatisfiedwithyourdrawing.

DrawinginpencilYoucankeeptheunderdrawingrelativelysimple.

ThelightingAwindowtotherightofthestill-lifetableprovidesthemainlightsource.Fishskinchangescolordramaticallyaccordingtothedirectionoflight,soyoumayneedtotrydifferentarrangementstodiscoverthemostattractiveviewpointwhenyouaresettingupacompositionofthiskind.

ThematerialsWatercolorpaintistheperfectmediumforcapturingthediffusedcoloringofthesubject.Thisstudywaspaintedon250gsm(120lb)roughwatercolorpaper,tapedbutnotstretchedontoadrawingboard.Inaddition,youwillneedasoftgraphitepencil,roundsablepaintbrushes,aneraserformakingcorrections,andmaskingfluidtocreatethehighlights.

ThepropsApairofattractivelymarkedfisharrangedonasimpleplatemakesanidealvehiclefordevelopingvisualawarenessandlearningtousewatercolor(thechosenmediumforthisstudy).Lookcarefullyattheharshreflectionsfromthehardglazedchina,comparingthemwiththemoresubtleglisteningskinofthefish,withitsrainbowreflectionsandstripedmarkings.

MaskingoutthehighlightsIdentifythehighlightsontheplateandfish,andpaintthemontothedrawingwithmaskingfluid.

PaintingtheshadowsMixtonalwashesfortheshadowsandformodellingtheform.

PaintingtheplateMixasuitablecolorandcarefullypaintintherimoftheplate,takingnoteofthewayreflectedlightgivesitsolidityandform.

LightandshadowNotehowlightilluminatesyourstilllife,creatinghighlightsononesideandthrowingshadowsontheother.

MaskingouthighlightsUsethewhiteofthepapertorepresentyourstrongesthighlights.Paintthe

shapeofeachhighlightwithmaskingfluidwhich,whenremovedatalaterstage,

revealstheunpaintedsurfaceofthepaper.Inthisstudy,thehighlightsoccuron

variouspartsofthefishandalsoaroundtherimoftheplate.Maskingfluiddries

fast,soworkquicklyandwashoutyourbrushinsoapywaterbeforethefluid

clogsthebristles.

Startthepaintingitselfbywettingtheareasofcastshadowaroundtheplate,

usingcleanwater.Withbrushstrokesfollowingtheshapesmadebytheshadows,

applyalightwashoverthewettedarea.Letthesurfacedryalittle,thenadd

darkerwashestodeepenandstrengthenthetones.Also,addpalecolorwashes

tomodelthehollowshapeoftheplateandtointroducesomeshadowsbeneath

thefish.

MixingandlayingwashesNowbegintobuilduptheformofthefishwithoverlappingwashesof

translucentcolor.Notethesubtlecolorchangesacrosstheskinandmixsuitable

washes,testingthemonascrapofpapertocheckthestrengthofcolorandtone.

Whendry,watercolorsappearlighterthanwhentheyarefirstapplied,sotake

thisintoconsiderationwhenmixingyourcolors.Laythewashesfreelyandlet

someblendtogether,wet-in-wet.Ifyouneedtomodifythecoloring,leavethe

washtodry,thenapplyanothercoloroverthetop.Alternatively,liftoffthe

paintwhileitisstillwetbyblottingwithasoftpapertissue.

UsingglazestogiveshapetothefishApplytranslucentwashestodescribethefirm,roundedbodiesofthefish.

PickingoutthedetailsUseafineroundpaintbrushtodrawthestripedmarkings,andtotouchinthedarkcenteroftheeyes.

RevealingthehighlightsOncethepaintisdry,useyourfingertiporanerasertorubawaythemaskingfluid,revealingthewhitepaperbeneath.

Nowbegintoadddetailtothepainting,emphasizingtheformandcharacterof

thesubject.Useafinebrushtodefinetheshapeofthefish,andtopickout

featuressuchastheeyesandgills.

Letthepaintingdry,andthenrubawaythemaskingfluidappliedatthe

beginning.Applylightwashestomodifytheshapeandcolorofthehighlights,

butleavethewhitepapertodepicthigh-keyreflections.

Atthispoint,youshouldstepbackandtakeagoodlookatyourpaintingto

ensureyouaremaintaininganoverallbalanceoftoneandcolor.Thenmakethe

necessarymodificationswithsmalltouchesofpaintandcoloredglazes,untilyou

feelyouhavecapturedtheessenceofthestilllife.

DavidDayFishonaPlateWatercoloronpaper25.5×38cm(10×15in)Thissimplestudydemonstrateshowyoucanmakeasuccessfulstill-lifepaintingofcommonplaceobjects,providedtheyarechosenwithcareandarrangedtomakeabalancedcomposition.Makesimilarstudiesusingavarietyofmedia.

1SurfacetexturesEachfishhasitsownindividualmarkings.Paintthemwithafineroundbrush.

2ColoredglazesDelicatecolorscanbeachievedwithoverlappingglazesofwatercolor.

3MaskedhighlightsMaskoffthewhitepapertocreatehigh-keyaccents.

4ModellingDescribetheshapeandformofobjectswithcarefullyappliedwashes.

5FinestdetailAddthefinestdetailtoapaintingbydrawingwithapointedbrush.

SEEALSODRAWINGCIRCLESINPERSPECTIVE303MASKINGFLUID192WASHTECHNIQUES182WET-IN-WET188WET-ON-DRY189

PAINTINGABOWLOFFRUITTheenormousrangeofpigmentsavailablemakesitdifficulttochoosecolors

inaconsideredway.Whocanresistthoseendlessrowsofgorgeouscolorsin

thelocalartstore?Setsofgood-qualitywatercolorsareavailableinboxes,but

theseareexpensiveandmaycontainfarmorecolorsthanyouneed.Awiser

courseistobuyanemptyboxandfillitwithcolorsofyourownchoice.

BeawareofshapesIndividually,mostfruitsaresimilarinoutline,butpilethemoneuponanother

andyoubecomeawareofthemoreinteresting“negative”shapesthatarecreated

bythespacesbetweenandaroundthefruits.Acarefulassessmentofcolorsand

tonesisessentialtomakethebestoftheseshapesandcreateastrong

composition.

Water-mixableoilpaintsThefeaturedpaintingwasmadewithwater-mixableoilpaints.Theybehave

muchlikeconventionaloilcolorsandproducesimilarresults,buttheyare

thinnedwithwaterinsteadofasolventsuchasturpentine.

MediumsArangeofmediumsisavailableforalteringthecharacteristicsandworking

propertiesofthepaint.Forthispainting,theartistusedwaterasthediluent,

plusawater-mixablepaintingmediumwhenapplyingcertaincolors.

Strongcolors,uninhibitedbrushworkandboldoutlinescharacterizeJennieDunn’spaintings.Thissimplestilllifereliesonthecarefulorchestrationofshape,toneandcolorforitsimpact.

BrushesWhenpaintingwithwater-mixableoils,itisadvisabletousespecialsyntheticbrushes.ForthispaintingtheartistusedNos2,4and18flats,andNos2,4and20rounds.Topreservetheirshape,alwayswashoutyourbrushesinwarmsoapywaterandwrapthebristlesinapapertowel.

PreparatorydrawingsNoteveryartistbotherstomakepreparatorysketches,butdrawingwillgiveyoutheopportunitytotryoutvariousarrangementsofcolorandtone.Itiseasiertoevaluatethecompositionifyourpreparatorydrawingsaremadeonpaperthathasthesameproportionsasyourcanvas.Cutortearthepapertomatchthecanvasifneedbe.

Colorsused:AlizarincrimsonCadmiumorangeCadmiumreddeepCadmiumyellowlightCadmiumyellowmediumCeruleanDioxazinepurple

FrenchultramarineLemonyellowNaplesyellowSapgreenTitaniumwhiteViridianYellowochre

ComplementarycolorsWhenselectingthefruitforthispainting,theartistintentionallychosecolorsthatwerecomplementary.Whencomplementarycolorsarejuxtaposed,theyintensifytheeye’sperceptionofcolor,creatingamoredynamicandvibrantpicture.

Coloredgrounds

Coatingaprimedcanvasorboardwithaneutralorcoloredwashprovidesasurfaceuponwhichtheartistcanmoreaccuratelyevaluatearangeofcolorsandtones.Inthiscasethegroundcolorisintendedtoformanintegralpartofthefinishedpainting.Awarmpink,mixedwithjustatouchofultramarine,glowsthroughtoenliventhecoolblues,greensandyellows,andformsaperfectmidtoneforwarmredsandoranges.

Applyingacoloredground

Scrubgroundcolorontothecanvas,usingawideflatpaintbrushandaballofdamppapertowel.Providedyouthinthepaintwithverylittlewater,thegroundwillbedryenoughtoworkonwithinafewminutes.

UnderdrawingUsingadarkermixofthegroundcolor,drawthemainelementsofthe

compositioninlineonly.Don’tbeafraidofmakingmistakes–whileitiswet,

water-mixableoilpaintcanbewipedoffthesurfaceveryeasily.

ModifyingthecompositionWhilemakingtheunderdrawing,theartistdecidedtosimplifythepicturebyleavingouttheextraneouspictureframeandfruitshehadincludedinherpreliminarydrawings.

DarkertonesStartbyblockinginthedarkestshapesinordertosuggesttheplumsand“black”grapes.Notehowthefruitsinshadowhaveadifferenttonalvaluefromthosethatcatchthelight.

LightertonesIntroducethebananasandapricots.Forthe“white”grapes,mixacoolbasecolorfromcadmiumyellowmediumandcerulean,addingultramarineandsapgreentothegrapesintheshade.

BlockinginthetonesDuringtheearlystagesofthepainting,JennieDunnislessconcernedwithform

thanwithbalancingthetones.Atthisstage,sheleavesnarrowgapsbetween

areasofcolor,allowingthemid-tonegroundtoshowthrough.

Introducingstrongcolors

Whenpaintingasubjectthathasstrongcoloring,yourperceptioncanbecome

Whenpaintingasubjectthathasstrongcoloring,yourperceptioncanbecome

confused,makingitquitedifficulttodifferentiatetonalvalues.Narrowyoureyes

whenlookingatthestilllife,andyou’llseethedark,lightandmidtonesmore

clearly.

BlockinginthestrongercolorsIntroducethestrongcolorsbypaintingtheoverallshapesoftheorange-coloredsatsumasandtheredandyellowpatchesonthenectarinesandthepeach.

BringingthepaintingtolifeWiththeunderpaintingcomplete,theartistreturnstothefocalpointofthe

picture–thebowloffruit.Withsomedeftstrokesofpaint,thepictureisrapidly

broughttolife.Thefruitsbegintotakeonweightandsolidity,andtheirsurfaces

glistenwithreflectedlight.

PaintingthefruitbowlOutlinethebowlwithdeepultramarine,thenlightlybrushpaleNaplesyellowalongthesidesofthebowl.Herethepinkgroundchangesthecolortoawarmgray.Definetheinneredgeofthebowlanddeepshadowswithsapgreenandpurple.

Paintingthebackground

Usingyourlargestflatbrush,roughlyblockinthewhitetablecloth,scrubbingpaintontothecanvassothatthewarmgroundshowsthroughthebrushstrokes.Beforeyoustarttodetailthefocalpointofthepicture,paintinthebackgroundshapesandtones.Thesewillhelpyoutoevaluateaccuratelythecolorsthatwillbeappliednext.

DefiningshapesTodefinetheshapesandunifythepainting,JennieDunnpaintsdistinctoutlines,usingcolorsthatcomplementthecolorsofthefruit–softpurplearoundthebananas,anddarkgreenforthewarm-colorednectarines,apricotsandsatsumas.

MultipleshadowsThecombinationofnaturalandartificiallightthrowsmultipleshadowsalongsidethefruitbowl.Withtheirsweepingbandsofcoolpinkblendedwithsapgreen,ultramarineandviridian,theseshadowsareanimportantfeatureofthepainting.

JennieDunnFruitBowlWater-mixableoiloncanvas51×61cm(20×24in)1BananasPaintthedistinctiveplanesseparately,usingvarioustonesofyellowmixedwithsapgreen.

2SatsumasWithacombinationofcadmiumredandyellow,keeptheorangecolorrelativelylow-keytoensurethatfruitsatthebackofthebowlappeartorecede.Applypale-yellowhighlightsanddark-greenleaveswithalargepaintbrush.

3Apricots

Bringthesimplestoffruitstolifewithvigorousbrushstrokes.Thebasecoloriscadmiumyellowwarmedwithcadmiumorange.

4NectarinesDry-brushhighlightsoveramixtureofcrimsonandcadmiumred.

5WhitegrapesPaintsomesolid-lookinggrapeswithcomplementarypinkandyellow-greenhighlights,graduallyblendingintotheblue-greenshadows.

6PeachHavingpaintedtheyellowpatches,stipplealizarincrimsonandcadmiumredontothecanvastodepictthevelvetyskinofapeach.

7PlumsWithboldbrushstrokes,youcandescribetheformandrichcoloringofthedarkestfruitsinthebowl.Usepaleblueandpinkforthehighlights,andthendefinethedarkerareaswithadeeppurple.

8BlackgrapesScumblingpinkandblue-grayontothecanvaswillcreateatexturethatresemblesanaturalbloomontheskinsoftheblackgrapes.Youcanapplysomehighlightswithapaintingknife,andthenenliventhespacesbetweenwithviridian.

9AppleAsmallpatchofpale-greenappleistheperfectcomplementarytothedark,richcolorsofthefruitsthatsurrounditinthebowl.SEEALSOCOMPLEMENTARYCOLORS215DRYBRUSHING178,196MEDIUMS76MIXINGCOLORS220PAINTINGKNIVES120,174PAINTINGTHREEDIMENSIONS236SCUMBLING176WATER-MIXABLEOILPAINTS66

PAINTINGAVASEOFFLOWERSThereislittledoubtthatmakingpreparatorystudieswillallowyoutotryout

differentcompositionsandabsorbvaluableinformationaboutasubjectbefore

youembarkonapainting,butanartistmustalsobeabletomakesensitiveand

flexibleresponsestoresultsastheworkprogresses.Thiswillrequirethe

abilitytorecognizeagoodthingwhenithappensandalsothecourageto

changecourse,perhapseventoabandonyouroriginalconcept.

AflexibleapproachShirleyTrevenahasmasteredthisflexibleandspontaneousapproachtopainting,

takingpleasureineveryfortuitouseffectandtextureanunpredictablemedium

likewatercolorcanoffer.Don’tapproachthisexercisewiththeideathatyouare

goingtomakeanaccuratebotanicalstudy.Instead,enjoyyourselfasyoutrywith

colorandtexturetoconveyanimpression–youremotionalresponsetoavaseof

flowers.

ChoosingthesubjectToavoidconflictwithinthepainting,itisagoodideatoselectjustonetypeof

flower,andrelyonthecontrastbetweentheblooms,leavesandstemsforvisual

interest.Youwillhaveyourownideasforsuitablesubjects,butanarrangement

oflilies,irisesortulipsofferssuchdramaticpossibilitiesthattheseflowers

invariablymakerewardingsubjectsforpainting.Thevaseorcontaineryou

choosewillmakeadifferencetothepicture.Thesimplebrassvasedepictedisa

perfectfoilforthedisplayofwhitelilies,butothertypesofflowermightlook

betterinaglassvaseoraceramicjug.Youdon’thavetoputflowersinwater.

Wrappingpaperpresentsexcitingopportunitiesforcolorandpattern,too.

PreparatoryworkWhenfollowingamore“organic”approachtopainting,thereisnopointin

makingadetailedunderdrawing.However,thatdoesnotprecludeyoufrom

drawingtheregularoutlineofadishorjugifithelpsyougetstarted.Similarly,

thereisnothingtopreventyoupractisingthetechniquesbeforeyouembarkona

finishedpainting.Thecolorsketchopposite,forexample,wasmadetotryouta

rangeofcolorstheartistwasconsideringforthemainwork.

FlexibleapproachtocompositionTodevelopaloose,intuitivestyle,youshouldtrynottoberestrictedbytheshapeandsizeofyourpaper.And,astheworkprogresses,bepreparedtodevelopthecompositioninwaysthatmightbesuggestedbythepaintingitself,suchasastrongdirectionalfloworabalanceofforms.ForShirleyTrevena,thevaseofflowersmerelyservesasthestartingpointforhercomposition.

LiliesTheeyeisdrawntothesculpturalbloomsofthelily,butforanartist,theshapesformedbytheleavesandstemcanbeasimportantastheflowers.

ColorsForthispainting,ShirleyTrevenausedthefollowingartist-qualitytubecolorsmixedonwhiteplates:

AlizarincrimsonBurntsiennaCadmiumlemonCaputmortuumvioletFrenchultramarineGreengoldOlivegreenPayne’sgray

PaintingalilyflowerTopaintalily,startwithawashofalizarincrimsondownthecenterofeach

petal,anddrawthecentralstripesbydraggingasharpenedstickthroughthewet

paint.Partiallydrythepaintwithahairdryer,thenbrushcleanwateroverthe

petalstoencouragethecolortobleed,creatingapale-pinkhalo.Touchoffa

dropofdarkvioletintotherootofeachpetal,andallowthecolortorun.

Paintthestamenswithmaskingfluid,thendrythepaintingoncemore.

Definetheedgesofthepetalswithadarkblue-graywash.Beboldwithyour

brushstrokes,butkeephalfaneyeonwhereyoumightbeplacingthenext

bloom.Createdelicategradationsinthisbackgroundcolorbydroppinganother

colorintothewetpaint.Youcaninterpretshapesquitefreelybecauseamere

suggestionissufficienttoconveythecharacterofthelily.

Speckledcenters

Youcansuggestthespecklingonthepetalsbyspatteringsomedark-redpaint

acrosstheflower.Thereisnoneedforaccuracyhere–justtapaloadedbrush

acrossyourfingertosplashpaintontothecenterofthebloom.

ColorsketchLikethefinishedpainting,thispracticeworkwasmadeonstretched300gsm(140lb)cold-pressedpaper.Itwasmadeusinginexpensivebrushesbutgood-qualityartists’watercolors.

StemsandleavesNowpaintthestemsandthebaseofeachleafwithabrush,andthendragthe

sharpenedstickthroughthewashtodrawoutthepointedleafanditsveins.Blot

thepaintwithanabsorbentpapertowelifyouwanttoremovesomecolor,or,

alternatively,youcantouchdarkgreenintotheyellowleavestocreatebroken-

colorwashes.

BackgroundwashesDryoffeachsectionofthepaintingasyougo,anddefinetheshapeswithadark

backgroundwash.Donoteventrytodisguisethejoins;justdelightinthe

opportunitytocreateinterestingtexturesinyourwork.Youcanbeasboldasyou

likewiththecolor–ifyoufindthatitisnottoyourliking,youcanliftsomeof

thecoloroffthesurfacewithanabsorbentpapertoweloradampbrush.

Startingpoints

Youwanttogetofftoagoodstart,soselectsomethingthatgrabsyourattention.Fromthebeginning,theboldandcolorfulshapeoftheopenflowerwasseenasthefocalpointforthispainting.

ThefinishedpaintingAtraditionalwatercoloristwouldconstructapaintingsystematicallybyapplying

thepalerwashesfirst,andthenoverlayingthemwithprogressivelydarkerglazes

ofcolor.Itisalsousualtoworkacrosstheentirepainting,ratherthan

concentrateonsmallareasatatime.Withthispainting,theartistdeliberately

turnsthatapproachonitshead,inordertocreatearichtapestryofbothcolors

andtextureswhichislargelytheresultofchance.

Althoughshepaintsawidevarietyofsubjects,rangingfromstilllifeto

figures,ShirleyTrevenaisperhapsbestknownforherexuberantflower

paintings.Inthepaintingopposite,theliliesareburstingoutoftheimage,

creatingathrustofenergythatiscounterbalancedbythedarkweightofthevase.

Floutingconvention,theartistmakesthestemsvisible.

Don’tbemeanwithyourpaintRichtexturaleffectsareonlypossibleifyouapplyplentyofpaint.Forthisreason,itpaystousetubecolorsandmixyourwashesonwhiteplatesorsaucers.Apaintboxofpancolorsisuseful,butonlyduringthelaterstagesofapaintingwhenyoumightwanttoaddsmallcolorfultouchesormodifyanareaofcolorwithaglaze.

SpecialeffectsInadditiontoconventionalbrushwork,ShirleyTrevenaachievesfree-flowinglineswithasharpenedstick.

ShirleyTrevena

TallVaseofLiliesWatercoloronpaper58×46cm(23×18in)

1BrokencolorIfyoutouchaloadedbrushintoawashthatisstillwet,thecolorsmerge,creatingsoft,irregularmargins.Toleavedeliberatejunctionsbetweencolors,letonewashdrybeforeoverlayingitwithanotherwash.

2BackrunsTocreatethedelicatemottlededgeofabackrun,droppaintorcleanwaterfromthetipofabrushontoawashthathasbeenallowedtodryoutalittle.

3MaskingoffItisdifficulttoreservesmallareasofwhitepaperwhenyouarepaintingabackgroundwash.Maskdetailslikestamenswithmaskingfluid,thenpaintoverthemandrubofftherubberyfluidwhenthepainthasdried.

4SpatteringFlickingpaintfromabrushcreatestheillusionofspecklingonflowerpetals.Heretheartistappliedadditionaldots,usingasharpenedstick.

5DrawnlinesLeafveiningandotherlinearmarksaremadebydrawingasharpenedstickthroughwetpaint.Youcancreatesimilareffectsbydippingthestickintoanothercolorbeforedrawingthelines.

6LiftingcolorToremovecolor,scrubthesurfaceofthepaperwithafairlystiffdamppaintbrush,andblottheareadrywithapapertowel.

7DryingtheworkUsingahairdryerallowsyoutocontinueworkingonthepicture.Ifyouleavethepainttodrynaturally,thatwillcreaterichertextures.SEEALSOGLAZING170MASKINGFLUID102,192WATERCOLORPAINTS87

PAINTINGASTILL-LIFEGROUPThisstill-lifepaintingbringstogetherthecoreofsubjectswehaveseen

earlier,butthistimetheartisthaschosentointroduceanothervitalelement–

light.TimothyEastonisknownforpaintingsthatarecomposedwithastrong

geometricstructure.Herehearrangesasimplestilllifeonasquarecanvas,

placingthemaingroupjustoffcenter.Adiagonalshaftofwintersunlight

balancesthecompositionandthrowsdramaticshadowsacrossthetableand

backdrop,creatingagrid-likepatternwiththefoldspickedoutbytheintense

light.

PaintingwithoilsSomepeopleseemtofindusingoilpaintintimidating–somethingthatthey

shouldworkupto,havingcuttheirteethonanothermedium,suchaswatercolor

oracrylics.Thereisalsoawidelyheldviewthatitisimpossibletopaintinoils

withoutcreatingsuchamessthatyouneedaspecialstudiotoworkin.Neither

assumptioniscorrect.Beingslow-drying,oilpaintwillallowthebeginnerplenty

oftimeforexperimentation.Mistakescanbecorrectedbyoverpainting,orby

scrapingoffthepaintandstartingagain.

Onedrawbackwithanyslow-dryingpaintisatendencyforcolorstobecome

“muddy,”simplybecauseeachnewlayerofpaintstirsupthecolorsthathave

alreadybeenappliedtothecanvas.Youcancontrolthistosomeextentby

startingwiththinwashesofdilutedcolorthataregraduallyoverlaidwiththicker

paintasthepaintingdevelops.Also,itpaystokeepyourpaintbrushesascleanas

possibletoavoidintroducingcolorsinadvertently.TimothyEaston,whouses

onlythebest-qualityoilpaints,takesextracaretokeephiscolorscleanby

premixingarangeofshadesfromarelativelylimitedpalette.

Variousadditivesormediumscanbemixedwithoilpainttomodifyits

characteristics,butyoucanproduceperfectlysuccessfulpicturesusingnothing

butpureturpentineforthinningthepaintandforwashingoutyourbrushes.

PaintbrushesTimothyEastonlikestousearangeofrelativelysmallfilbertsforpaintinginoils,becauseitenableshimtomakeavarietyofstrokesusingasinglebrush.Forveryfinedetail,heusessablebrushes.

AnticipatingthelightAllpaintingsrelytosomeextentonthewaynaturalorartificiallightfallsonthesubject,butinthiscasetheartisthasdecidedtoallowthelighttodominatehispicture.Achoicelikethisbringsitsownchallenges,requiringtheartisttodevotemuchofthedaytoworkingpartlyfrommemory,anticipatingthosebriefperiods

oftimewhenconditionsarejustright.

BasicpaletteofcolorsAlizarincrimsonCadmiumyellowCadmiumyellowdeepCadmiumredCeruleanCobaltblueGeraniumlakeIndianyellowPermanentredRawsiennaTitaniumwhite

InitialbrushdrawingHavingprimedandpaintedthecanvaswithaneutralolive-greenground,the

artistbeginstodrawthesubjecttoestablishthebasiccomposition.Eventhough

heisapplyingdilutedpaintwithasmallsablebrush,theworkatthisstage

resemblesalivelypencildrawing,withboldhatchingusedtoindicatetheareas

ofshadow.

TonalunderpaintingWiththeunderlyingstructuredrawninwithline,theartistbeginstoblockina

widerrangeoftones,usingdilutedblue-graypaintappliedwithbolddiagonal

brushstrokes.Duringtheseinitialstages,theartistcanonlyapproximatethe

depthoftoneanddegreeofcontrastthatwillbeevidentwhenthesunlight

finallystreamsthroughthewindowtotheleftofthestill-lifetable.

Consequently,heconcentratesonbasicproportionandform,knowingthatthere

maybeconsiderablechangesmadetothecoloratalaterstage.

ImprovisedmahlstickAtraditionalpaddedmahlstickisusedforsteadyingthepaintingarmwhenexecutingprecisework.Whenworkingatclosequarters,improvisebyrestinganystripofwoodagainsttheframeofthestretchedcanvas.

MixingcolorsinadvanceBecauseheisinthehabitofworkingonanumberofpaintings,allatdifferentstagesofdevelopment,TimothyEastonhasmorecolorsonhispalettethanheneedsforanyindividualpicture.Consequentlythereislessspaceonthepaletteformixing,andthere’stheinherentriskofcolorsbecomingcontaminated.Asaprecaution,hesqueezesouttheminimumamountofrawpaint,butthenmixesarangeofhuesandshadesfromeachcolorbeforestartingwork.

StretchingcanvasesTimothyEastonlikestopaintonsupportshemakesfromrollsoflinencanvas.Usingrolledcanvasreducestheriskofcreasesthatmaynotshowuntilvarnishisappliedtothefinishedpainting.

WorkingupformanddetailWiththemainelementsofthepaintingblockedintohissatisfaction,Timothy

Eastonstartstoworkupthedetailsofthestill-lifegroup.Theformofeachlily

isgreatlyenhanced,andcarefullydrawnhighlightsandshadowsareusedto

indicatethecurveofindividualleaves.Moreworkgoesintopaintingthewaterin

thevase,introducingdarkshadows,pinkreflectionsandbrighthighlights,allof

whichservetodescribetheroundedshapeofthevase,thethicknessoftheglass

andthesurfaceofthewater.

ApplyingstrongercolorsThesunlightbringsthestrongercolorstolife,andtheartistseizesthe

opportunitytoblockinthelemons,usingcoolgray-greensfortheshadows,

orangeforthemidtonesandvariousshadesofyellowtodepictreflectedlight

andhighlights.Atthesametime,hestrengthenstheshadowscastbythefruit

andgivestheshellsbodyandformwithpinkhighlightsandwarmershadesof

blue-gray.

TurningapaintingupsidedownIfatanystageyoufeelthatsomethingisnotquiterightwithyourpainting,turn

itupsidedown.Thisinvariablyhelpsyoutoseetheworkafreshandmakesyou

awareofproblemswithproportions,colorbalanceandtonalcontrast.

Introducingthelilies

Thestemsandleavesaredrawnusingbrokenlinesandbroadbrushstrokes,andthepositionofeachbloomisplottedwithwhiteandpale-yellowpaint.Wheneveryoupaintflowers,beawarethatbudseventuallyopenintofullbloomswhich,inturn,wiltastheflowerdies.Sinceyoucannotarrestaflower’sdevelopment,youhavetodecidewhatstageisbestforyourpainting.

FloodingwithlightEventuallythesunlightstreamsthroughthewindow,illuminatingthestilllifeastheartistanticipated.Thisgiveshimthechancetopaintthehigh-keytonesacrossthetableclothandbackdrop,andtointroducehighlightstotheflatdishandshells.Withthemoreintenselightpervadingthescene,nowisthetimetobalancethetonesacrossthepainting.

DetailingtheshellsTheshells,too,receivemoreattention.Thehollownatureofthelargeshellisindicatedwithpinklightglowingfrominside.Darkertonesareappliedtomakeastrongercontrastwiththebrightlightreflectedfromthetableandbackdrop.

TimothyEaston

ReflectionsandShadowsOiloncanvas61×61cm(24×24in)ThefinalstagesThepaintingbeginstoglowwithlightandcolor–anillusioncreatedbytonalcontrastandthejuxtapositionofwarmandcoolhues.Colorisintroducedtotheshadowsandareasofreflectedlighttoimplythewarmglowofeveningsunlight.Althoughtheglazingbarsandraisedfoldsareclearlydefined,theyaredeliberatelysoftenedwithdry-brushedandscumbledcolortobreakupanyhardedgesandcreateaninterestingsurfacetexture.Tobalancethecomposition,theareaofshadownearthebottomofthepictureisincreasedand,atthesametime,reflectedcolorintroducedontothewhitesurface.Colorfuldetailsbringtheliliesintosharpfocus,withagreatervarietyoftonalcontrastamongtheleaves.Theformandsurfacetextureofthefruitsaresharplydefinedwithfinebrushworkandblending.Theshallowdishisdescribedwithcastshadowandreflectedlight,itsrimpickedoutwithpale-pinkandbluehighlights.Theshellsareworkedupwithgreaterdefinition,theirpearlizedsurfacesreflectingwarmshadowsandspecksofcolor.SEEALSOPAINTINGAGAINSTTHELIGHT266DRYBRUSHING178,196MAHLSTICK86MEDIUMS76MIXINGCOLORS220OILPAINTS64PAINTBRUSHES78,120PAINTINGTHREEDIMENSIONS236PRIMERSANDGROUNDS24SCUMBLING176STRETCHINGCANVAS16

PAINTINGYOURROOMSteppingbackfromthestill-lifetable,anartistcantakeinawiderviewofhis

orhersurroundings,bringingpiecesoffurnitureintotheframe,andperhapsa

windoworthecorneroftheroom.Somepeoplewouldseeitasjustanother

stilllifeonalargerscale,yetaroom–someone’shomeorworkspace–ismuch

morethananaccumulationofinanimateobjects.Everyinteriorhasa

characterthatreflectsthepersonalityofthepeoplewholiveorworkthere.

Paintingaroomyouknowwellgivesyouabetterchanceofconjuringupthat

atmosphereandconveyingittotheonlooker.

CapturingthesubjectThefeaturedpaintingisapictureofasmallintimatespace,fusedwithrich

earthycolorsandstrongdaylightstreamingthroughthewindow.Aglass-topped

table,achestofdrawersandamahoganywallclockemergefromtheshadows.

ThisisthelivingroomoftheartistDebraManifold.Likemostartists,she

surroundsherselfwithaplethoraofinterestingobjectsandcurios,butshehas

deliberatelyexcludedmostofthesedetailstocapturewhatsheconsiderstobe

theessentialcharacteroftheroom.It’simpossibletopainteveryobjectyousee

inaroom.Youhavetosimplifytheclutter,andsometimesrearrangethe

furnitureifyoufeelit’sdetractingfromthepainting.

PreparatorysketchesBeforestartingonthefinishedpainting,DebraManifoldphotographedher

roomfromdifferentangles.Havingsettledonaparticularview,shemadeatonal

study,usingpastelandacrylicpaintonbrownwrappingpaper.Shealsomadea

coloredpastelsketchtogetsomeideaofhowshemightinterprettheeffectof

lightontheroom.Everythingyouhavelearnedfrompaintingstill-lifegroupsis

relevanttopaintinganinterior:form,shape,tone,lightandshadeallplaytheir

part.Basicperspectivebecomesevenmoreimportant.Youdonothavetobe

precisewithyourcalculations,butwhenmakingpreparatorysketchesand

planningyourcomposition,beawareofhowthedifferentsurfaces–floor,walls,

ceiling,tabletops–relatetooneanotherinspace.

Tonalsketch

Colorsketch

Scumblingcolors

DebraManifoldcreatesrichoverlaysandsubtlecombinationsbyscumblingonecoloroveranother.Shescrubsthepaintontothesurface,depositingverythinlayersofcolor.Scumblingisaneasytechniquetomasterbecauseyoucanseetheeffectdevelopinggradually.

UnderpaintingHavingmadetwosketchesalready,DebraManifoldispreparedtolaunch

straightintothepaintingitself.

BlockinginthedarkerareasThepositionsofthewindowsurround,dooropeningandfurnitureareblockedin,usingadarkertoneofthevioletgroundcolor.Theartistscrubsneatpaintontothesurfaceoftheboard.

LayingcomplementariesTherealvalueofthestrongvioletgroundbecomesobviouswhenelectricgreensandbluesarelaidoverit.Thisbringsthepaintingtolife.

PositiveandnegativeshapesAlampshade,silhouettedagainstthewindow,isbrushedinwithblue-graypaint;thefurnitureanddarkfloorareaareindicatedwithhatching.

ThefinishedunderpaintingThedetailsoftheroomareaddedquickly,withthewallclockandtablerecedingintoshadow.Lightfromthewindowisintensified,andbrushstrokessuggestreflectionsfrompolishedsurfaces.

Materials

Thefeaturedpaintingwasmadewithacrylicpaintoverlaidwithsoftpastel.ThesupportisIngresboard(pastelboard),primedwithgessomixedwithpumice.Theprimedboardwascoatedwitharichgroundcolor–quinacridoneviolet–toestablishavibrantbasisforthepainting.

Theartist’spaletteCadmiumredmediumFrenchultramarineHooker’sgreenMaroonMarsorangeOlivegreenPayne’sgrayQuinacridonevioletTitaniumwhiteYellowochreKeepingacrylicsworkableFast-dryingacrylicpaintislikelytodevelopaskin,sometimesbeforeyouhavefinishedpainting.Onewaytodealwiththeproblemistouseastay-wetpalettethatkeepsthepaintmoist.DebraManifoldhasadifferentapproach.Shesimplysqueezesoutgenerousamountsofacrylicontoherpalette–whenaskinforms,thepaintbeneathremainsworkable,evenonthefollowingday.

BrushesTheartistpreferstousenatural-bristlepaintbrusheswhenworkingwithacrylics,eventhoughhervigorouspaintingstylewearsoutherbrushesatquitearate.Forthispainting,sheusedtwofilbertbrushes–Nos8and10.

BringinglightintotheroomThewaylightspillsintotheroomisvitaltothepainting.

ScatteringthelightAfterscumblingoverthewindow,theartistusesadrybrush,barelyloadedwithpaint,toscrubcolorontothewallsandfurnitureinthevicinityofthewindow.

ScumblingoverthewindowTheartistbeginstoscumbleneatpaintoverthewindowitself.Thisenhancesthecontrastandbreaksuptheedgesofthebarelydiscerniblewindowframe.

ChangingthecompositionThepicturehasreachedastagewhereDebraManifoldisforcedtomakea

decisionthatwillaffectthecompositionofthepainting.

MovingthevasetotheforegroundWithafewbrushstrokes,theartistfindsthesolutiontotheproblem.

ReturningtotheunderpaintingBeforetacklingtheforegrounddetail,theartistdecidestoglazeoverthewall

clock,whichatthemomentistoodominant.

OverlayingwithawashofcolorWithawidebrush,DebraManifoldpaintsathinvioletglazeovertheright-handsideofthepainting.Usingdilutedgroundcolorunifiesthisareaofthepicturebutpreservesthevitalityoftheothercolors.

DebraManifold

TheArtist’sRoomAcrylicandpastelonboard58.5×41cm(23×16in)Thefinaldetailsareworkedupwithsoftpastels.Thedoorwayexudescoollight,butwithoutdetractingfromtheprincipalsourceofillumination.Thesamegreenlight,scatteredacrossthefloor,balancesthepaintingandthrowsthetablelegsintorelief.Asplanned,theconflictbetweenthebackgroundandtheforegroundisresolvedwiththeadditionofavasethatnowcontainsflowers.Thesebringtouchesofcolorintowhatisotherwiseasomberareaofthepainting.Pointsofreflectedlightsparkleacrosstheglasstabletop,whereafreelydrawnfruitbowlencouragestheeyetolinger.SEEALSOACRYLICPAINTS110COMPLEMENTARYCOLORS215GLAZING170PAINTBRUSHES78,120PAINTINGAGAINSTTHELIGHT266PAINTINGASTILL-LIFEGROUP258SPACE,DEPTHANDDISTANCE302PASTELS48SCUMBLING176STAY-WETPALETTE121

PAINTINGAGAINSTTHELIGHTPaintingsubjectsinfrontofawindow–knownascontre-jour,(literally

“againstdaylight”)–isanactivitythatfascinatesartistsbecause,inone

picture,theyareabletocombinetraditionsasdiverseasinteriorpainting,still

life,portraitureandlandscape.Aboveall,thereisthechallengeofdealing

withthecapriciousnatureofdaylight.

ChoosingyourviewpointYoudon’thavetobeblessedwithastunningviewinordertomakeexciting

pictures.Therearesomanyoptionsandpermutationsineverylocationthatyou

couldpaintthesamesubjectoverandoverwithoutexhaustingthepossibilities.

Whenmakingoneofthepaintingsfeaturedhere,theartist–contre-jour

specialistColinWilley–wasseatedsothatthepicturecouldencompass

everythingfromthestilllifetothehousesattheendofhisgarden.Fortheother

painting,hepositionedhimselfsothattheobjectswereviewedagainstadark

backgroundinordertomakethemostofreflectionsintheglass.

SettingoutthepropsThepropsforthesepaintingswereselectedfortheirsimplicityandforthewaytheywouldreflectlightandcolor.

TransientlightBecausedaylightissotransient,ColinWilleyhasadoptedthepracticeofworkingontwoormorepaintingsatonce.Forthisexercise,hehaspaintedastilllifethatisfloodedwithbrightsunlight.Bytheafternoon,thesunnolongerstreamsthroughthewindowofhisstudio,sohebegananotherpaintingofthesamesubjectfromaslightlydifferentviewpoint.

OilpaintsColinWilleyrestrictedhimselftousingjustfivecolors:Venetianred,cadmiumyellow,yellowochre,Frenchultramarineandtitaniumwhite.

ThepaletteTheartistmixeshispaintsonasheetofglasslaidoverwhitepaper.Heusesturpentineasathinnerandforrinsingpaintbrushes.

BrushesThesepaintingsweremadeusingaselectionofrounds,flatsandfilberts.Workingoncoarsecanvasishardonpaintbrushes,soColinWilleyisloathtospendtoomuchonthem.

“IusethemupatsucharatethatIthinkIwouldbecometooinhibitedifIbought

expensivebrushes.Inanycase,Idon’tmindusingcheapbrushessolongastheydothe

job.IfabrushmakesthemarkIwant,thatisallthatmatterstome.”

ApplyingcoloredgroundInpreparationforthepaintings,theartiststretchedtwocanvases,usingcoarse

cottonduck,andthenprimedthemwithsomewhiteacrylicpaint.Hethen

appliedacoloredgroundinordertoobliteratethewhiteprimer.

BlockinginColinWilleyalwayslikestolaunchstraightintoapainting.

“Inevermakeaseparatepreparatorydrawingofthesubject.Iliketocapturethe

momentdirectlyonthecanvas,sothattheprocessofworkingeverythingoutbecomes

partofthepaintinginsteadofitbeingaseparateexercise.Itcanbehardwork,butthat

formeisanadvantage.WhenIamworkingonsomethingthatisdifficult,itbecomes

totallyabsorbingand,afterawhile,Ibegintoseethingsintermsofpaintandcolor

insteadofactualobjects.Andthatisgoodforthepainting.”

Fat-over-lean;light-over-darkThefeaturedoilpaintingsonthesepageswerebothconstructedconventionally,observingthewell-triedprincipleofpainting“fat-over-lean,”whichpreventsthetoplayerscrackingasthepaintdries.

“Iinvariablyuseoneofthreecolorsformygrounds–burntsienna,burntumberor,as

here,yellowochre.Isometimesworkoverolddiscardedpaintings.Ijustturnthem

upsidedownandincorporatetheexistingbrushmarksintothenewpainting.”

DrawinginthemainelementsThemainelementsaredrawnontothecanvas,usingadarkmixtureofultramarineandred.Themainareasoftoneareblockedinwiththinnedpaint.Scrubbingpaintontothecanvasforcesthecolorintothecoarseweave.

ThefinishedunderpaintingThemainelementsofthepaintingarenowblockedin,andthecompositionhasbeenfirmlyestablishedtotheartist’ssatisfaction.

CreatinglayersofcolorColinWilleyspendsalmostasmuchtimeremovingpaintfromthecanvasashedoesapplyingit.Havingbrushedcolorontothesurface,hewilloftensmudgeitwithhisfingersorwipethepaintoffagainwitharag,leavingsubtleoverlaysoftransparentcolor.

UsinggroundcolorRubbingpaintoffthesurfacealsoexposesthewarmgroundcolor.Thistechniqueisusedsuccessfullytosuggestthewarmsunlightreflectedontothewindowframeandsill.

WorkingonthestilllifeHavingestablishedthetonalbalancebetweentheforegroundandbackground,

theartistwentontoworkupthestill-lifeelements,usingavarietyoftechniques.

“Thecoloringisquitesubtlehere,becauseitisacombinationofshadowandreflected

light.ThecolorsIhaveusedtopainttheappleshavebeensmudgedandreapplied

severaltimes,sothecanvasaroundthatareaisstainedwiththesamecolors.Thisgives

theimpressionthatthefruitsarebeingreflectedinthewhitesurface.”

PaintingshadowsDry-brushingdarkshadowsunderthefruitcreatestheillusionofsolidobjectsrestingonthewindowsill.

Contre-jourThewaythatthelightfallsonthestill-lifegrouphasaprofoundeffectonthewayinwhichtheartistpaintsthesubjects.

StrongsunlightInthispainting,strongsunlightisfallingontothehighlyreflectivesurfaceofthemetalteapot.Tocreatetheimpressionofdazzlinglight,theartistsmearspaintandblurstheedgessothatpartsoftheobjectdisappearinthehighlights.

CooldaylightInthesecondpainting,thesunhasmovedround,sothereisnotasmuchtonalcontrast.Thelightiscooler,thereflectionslessintense,andtheobjectsmoreclearlydefined.

ColinWilleySilverTeapotandSummerFruitsOiloncanvas41×51cm(16×20in)Thestilllifeisthefocalpointofthispainting.Whatyouseethroughthewindowexiststocreatearelativelydarkbackgroundwithoutwhichtheforegroundobjectslackdrama.Theviewoutsideiskepttoabareminimum.Thereisapatchofsunlitgrassandfoliage,darkbranches,leaves,andbarelydiscernibleredberries.Aflurryofbrushstrokesmerelyhintsatagardenjustbeyondtheglass.

ColinWilleyStillLifewithViewThroughtheWindowOiloncanvas41×51cm(16×20in)Thispictureisperhapsthetrickieronetopaint,becausetheartisthastocontendnotonlywithadetailedstilllifebutalsowiththechallengeofcreatingtheillusionofdepthnormallyassociatedwithlandscapepainting.Thishedoesbypaintingthedistantbuildingsandthemiddledistancewithdesaturatedcolors,whichareallofasimilartone.Byintroducingdarkertonesintoforegroundfoliage,hemanagestobringtheshrubsrightuptothewindow.SEEALSOATMOSPHERICPERSPECTIVE292,303DRYBRUSHING178,196FAT-OVER-LEAN164,166PAINTINGTHREEDIMENSIONS236SCUMBLING176

PAINTINGAGARDENAsawayofintroducingthemselvestolandscapepainting,manyartiststurnto

workingintheirgardens.Agardenprovidesasafeandconvenientlocation

withallthepleasuresofworkingoutdoors,butnoneofthedisadvantagesof

unwelcomeattentionorbeingcaughtoutbyinclementweather.Andifthe

lightchangesdramatically,youdon’thavetotravelveryfartoresumeworking

thenextday.

GettingstartedItcouldn’tbeeasiertomovearoundwithintheconfinesofyourowngarden,

lookingforinterestingsubjectsandviewpoints.Bearinmindthatevenfamiliar

environmentscanvaryinappearance,dependingontheweatherandtimeofday

–andyoudon’thavetobetooliteral.Youcanalwaysomitatattyshedifitis

botheringyou,ormoveaneyesoreoutofthewaytemporarily.

JackieSimmondslikestomakepreparatorysketchesandcolornotesonthe

spot,withperhapsafewphotographicreferenceshotsasaback-up.

Althoughitisnotentirelysatisfactory,youcanworkdirectlyfrom

photographs.Thismaybeyouronlyalternativeifyouwanttopaintduringthe

winter,orifthegardenyouhaveinmindistoofarawayfromhometoallowyou

toworkfromlife.

WorkingwithsoftpastelsInmanyways,pasteltechniqueshavemoreincommonwithdrawingthanwith

painting.Youneedneitherdiluentsnormediums,andthere’snoneedfora

rangeofpaintbrushes.However,justlikeother,moretraditionalpainting

methods,workingwithpastelsreliesonskilfulmark-makingandadeveloped

senseofcolor.

Despitebeingdry,pastelisstillamessymedium.Gentlyblowawayloose

particlesaspastelbuildsuponthesurfaceofthepaper,andusefixativesparingly

tosealthefinishedpainting.

BepreparedCarryasketchbookwithyouwhenvisitingfriends,sothatyoucanjotdownideasforgardenpaintings.

Rangeofcolors

Pastelcolorsarenotintermixablelikepaints.Consequently,pastelsaremadeinanenormousrangeofsubtlydifferentcolors.However,youneedonlyabout30–50colorstogetyoustarted.Fromyourrangeofcolors,choosethosethatcloselymatchyoursubjectandthenplacetheminashallowtray.Onaverage,youwillneedabout20colorsperpainting.Inthiscase,theartistchosearangeofdark,mediumandlightgreens.Blues,grays,andpurpleswerealsoselectedforthetrees;beigeforthepatio;andreds,yellows,orangesandwhitefortheterracottapotandflowers.

ChoiceofpaperThefeaturedpaintingwasmadeonasmoothneutral-coloredpaper.Thedeepbuffbackgroundservesasawarmcomplementarytothepredominantlygreenhuesofthepainting,andisausefulmidtoneforthestonewallsandpaving.

CompositionWell-designedgardensoftencontainthesameelementsthatmakeforexcitingtwo-dimensionalcompositions.Lookforthetensionscreatedbycurvedandstraightlines,repetitionintheformofstepsorposts,thecontrastbetweenhardandsoftmaterials,andavarietyoftextures,tonesandcolors.Jackie

Simmondshasincludedalloftheseelementsinthefeaturedpainting.Sheusesapredominantlywarmareaofstoneworkasafoilforsumptuouscoolfoliageandvibrantcomplementarycolors.Theshapesandareasoftonearecarefullybalanced,withthefocalpoint(aterracottapotfullofflowers)placedtotherightofcenter.

CorrectingmistakesIfnecessary,youcanremovepastelwithabristlebrushandthenuseanerasertogetbacktotheoriginalpaperbackground.Oryoucanremoveanareaofpastelbyscrapingwithaknifeblade.

UnderdrawingBecauseitblendswellwithsoftpastel,charcoalisidealformakingyourpreliminaryunderdrawings.Graphitepencilistoogreasy.

Basicpastel-paintingtechniqueWithpractice,youcanmakeawidevarietyofdescriptivemarksandstrokes,and

youcanlearntoblendcolorsonthepaper.

“Itisquitehelpfultogetafeelingforthematerialbeforeyoustart.Tryoutyourselected

colorsinasketchbook,experimentingwithdifferentlinearmarks,crosshatchingand

blending.”

Usethesideofapastelsticktomakebroadstrokes,anddrawfinelineswiththe

point.Itisimportanttovarythedirectionofyourstrokes,inordertoavoida

“rainy-day”effect.Usefirmpressureifyouwantfull-strengthcolor;alighter

touchwillproduceathinner,moretransparentcoatingofcolor.

AchievingcolorbalanceUsingthecharcoaldrawingasaguide,thefoliageisblockedinwithdark-green

andbluepastels.Similarcolorsappliedtodifferentpartsofapaintingcreate

balanceandharmony.

Developingthefoliage

Observecloselyhowlightchangeslocalcolor.Sunlightaddsawarmeryellowto

thefoliage,butbroadleavesturnedtowardstheskymaytakeonabluishtinge.

CreatingdepthAbstracttexturesaresufficienttosuggestfoliageinthedistance,butpaintthe

leavesandstemsintheforegroundindividually,tohelpreinforcetheimpression

ofdepthinapainting.Paleshadesappliedoverdarkertonesanddeepcolors

separateareasoffoliagefromthebackground.

Achievingcolorbalance

Developingfoliage

Creatingdepth

AccentsofcolorAccentsofbrightcoloraddsparkletoapainting.Graduallyworkingtowardsthe

high-keytones,theartistcreatestheeffectofdappledsunlightacrossthepatio.

Smalltouchesofred,orangeandwhitesuggestflowerheadsamongtheblues

andgreensofthefoliage.

Astheworknearscompletion,stepbacktolookatthecompositionasawhole,andcheckthatthepictureisbalancedincolor,toneandshape.Toputthefinishingtouchestothispainting,theartistworkeduptheforegrounddetailbyfeedingindarkertonestoclarifytheshapesoftheleaves,addedlightertonestotheareasofdappledsunlightandappliedcharcoaltoindicatetheedgesoftherandom-shapedpavingslabs.

JackieSimmondsShadyPatioSoftpastelonpaper46×61cm(18×24in)SEEALSOCOMPLEMENTARYCOLORS215PAINTINGALANDSCAPE274PAINTINGOUTDOORS134SPACE,DEPTHANDDISTANCE302TYPESOFPAPER34PASTELS48

PAINTINGALANDSCAPENotsurprisingly,watercolorhasenormousappealforlandscapepainters.In

practicalterms,itisperhapstheidealmediumforworkingonlocation–but

moreimportantly,itispossibletocreatearangeofsubtleatmosphericeffects

withanimmediacythatisdifficulttomatchusingothercomparablemedia.

Tipsforwatercolorists

•Whenlookingforsuitablesubjectstopaint,don’tbetooreadilyseducedbyoverlydramaticorpicturesqueviews.Theydonotalwaysmakethebestsubjects–andit’syourpaintingthatshouldbebeautiful,nottheview.

•Onoccasion,allowthepaintto“doitsownthing.”Letonecolorrunintoanother,andcreateunpredictabletexturesbydroppingcleanwaterintoareasofconcentratedcolor.

•Avoidtoomanysharpedges–theylookoutofplaceinalandscape.

SketchesmadeonlocationJohnLidzey’sfieldstudiesaremorethansimplesketches.Someofthemaresodetailedthattheyarealmostfinishedpaintings,buteventhesearemerelythebasisforthelargerworksthathecreatedinhisstudio.

ThereweretwodistinctphasestoJohnLidzey’slandscapepaintings.First,he

workeddirectlyfromnature,makingcolornotesandrelativelydetailedsketch

paintings.Forhim,therewasnobetterwayofexperiencingthemanyqualitiesof

thelivinglandscapeandtranslatingthemontopaper.Backinthestudio,heused

hissketchbookobservationstocreatefinishedpaintingsonalargerscale.

“Someofmysketcheshaveinspiredasmanyasthreeorfourcompletedpaintings.”

Workinginthestudioprovidesagreaterdegreeofcontrol.Youhavemoretime

toworkonyourcomposition,andthefreedomtoexperimentwithtechniques

andmaterials.

PaintsandmaterialsJohnLidzeykepthiswatercolorpaintsandbrushesintworeproduction

nineteenth-centurywoodenboxes.Wellusedandsomewhatbattered,theywere

hisconstantcompanionsforover30years.Whenworkingonlocation,healways

usedasimpleportablepaintbox.

Likemostartistswhohavebeenpaintinglandscapesforanumberofyears,

JohnLidzeypickedhiswatercolorsfromastandardpalettethatheknewwould

givehimtherangeofcolorsandeffectshewasafter.Forthefeaturedlandscape

painting,hechoseaureolin,cadmiumyellowpale,yellowochre,French

ultramarine,monestialblue,indigo,Payne’sgray,cadmiumscarlet,carmine,and

burntumber.Healsousedwhitegouachetomixtheopaquebodycolor.

HeusedroundKolinskysablebrushes(Nos2,4,6,8and12),andalsoan

18mmsquirrel-hairmopforbroadwashes,andsomecottonwoolforliftingout

colorandremovingdriedpaint.

Thepaperusedforthesamplesandthestudiopaintingwas300gsm(140lb)

smooth(hot-pressed)watercolorpaper,wettedandthenstretchedonadrawing

board.

AwealthofpossibilitiesSketchbookstudiesarenomorethanstartingpoints:pointsofreferencefromwhichanynumberofcompositionscouldevolve.Notonlycanyouvarythescaleandpositionofthevariouselementscontainedwithinasketch,butyoucanalsoalterthelight,suggestdifferentweatherconditions,changethetimeofday,orevensubstitutesummerforwinter.

AttentiontoscaleTherehastobeadifferenceinscalebetweentheforeground,middledistanceandbackground.Butdon’tbeoverlyconcernedwithforegrounddetail.It’senoughtosuggesttheplants–youarenotpaintingabotanicalstudy.

MakingthefinishedpaintingDespitetheirapparentfreshnessandspontaneity,traditionalwatercolorsrequire

anelementofplanningorforethought.Colorisbuiltupwithtranslucentwashes

laiddarkoverlight,andsinceit’saprocessthatisdifficulttoreverse,

watercoloristsadoptasystematicapproach.Moreimportantly,whitehighlights

arecreatedbyleavingareasofpaperunpainted–somethingtheartisthasto

consideratanearlystage.

LayingthefirstwashesInitially,palewashesarelaidoverasimplepencildrawing.Theprincipalareasof

thecomposition,includingthesky,areblockedinwithdilutedyellowochre.

Aureolin–agoldenyellow–islaidoverthemeadowintheforeground.

BuildinguptheskyandmiddledistanceTheskyisthenbuiltupwithwashesofFrenchultramarinemixedwith

monestialblue.Toaddvariety,paleyellowisdroppedfromabrushtobreakup

someareasofthebluesky.Tocreatetheimpressionofbillowingcumulus

clouds,cottonwoolisusedtomopupsomeofthecolorwhilethewashesare

stillwet,revealingwhitepaperandsomeoftheoriginalpale-yellowwash.

Palecarmineiswashedoverthemountains.Themeadowisneutralizedwitha

hintofmonestialblue,andthetrackislaidinwithaweakwashofyellowochre.

Themid-groundtreesarenowdefinedwithmixesmadeofaureolin,cadmium

yellowpale,yellowochre,monestialblueandcarmine.Yellowsandbluessuggest

foliage,andthepalecarmineredbringsthewarmthassociatedwithwoody

growth.

Oncetheinitialwashesaredry,theartistdrawsgrassesintheforegroundand

agateattheendofthetrack,usingadippenandsomemaskingfluid.

PaintingthetreelineandundergrowthAtthispoint,thefoliageisstrengthenedwithdeepertonesandstrongercolors,

creatingdepthandshadow.Themaintrunksandbranchesarepaintedwith

Payne’sgray,thenthesmallerbranchesaredrawnwithadippenchargedwith

watercolor.

Severalloosewashesofcolorarelaidfortheundergrowthbeneaththetrees.

Thesewashesaremadeusingvariousstrengthsofindigo,cadmiumyellowpale

andaureolin,mixedwithsmallamountsofPayne’sgray,tocreateneutralized

greens.

Whenthesewashesaredry,aslightlyopaqueyellowochreislaidinpatches

overthegreensoftheundergrowth,inordertosuggestmixedfoliagethatis

turningautumngold.

ThegateattheendofthetrackTocompletethisstage,themaskingfluidisremovedtorevealthegate.The

starkwhitepaperistoneddownwithapalewash,thenFrenchultramarineis

brushedacrossthegatetoimplycastshadow.

PaintingcharacterfulskiesGiveyourskiesplentyofcharacter.Paintthemfreely,usinglotsofwaterandwashesofdifferentcolor.Thebackgroundtothispagewascreatedbypaintingwarmcolors,wet-in-wet,alongsideadeep-bluewash.Colorwasliftedtoindicatetheclouds,usingthetechniquedescribedforthefinishedpainting.

ApplyingthefirstwashesUsinghissketchbookstudiesasreference,JohnLidzeymadeasimplepencildrawingtohelphimfixthepositionsofthemainfeatures.Thenheappliedthefirstpale-yellowwashesacrosstheskyandforeground.

TheskyandmiddledistanceCloudsareblottedfromabluesky;foliageisindicatedwithbroadwashes.

TreelineandundergrowthTrunksandbranchesaredrawninwithwatercolor.Strongtonessuggestdeepshadowsbeneaththetreesandundergrowth.

WorkinguptheforegroundTheforegroundinshadowhelpstobalancethecomposition.Thefinished

paintingisdividedhorizontallyintobandsofcontrastingtone–thebrightsky,

thedarkgroupsoftrees,asunlitmeadow,andtheforegroundinshadow.Thisis

adeviceoftenusedbypainterstodrawtheviewerintothepicture;itisan

invitationtostepintothesunnierpartsofthescene.

RevealinggrassstemsandflowerheadsLoosewashesofcolorarelaidacrosstheforegroundtolowerthetonalvalues

andgiveafeelingofshade.Whenthewashesaredry,theartistremovesthe

maskingfluid,appliedduringanearlierstageinthepainting,byrubbingitwith

afingertip.Byrevealingthepaleunderlyingcolor,thegrassstemsandflower

headsstandoutclearlyagainstthedarkbackgroundwashes.

ThedistanttreesandmeadowBeforeproceedingwithforegrounddetail,theartistpaintsthemeresthintofa

treelineatthebaseofthemountains,andaddstwosmalltreestotherightof

themaingroup.Verylittledetailisrequiredatthisdistance,anditisimportant

tousepaledesaturatedcolortomakethetreesrecede.Loosewashesofcool

greenarelaidacrossthedistantmeadows,withjustafewhorizontallinesofa

darkercolortosuggestunevenground.

PaintingweedsandflowersFreelyappliedbrushstrokesaddinteresttotheforeground.Warmyellowsand

browngiveanimpressionoftallweedsanddriedgrasses,andtheflowerheads

revealedbyremovingthemaskingfluidarecoloredwithcadmiumyellow.

Someadditionalflowersprovideaccentsofbrightcolortocomplementthe

darkweedsandforegroundscrub.Theseflowerheadsarepaintedrandomlywith

redandwhitegouache–opaquepaintthathasexceptionalcoveringpower.

Don’tmakeyourarrangementsofflowerheadstooregular.Clumpthem

togetheringroups,andvarytheirshapesandsizes.

ForegroundshadowTheshadowthatrunsacrossthetrackisdeliberatelylightintone.Anydarker,it

wouldcompetewiththetoneofthetreesinthemiddledistanceanddestroythe

illusionofdepth.Thecolorisbuiltupinstagesbyapplyingthreepalewashesof

Frenchultramarinemixedwithyellowochre.Thisallowstheartisttojudgethe

weightofthetoneprecisely.

Don’tpaintshadowswithhardedges,unlessyouwanttocreateanimpression

ofstrongsunlight.Andavoidusingblackpainttodarkenyourshadows–deep

bluesorpurpleshaveasimilareffect,butwithoutcreatingadead,inkyblackness.

RemovingmaskingfluidPalegrassstemsarerevealedagainstdarkwashesintheforeground.

AddingweedsandwildflowersShadowsaredeepened,thenweedsandflowerheadsareintroduced.

ForegroundshadowsThecorrecttonalbalanceaddsdepthtothepicture.

MaskingfluidThisisarubberysolutionthatpreventscolorsoakingintothepaper.Itisusedprimarilytomaskofffinedetailsandhighlightsthatwouldbedifficulttopaintinlaterwithopaquebodycolor.

WeaksunHeretheartistshowshowtopaintthesuntryingtobreakthroughacloudysky.Liftoutsomeofthecolorwithcottonwool,usingacircularmaskcutfrompaper.

ThepaintsurfaceManywatercoloristsmakethemistakeoftryingtoachieveaphotographic

representation.Theendresultmaybehighlyaccurate,butitinvariablylacks

vitality.Herearesomeideasandtechniquesforcreatingapaintsurfacethatwill

addtotheinterestandenjoymentofyourpictures.

Foliageinclose-upAdippenloadedwithwatercolorpaintisusefulforindicatingforegroundfoliage,withoutitbecomingtootight.Usethepentodrawdetailoverarangeoftonesandcolorwashes.

TreesandmovementTreescanbesuggestedsimply,usingnothingmorethanwashesofcolorforthefoliage.Putinthetrunkandbrancheswithloosebrushmarksorpenstrokes.Thebenttreesandflyingleavessuggestawindyday.

JohnLidzeySuffolkLandscapeWatercoloronpaper33×51cm(13×20in)1SkyLeaveapalewashofyellowochretodry,thenpaintoveritwithdeep-bluewashes.Whilethepaintiswet,mopoutsomeofthecolorwithcottonwooltocreateabankofclouds.

2Middle-distancetreesYoucanapplydetailtothemiddledistance,butdon’toverdoit.Paintingsomeofthetrunksandbranchesdarkandsomelightcreatesasenseofdepth.Softedgessuggestthatthefoliageismoving.

3DistanthillsArangeofrelativelylighttonesandcoolcolorscreatesasenseofperspective.Ameresuggestionoftoneatthebaseofthehillscanbeinterpretedasdistanttrees.Keepdetailtoaminimum.

4UndergrowthApplysimplewashes,wet-on-dry,toconveyasuggestionofbushesandundergrowth.Awarmyellow-ochrewashaddsvariety.

5MeadowPaintsuccessivewasheswet-on-drytobreakuptheareaofgrassandlow-growingscrub.Coolshadowsindicatetheunevenground.

6TreesinsilhouettePaintedtobreakupthelineofdistanthills,thesesmalltreesarebarelymorethansilhouettes.Coolcolorsandshadingatthebaseofthefoliageaddsformtothecrownofeachtree.

7ForegroundshadowsApplyapalewashofultramarinemixedwithasmallamountofyellowochre.Thesoft-edgedshadowsinthispaintingimplydiffusedsunlight.Theyalsohelptocreatetheillusionofdepth.

8LonggrassandwildflowersFreebrushworksuggeststangledweedsandwildgrasses.Wet-in-wetindigobrushmarkscreatedeepshadows.Useadippentodrawpalerstemswithmaskingfluid,andapplyrandomspecksofgouachetoindicateflowerheads.

PaintingtreesandfoliageInlandscapepainting,treesandfoliageareoftenrepresentedbylittlemorethan

abstractbrushmarks,butitishelpfultobeacquaintedwithindividualspeciesin

ordertomakethosemarksconvincing.Notonlydospeciesdifferintheirshape,

butmanychangetheirappearancewiththeseasonsand,insodoing,confera

verydifferentatmosphereonthepainting.

SimonJenningsTreesinaLandscapeOiloncanvas51×76cm(20×30in)

AtmosphericperspectiveCreateasenseofdepthinyourpicturesbypaintingforegroundtreeswithstrongcolorsandwell-defineddetails.Treatthoseinthedistancemorelikesilhouettes,usinglightertonestomakethemrecede.Soft-edgeforms,paintedwet-in-wetwithwatercolor,alsocreateanillusionofdistanttrees.

DavidDayTrees:ColorStudiesSketchbookpagesWatercolorandmixedmedia

Texturedeffects

KnifepaintingPaintthedistinctivefoliageofatallpinebyusingapaintingknifetoapplythickacrylicpaint.Addtexturewiththeedgeoftheblade.

DrybrushingHavingpaintedthetrunkandbranches,dry-brushtheclumpsoffoliagethathangfromasilverbirch.

StipplingStipplingoilpaintorwatercolor,usingthetipofaflatbrushorfanblender,producesthelayeredfoliageofatypicalfirtree.

SpongingCreateasubtledappledeffectbystipplingwithanaturalspongedippedinpaint.Aseachlayerdries,applyanothercolorortone,thenbrushinthetrunk.

ApplyingawashPainttheoverallshapeofthetree’scanopywithabroadwash,thenscribbleinthebranches,usingapointedstick.

StickdrawingPaintthebarebranchesofapollardedtreebydrawingapointedstickthroughwetpaint.

SeasonalchangesAnoaktreeillustratesseasonalchanges.Inspringandsummer,thetreedisplaysafullcanopyofgreenleaves.Typically,patchesoflightcanbeseenthroughthefoliage.Theformisthesameinautumn,buttheleaveshavechangedtowarmrussets.Bytheendoftheyear,however,theunderlyingstructureisrevealed.

Springorsummer

Autumn

WinterSEEALSOATMOSPHERICPERSPECTIVE292,293GOUACHE104WATERCOLORBRUSHES96PAINTINGOUTDOORS134PAINTINGTREESANDFOLIAGE280STRETCHINGPAPER33WATERCOLORPAINTS87WET-IN-WET188WET-ON-DRY189DRYBRUSHING178,196TEXTURALEFFECTS208WASHES182

LANDSCAPEONLOCATIONThisstretchofcountrysideisatleast8km(5miles)wide,andstretches

another16km(10miles)tothehorizon.Itisapatchworkoffieldsandwoods

onrollinghillssetinavalleythatmeldsintoarangeofhillsvisibleinthe

distance.Thereistheoccasionalfarmbuilding,andtheforegroundand

middledistancearebisectedbyrowsoftrees.Theviewpointchosenbythe

artistprovidesexceptionalwidthanddepth,andlooksdownontothescene

fromahighvantagepoint.Knownasan“openlandscape,”thiswouldappear

atfirstsighttobeadauntingmosaicofshapesandundulations,withmany

differenthuesandcolorsbeneathadeep-bluesky.Thefirstchallengeisto

decidewhattofocuson,andhowtobeginthepainting.

StartingpointsPreliminarysketchesandvisualnoteshelpyoutogetyoureyeinandtofamiliarizeyourselfwiththecolorsandshapesinalandscape.Oneautomaticallythinksofpaintinglandscapesinthehorizontallandscapeformat.Inthiscase,theartistmadehispreparatorysketchesinthisformat,butexecutedthefinalpaintingin

anuprightportraitformat.

PreparatorysketchesTheartistwasdrawninparticulartothestripesintherecentlymownfieldsandtotheshapesofthedistanthillsagainstthesky.Theworkbeganwithcolorsketchesinawide-formatlandscapesketchbook.Thecolorsweretakendirectlyfromthetubes,asrequired.Forbroadareassuchasthesky,forexample,thepaintwassqueezedontothepageandblendedwiththefingers.

KeepingacrylicsmoistAcrylicpaintsarenotoriouslyfast-drying.Thishasmanyadvantageswhenworkingoutdoorsonlocation,butinhot,dryweatherthecolorscanskinoverinminutesandsetsolidbeforeyouhavehadtimetousethemup.Consequently,itpaystosqueezeoutonlysmallamountsofpaintanduseastay-wetpalette.

Youcanbuyaready-madepaletteormakeonefromashallowplastictray.Linethebottomofthetraywithanolddishclothorsomelayersofnewspapergenerouslydampenedwithwater.Ontopofthis,layasheetofgreaseproofpaperoradampsheetofthickwhitecartridgepaper.

Squeezeyourcolorsoutontothispaperasyouwouldwithaconventionalpalette.Ifyousealthetraywithplasticwrapwhenyoutakeabreak,thepaintwillstayworkableforhours,ifnotdays.Anothersolutionistomakeastay-wetpalettefromashallowfood-storageboxwithasnap-on,airtightlid.

LayinggroundcolorsUsedecorator’sbrushestolaygroundcolors.

SelectingcolorsandsettingoutthepaletteYoucansetoutapaletteinwhateverorderyouwish,butasthereweremany

shadesofgreeninthislandscape,theartistlaidouttheready-mixedcolorsin

lineontheleft,becausetheseweretobepickedupandusedstraightfromthe

tube.

Theearthcolors,yellowsandblueswerelaidoutontherightasthesewere

morelikelytobemixed.Wateristheonlydiluentneededforacrylics–butkeep

twojarsonthego,oneforthinningpaintandtheotherforwashingoutyour

brushes.

Layingatonedground

Artistshavetraditionallyprimedtheircanvaseswithabasecolor.Thechosen

Artistshavetraditionallyprimedtheircanvaseswithabasecolor.Thechosen

groundcoloraffectsthesurfaceandappearanceofthefinishedpainting.

Inthispainting,thetonedgroundservestwopurposes.First,itworksasa

primertosealandstretchthepaper–apurelypracticalfunction.However,it

alsoactsasagroundcolorthatisintegraltothepainting.Here,amixtureof

cadmiumredandpermanentroseislaidontothepaper.Beingahotcolor,it

reflectsthewarmclimateofthelocationanditiscomplementarytothe

predominantlycoolcolorsinthelandscape.Asthepaintingbuildsup,the

groundshowsthroughhereandthere,liftingtheothercolorsandcreatinga

vibrantsurface.Layafairlythinwash,evenlybutquickly,withadecorator’s

paintbrush.

CreatingavibrantsurfaceThehotgroundcolorshowsthroughthepaintedsurface.

ExpertadviceThereisnoprescribedformulaformakingapainting.Allartistshavedistinctivestylesandtacklethejobin

theirownway.Formanypainters,especiallybeginners,themaindifficultyseemstobeingettingstarted,andthefirststagesthataredepictedhereareoftenthemostdifficultanddisheartening.

Thebestadviceistoseekoutasubjectthatwillholdyourattentionforseveralhours–inthiscase,anarrestingview–thenkeepatit,concentratingonthecrucialelementsandaddingessentialdetailuntilthepicturebeginstoemerge,almostbyitself.Onlythendoestherealenjoymentbegin.

BlockinginbroadstrokesUsingtonesoftheoriginalgroundcolor,broadstrokesareblockedinquicklyinordertogetafeelfortheoverallcomposition.

PlottingthecompositionThemainelementsofthecompositionaresketchedinwithsomecharcoal,usingpainttodefinetheshapesandfocalpoints.

BuildingupthesurfaceThecolor,toneandsurfacedetailaregraduallyintroducedandthenrefinedastheworkcontinues.

CreatingdepthHavingsketchedinthesky,theartistconcentratesoncreatingdepthandspacebyusingdeepertonesandstrongcolor.

ForegrounddetailTheforegroundcomestolifewiththeclearlydefinedtrees,foliageandtheall-importantgroundtextures.

Whenisapaintingfinished?Everypaintinghasaknackoftellingyouwhenyoushouldleaveitalone.Manya

picturehasbeenstrippedofitsessentiallifeandinitialspontaneitybybeing

overworked.

Whenyoureachapointwhereyoufeelsatisfiedthatyouhavedoneyourbest

withinthegivenconstraints,thenleavethepaintingaloneforawhile–perhaps

forhoursorevenacoupleofdays–andthencomebacktoitwithafresheye.At

thatstage,youwillbebetterabletojudgewhetherthepaintinghasreacheda

satisfactoryconclusion.Ifnot,youcaneitherreturntothelocationormakeany

furthermodificationsandimprovementsinthestudio.

SimonJennings

ViewfromMontaltoAcryliconpaper100×79cm(40×31in)SixhourslaterThislandscapeistheresultofaboutsixhours’work.Thesequenceoppositeshowskeypointsinthedevelopmentofthepicture,butthecreationofanypaintingisrarelyastraightforwardlinearprocess.Thevariousstagesshowhowtheartistestablishedafoundationandthenbuiltalooseframeworkforthepicture.Fromthenon,itwasamatterofconstantmodificationwithinthisframeworkuntilthepaintingarrivedatthispoint.

FinishingtouchesBackinthestudio,youcanincludeanyadditionaldetails,suchastelegraphpolesandfenceposts,usingafinepaintbrush.Thesedetailswillhelptoreinforcetheillusionofdepthandaddtexturalinteresttothepainting.SEEALSOACRYLICPAINTS110PAINTINGOUTDOORS134PAINTINGTREESANDFOLIAGE280TYPESOFPAPER21PRIMERSANDGROUNDS24

PAINTINGSKIESANDWEATHERForeverylandscapepainter,theelementsprovideanendlesssupplyof

inspiringandoftensurprisingsourcematerial,andhowyouincorporateitis

vitaltotheoutcomeofapainting.Asarule,ifthelandmassiscomplicated

andhighlydetailed,thenkeeptheskysimple.Changingtheemphasisgives

youthefreedomtoincludedramaticcloudformationsandatmosphericskies.

Sketchingwithwater-solublepencilsQuickimpressionssketchedinmonochromecanplayavitalroleinexploringthetonalrelationshipsandmood.Brushingcleanwateroverwater-solublepencilturnsalinedrawingintoawatercolor.Assoonasthewashesdry,youcanstrengthenthetoneswithdarkerhatching.

SunsetinpastelYouhavetoworkquicklywhenpaintingsunsets.Softpastelsareideal,becausetheyaresoexpressiveandnotimeiswastedmixingcolors.Forthissketchpainting,colorsareblendedonsmoothpastelpaper,andastripoflandisreducedtoasimplesilhouette.

SketchingoutdoorsDrawandpaintoutdoorsasoftenasyoucan;thereisnosubstitutefordirect,

first-handexperience.Youcan’trelyonthelightandweather–but,withluck,

youwillbeabletoworkforacoupleofhoursbeforeconditionschangetoo

dramatically.Placethehorizoninthelowerhalfofyoursketchifyouwantthe

skytodominate.

Fair-weathercloudsingouacheGouacheisaversatilemediumforpaintingskies.Dilutedwithwater,itcanbeusedlikewatercolor;opaquegouacheactsmorelikeoilpaint.Evokingabalmysummer’sday,thesetoweringcumuluscloudsarepaintedwithbroadbrushstrokesoveratinted-paperbackground.Therulesofperspectiveapplytotheskyaswellasthelandscape.

SunriseinwatercolorEarly-morningskiesareusuallymoresubtleincoloringthanthoseatthecloseoftheday.Watercolorlendsitselftothesesoftatmosphericeffects.Here,washesofcadmiumorangeandceruleanblue,laidwet-in-wet,createtherequiredsoftnessofadawnsky.Touchesofopaquebodycolorsuggestthesunisabouttobreakthrough.Italwayshelpstobalanceapaintingifyoucanpickupcertainskycolorsinthelandscape.Reflectionsinwaterprovidetheidealopportunity.

RayBalkwillSkyStudiesVariousmediaonpaperAveragesize:14×19cm(51/2×71/2in)

High-summerskyinwatercolorUsingsoftpapertissue,theartistblottedcloudsfromacobalt-bluesky.Alizarincrimsonaddswarmthtothecloudsonthehorizon.

MistandfoginwatercolorWhenmistandfogdescenduponalandscape,colorsarestarvedofintensity,andformsbecomeill-defined,withlittlevariationintone.Watercolorisperfectforconveyingtheseeffects,providedyoukeepdetailtoanabsoluteminimum.Here,alightmistrisesfromabodyofwateratdawn(above).Palewintersunshinetriestoburnoffthedensemistorfogpaintedwet-in-wet(below).

RayBalkwillStudiesofWeatherConditionsVariousmediaonpaperAveragesize:14×19cm(51/2×71/2in)

StormyweatherinpastelDistanthillsshroudedbyadark,broodingskysuggestapproachingrain.Thedownpouronthehillsideiscreatedsimplybysmudgingthepastelwithafingertip.

Snowsceneinwatercolor

Leavesomeareasofwhitepapertodepictdriftingsnow,andpaintintheshadowswithcoolbluesandpurples.Createflyingsnow-flakesbyspatteringwhitegouacheacrossaheavy,snow-ladensky.

WindingouacheWindyweatherisdifficulttoconveyinanymedium.Youusuallyhavetorelyondevicessuchastreesbentinthewindoraflurryofleaves.Inthesketchpainting,horizontalstrokesmadewithadrybrushhelptoconveyasenseofmovementincloudsthatscudacrossanenergeticsky.Also,birdscanbeseenbattlingwiththestrongwind.SEEALSODRYBRUSHING178,196PERSPECTIVE302WET-IN-WET188

THECHANGINGLANDSCAPEAlllandscapepaintershavetodealwiththerealitiesofworkingoutdoors,

whichinevitablymeanscopingwithchangeablelightandweather.Aswehave

alreadyseen,someartistsmakerapidsketchestocapturethemoment.Others

mightstartanotherpaintingwhenthere’saradicalchangeinconditions.And

thenthereareartistswhoaccepttheinevitable,andarepreparedtoallowtheir

paintingstochangeandadaptalongwiththeelements.

“Lightchangesallthetime.Whenpainting,Imaystaywiththeoriginallightor

amenditastimegoesby,andevenchangeitagainbackinthestudio.Theknackcomes

withexperience,butyouhavetobeflexibleandopen-mindedtogetaresult.”

ApplyingacoloredgroundHeavilydilutedwithturpentine,thepaintisscrubbedon,usingalargeflatbrush.

DavidGriffin,anexperiencedmarinepainter,haslearnedhowtodealwiththe

changinglandscape–andwithworkinginpublic.

“Ononeoccasion,Iwasbeingwatchedcloselybytwotattooedyouths,eachdrinking

fromacanoflager.Ifoundtheexperiencemostdisconcerting,butkeptonpaintingand

triedtoignorethem.Afterabouttenminutes,oneofthemapproachedme–butnot

withtheusualsneeringquestion:“Howmuchdoyouexpecttogetforthat?”Instead,he

asked,“Howdoyoucometotermswiththeproblemsofchanginglight,tideand

lengtheningshadows?”AtthetimeIwasreallysurprised,asthisisoneofthe

fundamentalchallengesoflandscapepainting.Thesimpleansweris:“Carryon

regardless!”–andwhenitfeelslikeanuphillstruggle,justrememberyouarenotthe

firsttofeelthatway.”

Paints,brushesandsupportWhenheispaintingoutdoors,DavidGriffinusuallyworksonstretchedcanvas,

butonthisoccasionheusedalightweightcanvasboard(primedcottoncanvas

whichismountedonthickcardboard),measuring30×40cm(12×16in).He

usesthreeorfourbrushesonly–aNo.10or12flatbristlebrush,acoupleof

medium-sizefilberts,andarigger.

Theoverallimpressionofthefeaturedpaintingisoneofsubtlety–itistonal

Theoverallimpressionofthefeaturedpaintingisoneofsubtlety–itistonal

ratherthancolorful.Inordertocreatethebroodingatmosphereofanimpending

storm,theartistusedalimitedpaletteofgood-qualityoilcolors(right).

Layingtheground“Ilikeawarmpainting.It’sveryinvitingtohaveabitofwarmth–likeaniceopen

fire!”

Havingsetuphiseasel,DavidGriffin’sfirststepistolayawarmgroundto

coverthestarkwhiteboard,usingwhatevercolorscometohand.

ThecoloredgroundThegroundforthispaintingisaboldmixofcadmiumyellowandcadmiumorange.

BroadstrokesBlockingintheskyandwaterwithboldwashesofcolorconveysanimpression

oftheprevailingweatherandalsothegeneraldirectionoflight.

Withtheonelargebrush,thinnedpaintismixedandblendedontheboardto

representastormyskyandsunlightreflectingoffthesurfaceofthewater.

ThefinishedpaintingThispicturewaspaintedduringaperiodofquiteunsettledweather,whentheartistwasforcedtodealwithanever-changingskyandthefleetingshadowsandreflectionsthatcomewithit.

Broad-strokebrushesUselargebrusheswhenlayingtheground,andforblockingin.ANo.12flatistheonlybrushyouneedforblendingpaintontheboard.

FixingthehorizonlineBecausetheturbulentskyiscrucialtothispainting,thehorizonisplacedwellbelowthecenterlineofthepicture.Toplacethehorizonatthecenter,orevenaboveit,woulddramaticallyalterthebalanceandemphasisofthelandscape.

AdjustingthecompositionAsapaintingevolves,theartistisfreetorearrangethedifferentelementsin

ordertoimprovethecompositionandthedynamicsofthepicture.

“WhatcanIputintomakethepaintingmoreinteresting–aboat,abuoy,somefigures

onthedeck?Here,Imovedajettyintothepicture.Inrealityitiswayouttotheleft,

butthecompositionisstrongerforitsinclusion.”

AtmosphericperspectiveWatervaporanddustparticlessuspendedintheairtendtoobscureourviewof

distantobjects.Introducingwhatisknownasatmosphericperspectivehelpsthe

artisttoreinforcetheillusionofdepthinapainting.

Usingsomerelativelydarktonesandwarmcolorsintheforegroundpushes

thesketchyskylinebackintothedistance.Darkerreflectionsbeneaththebarge

andjettyserveasimilarpurpose,andalsokeepthemfromlookingasiftheyare

free-floatinginspace.

TellingdetailsThemooredbargebalancesthecompositionanddrawstheeyeintothepicture.Abuoyisintroducedtoaddinteresttotheforeground.

CreatingdepthThesharperdetailsintheforegroundandthereflectionsbeneaththejettybothadddepthtothepicture.

FinishingthepaintingAfterabouttwohours’work,theartisthasconjuredupanatmosphericlandscape

thataccuratelycapturesthemoodoftheriveronthatparticularday.However,

heinvariablycontinuesapaintingbackinhisstudio,wherehecanworkwithout

theconstraintsoftryingtoportraytheactualsceneinfrontofhim.

“Isometimesblendpaintwithmyfingers.Ifinditmoreconvenientthanusing

brushes.Kidslovemakingmudpiesandgettingdirty–Isupposefingerpaintingmust

beanextensionofchildhood.”

BackinthestudioWhenhegetshome,DavidGriffinusuallymountshispaintingstemporarilyina

frame.Headmitsthereisanelementofbriefsatisfactioningazingatanewly

paintedpicture,butthereisalsoapracticalpointtotheframe.

Whenyouarepaintingseascapesandriverscenesonlocation,itcanbe

difficulttogetallthehorizontalsandverticalsalignedwiththeedgesofthe

board.Usingtheframeasavisualguide,youareabletocorrectanymistakes

withafinebrushorthepointofaknife.

DavidGriffinStormBrewingOilonboard30×40cm(12×16in)

Lookingatthefinishedpainting,youcanseetheadditionalworkdoneinthestudio.Thereisconsiderablymorevariationincolorandcontrastinthesky,withbrightaccentsoflightpiercingtheclouds.Similarcolorsandtonesarereflectedinthewater.

Distantbuildingshavebeenpickedoutwithcolor.Muchgreaterdetailhasbeenincludedintheforeground,withspotsofintensecolorthatattracttheeye,andsparklinghighlightsscratchedintothewaterwiththeedgeofablade.SEEALSOCAPTURINGWATER296PAINTINGSKIESANDWEATHER286SPACE,DEPTHANDDISTANCE302PRIMERSANDGROUNDS24

CAPTURINGWATERWithinthecontextoflandscapepainting,wetendtothinkofwaterasacalm

elementseeninariver,lakeorharbourscene.However,althoughwateris

oftenassociatedwithavisionoftranquillity,thatisnotalwaysthecase.In

additiontoconventionalcompositionandtechniquesforpaintingwater,the

artistDavidJacksonintroducessomealternativeideasforcapturingthe

energyandexcitementofwater,rain,mistandspray.

AlternativetechniquesConventionalbrushtechniquesareseeninDavidJackson’sviewoverwatery

mudflats(below).However,inhisstudyoftheVeniceLagoon(bottom),hehas

introducedgessopastetoaddtextureandthenpaintedoverwithwatercolorto

impartamisty,atmosphericperspective.

Inthispainting,theartistmadeuseofastiffbrush(liketheonesusedforcombinginhairconditioner)tocreateetchedlinearindentsandscratchedthesurfaceofthepaintingwithasharpbladetocreatetheeffectofalate-springcloudburstoveranexceedinglywaterylake.

DavidJackson

ColorStudiesWatercoloronpaper40×50cm(16×20in)

DavidJacksonBlueBreakerWatercoloronpaper54×71cm(21×28in)MovementandenergyFluid,liquidpaintisappliedvigorouslyandgenerouslytodampenedpaper,wet-in-wet.Inplaces,thewhiteofthepaperisleftshowingthroughtorepresentfoamandspray.Colorisliftedoutwithaspongeandrag,andthenreappliedtobuilduptheopacityoftheoceansurface.Paintisspatteredandthrown,andthesurfacescoredwithahard-pointhairbrushsothatthepaintsinksintothegrooves,creatingalineardirectionaleffectofanexplodingwaveinaboilingrain-dashedocean.

SEEALSOPAINTINGOUTDOORS134PAINTINGSKIESANDWEATHER286TEXTURALEFFECTS208THECHANGINGLANDSCAPE290WET-IN-WET188

PAINTINGATOWNSCAPEMakingbuildingsthefocalpointofalandscapecanintroducethepossibility

ofagreatervarietyofcolorandtexture.Whetheritbemodernsteelandglass

orthemellowpatinaofcrumblingrenderandbatteredwoodwork,thereis

muchtopaintandenjoy.

ApersonalapproachWatercoloristsusuallystartbypaintingthesky,thenworksystematicallyfrom

backgroundtoforeground,graduallyoverlayingpalewasheswithdarkerand

richercolors.FortheartistKayOhsten,conventionalmethodsaretoo

inhibiting.Shepreferstoworkinreverse,becauseshefeelsithelpstoinject

moredepthintoherpictures.Hervigorouspaintingstyleencompassesarangeof

techniques,fromdrawingwithapointedsticktoholdingthepaperunder

runningwater.Spontaneityisthekeyword,whichiswhysheisunabletorecall

thecolorssheusesforaparticularpainting.

TheartistatworkKayOhstenpreferstostandatherworktable.Paintingonunstretchedpaper,shemovesdeftlyfromtabletosinkwhencreatingheruniquepaintingsofbuildingsandlandscapes.

Underdrawing

Thefirststageofthepaintingisamoderatelydetailedpencildrawing.Although

Thefirststageofthepaintingisamoderatelydetailedpencildrawing.Although

itincludeslittlearchitecturaldetail,thereisstillsufficientinformationtoenable

theartisttobeginpaintingwithconfidence.

SketchingonlocationKayOhstenmakesdrawingsonthespot,whichincludedetailednotesoncolor,textureandtone.Shealsotakesoneortworeferencephotographs,andthenstartsworkinearnestathomewhilehermemoryisstillfresh.

PaintingequipmentInadditiontoastandardsquare-tippedflatpaintbrush,KayOhstenemploysavarietyoflessconventionalequipment,includingasharpenedstickandacalligraphypen.

FirstbrushstrokesUsingabroadflatbrush,theartistblocksinthesidesofthebuildingsthatareindirectsunlight.Sheappliesapaleparchmentyellowtothewallsandlightterracottatotheroofs.

RemovingcolorwithapaletteknifeBeforethewasheshavehadachancetodry,theartistbeginstoremovecolorbydrawingtheroundedtipofapaletteknifethroughthepaint.Shortstrokesrepresenthighlightsonthepantiles.

PaintingforegroundtexturesBeforethepaintinggetsveryfar,KayOhstenintroduceshercolorsandtextures

intotheforegroundinordertocapturethenatureoftheweatheredsurfaces.

“Ilovepaintingbuildingsthatarecrumbling,becausetherougherIpaint,themore

mistakesImake,andthemoreaccidentsIhave,themoreauthenticthebuildingslook.”

Palemauve,redandumberbrushstrokeswarmuptherooftiles,andothercolors

arespatteredacrossthepapertomeldwiththewetpaint.Additionaltextureis

createdusingtheedgeofapastelstickandbyblottingthesurfacewithabsorbent

paper.

PaintingthedistantlandscapeInthedistanceisafertilevalleythatstretchesawaytoarangeofmountains.

Fieldsandvineyardsaredescribedwithfreelyappliedbrushstrokes,leavingafew

smallpatchesofwhitepaperthataddsparkletothelandscapeandalsogivea

vagueimpressionofsomedistantbuildings.

Thedarkergreenfoliagethatisimmediatelybehindthebuildingsthrowsthe

stronglylitwallsintorelief.Tallcypresstreesareindicatedwiththeedgeofaflat

brush,anddarklinesthatcrisscrossthelandscapeareappliedwithapenloaded

withdilutedwatercolorpaint.

Havingbrushedintheblue-graymountains,KayOhstentiltsthepaperto

encouragethecolortoruntowardstheskyline,thenbackagaintoavoidleaving

adarkedge.

KayOhstenBonnieux,ProvenceWatercoloronpaper42×46cm(16×18in)

BrushmarklibraryKayOhstenlikestouseasingleflatpaintbrushwithwhichsheisabletomakeawidevarietyofmarks.

Full-widthbrushTomakebroadstrokes,sheusesthefullwidthofthebrush.Nippingthetipofthebrushbetweenfingerandthumbcreatesnarrowstrokes.

BrushedgeUsingtheedgeofthesamebrushmakeslinearmarks;thedryerthepaint,thenarrowerthestrokes.

BrushtipPlacingthebrushtiponthepapermakesrowsofidenticalbrushmarks.

PrintingwiththeedgePrintingwiththeedgeofthebrushmakesattractivetaperedbrushstrokes.

PressingwiththesidePressingthesideofthebrushagainstthepaperleavesbrokencolor.

FlickingandspatteringFlickingthebrushspatterspaintacrossthepaper.Ifyouspatterontowetpaint,thecolordisperses.Tipthepapertocontroltherun.

KayOhstenBonnieux,ProvenceWatercoloronpaper42×46cm(16×18in)1LineworkYoucanmakebroadexpressivelineswithasharpenedstickwhichhasbeendippedinwatercolor.Forfinerwork,useacalligraphypenloadedwiththinnedpaint.

2PaintingshadowsCool-grayshadowscreatetheimpressionofstrongsunlight.Broadareasareblockedinwithaflatbrush;linearmarksaremadewithapen.

3PastelandcontéCreatetexturesbydrawingwiththetipofpastelandcontésticks.

4SpatteringFlickingpaintontoapaintingcreatesrandomtextures.

5ScrapingwithapaletteknifeScrapingthetipofapaletteknifethroughwetpaintsqueezesthecoloroutofthepaper.Tomakeverypalemarks,liftthepaintsoonafterapplyingthewash.Waitinglongerwillallowmoretimeforthepainttostainthepaper.

PerspectiveAsasubject,townscapeswillrequireatleastabasicappreciationofperspective,butanexcitingpainterlysurfaceismoredelightfultotheeyethanacarefullymeasureddrawing.

BlottingLiftpaintoffthesurfacebyblottingitwithabsorbentpaper.Blotoutstripes,usingsometissuepaperwrappedroundaruler.

Loadacalligraphypenwithwatercolor

Paintingondamppaper

Oneadvantageofworkingwithunstretchedpaperisthatyouarefreetomanipulatethecolorwithcopiousamountsofwater.Providedthepaintisdry,youcanholdyourpaintingunderrunningwaterwithoutfearofthecolorsrunning.

CreatinganorangeglowAnoveralltoneoforange-yellowcreatesanimpressionofwarmsunlight.Wetthebottomhalfofthepaintingbyholdingitunderarunningtap,allowingsurpluswatertorunoffintothesink.Spatterthewetpaperwithdilutecadmiumorangeandyellow,thentiltthepaperbackandforthtomovethecoloraroundonthesurface.Blotexcesswaterwithapapertowel.

PaintingtheskyTurningthepaintingupsidedown,youcanadoptasimilarmethodtopaintthesky.Havingwetthepaper,paintabluewasharoundhillsandbuildings,thentiltandbendthepapertodirectthecolorexactlywhereyouwantit.Thisalsopreventsthepaintpoolingandleavingobviousridges.Ifyouwanttocreateclouds,blotthemoutofthebluesky,usinganabsorbentpapertissue.SEEALSOATMOSPHERICPERSPECTIVE292,303PAINTINGOUTDOORS134PAINTINGSKIESANDWEATHER286

SPACE,DEPTHANDDISTANCEPerspectiveisanopticalillusionwherebyobjectsappeartodiminishinsizeas

theyrecedeintothedistance.Itispossibletoreproducethisillusionina

drawingorpainting,usingasystemoflinesandreferencepointsforplotting

therealthree-dimensionalimageontoatwo-dimensionalsurface.Although

perspectivedrawingcanbepreciselymeasuredandconstructed,youonlyneed

toapplythebasicprincipleswhenyouarepaintingandsketching.

UsingaviewfinderSomeartistsuseacut-outcardboardwindowtoestablishtheirviewpoint,andtohelpassessperspectiveinrelationtothepictureplane.

Establishingthehorizonline

Toestablishthehorizonlinefromanyworkingposition,holdarulerhorizontallyinfrontofyoureyes,soyouseeonlytheedge.Makeamentalnoteofthelinetherulermakesacrossthesceneinfrontofyou.Markthislineacrossyourdrawingtorepresentthehorizon.

PictureplaneYourdrawingorpaintingisarepresentationofaviewasitmightappearwhen

projectedontoanimaginaryclearscreeninfrontofyou–thisissimilarto

lookingatthesamesubjectthroughawindow-pane.Thissurface,knownasthe

pictureplane,istakentobeatrightanglestoyourcenterofvision.

Single-pointperspectiveSubjectsseenheadon–withonefaceparalleltothepictureplane–canbeconstructed,withinlimits,usingasinglevanishingpoint.

HorizonlineWhenyoulookstraightahead,neitherlookingupnordown,youreyelevelfalls

onthehorizonline(HL).Thisistheprimarylineofreferenceinperspective

constructionandisalwaysateyelevelnomatterwhatheightyouarelooking

from.Inaseascapethehorizonlineisvisible,butinmostsituationsitis

obscuredbyhighgroundorbuildings.

Two-pointperspectiveThismethod,whichisalsoknownasangularperspective,usestwovanishingpointsforconstructingthree-dimensionalobjectssetatanangletothepictureplane.Itprovidesamorenaturalviewthansingle-pointperspective.

VanishingpointsInperspectiveviews,alllinesatrightanglestothepictureplaneandparallelto

thegroundappeartoconvergeonthehorizonline.Thesepointsofconvergence

arecalledvanishingpoints(VP).Usually,oneortwovanishingpointsareused,

dependingontheangleofthesubjectbeingobservedinrelationtothepicture

plane.Sometimesathirdvanishingpointisintroducedaboveorbelowthe

horizonline.Inpractice,vanishingpointsmayfalloutsideyourpicturearea.

Three-pointperspectiveThisisusedtogiveasenseofrealismtosubjectsviewedfromaboveorbelow.Unlessthevanishingpointsarewidelyspaced,theviewisdistorted.

ForeshorteningWhenanobjectisseeninperspective,recedingtowardsthevanishingpoint,it

appearsshorterthanitisinreality.Thisphenomenonisknownas

foreshortening.Thisdiminishinginsizeisprogressive,sothatarowofwindows

ofequalsizeandspacing,forexample,willappeartogetsmaller,andthespaces

betweenthemnarrower,astheyrecedeintothedistance.

Foreshorteningisrelevanttoeverythingyoudraworpaint,notonly

landscapesortownscapesbutfiguresaswell,asshownintheillustration(below).

FiguredrawingWhendrawingfigures,foreshorteningaffectstheproportionsofthelimbsandtorso.Asanaid,thinkoftheseelementsascylindersinperspective.

AtmosphericperspectiveDustandwatervaporsuspendedintheatmospherepartlyobscureourviewof

distantobjects.Astheyrecedeintothedistance,detailsbecomelessdistinct,

tonesbecomelighterandcolorsappeartogetcooler,movingtowardsshadesof

blue.Simulatingtheseeffectswithpainthelpscreatetheillusionofdepthand

distance,asillustratedinthepaintingbelow.

AccurateforeshorteningOnewaytoachievethisillusionistodrawthesubject,sayawindow,inperspective,thendrawinthediagonals.Drawalinethroughthecenterofthecrosstothevanishingpoint,thendrawaverticallinethroughthesamecenter,dividingthewindowintoquarters.

Nowdrawadiagonalthroughonequarterandextendthelinetocrossthelowerrecedingline.Drawinaverticalwheretheselinescross.Markthediagonalasbeforeandthencontinueinthiswaytowardsthevanishingpoint.

RobertTilling

Rocks,LowTideWatercoloronpaper65×50cm(26×20in)

CirclesonthehorizonWhenthecenterofthecirclecoincideswiththehorizonline,theminoraxisoftheellipseisalsohorizontalandtheellipseappearsupright.

CirclesbelowthehorizonWhenthecenterofacirclefallsbelowthehorizon,theminoraxiscontinuestopointtowardsthevanishingpoint.Asaresult,theellipseappearstorotateinorderforthecircletobeseenintrueperspective.

ForeshortenedcirclesNotehowellipsesappeartogetflatterastheyapproachthehorizonline.

DrawingcirclesinperspectiveAcircletouchesallfoursidesofasquare.Whenitisseeninperspective,thesquareisforeshortenedandthecirclebecomesanellipse.SEEALSOLANDSCAPEONLOCATION282PAINTINGALANDSCAPE274PAINTINGATOWNSCAPE298THECHANGINGLANDSCAPE290

PUTTINGLIFEINTOAPAINTINGPaintedcityscapesandinteriorsbereftofpeopleappeareerilydeserted.John

Yardley,whoiswellknownforhisabilitytoinjectvitalityintothesesubjects,

showsushowtobringapaintingtolifebyincludingsimple,well-conceived

figures.

ProportionandscaleIfafigureiswrong,evenbyasmallmargin,itcanspoilwhatispotentiallya

goodpainting.Inparticular,itiseasytoforgetthatifpeopleandanimalsaren’t

inscalethewholepicturewilllookoutofbalance.Theheartoftheproblemlies

inthefactthattheeyeiscapableofperceivingverysubtledifferences.

“Artistsoftenmaketheirfiguresappearstiffandwooden,almostlikeclothespegs.Ifyou

paintafigurewiththelegsjustafractiontoofarapart,itnolongerreads

convincingly.”

PlanningyourpaintingWhenpaintinginwatercolor,theartistJohnYardleyadoptstheconventionalmethodofworkingfrombackgroundtoforeground,leavingwhitespaceinwhichtopaintthefigures.

WorkingpositionItisoftenbesttopaintstandingup,especiallywhenworkingoutside.Whenseated,youlookacrossthepaperatanacuteangle,whichcangiveadistortedviewofperspectiveandproportion.

AllateyelevelRegardlessoftheirscale,theheadsofallfiguresstandingonthesameareaofflatgroundwillbemoreorlessateyelevel.Thisassumesthatyou,thepainter,arealsostandingonthesamesurface.Ifyouareseated,thentheheadsofthefiguresclosesttoyouwillappearhigherthantherest.

BrushesTheartistisinthehabitofusingtwoNo.10roundsables.Oneisanewbrush,whichtakesapointwellandisidealforpaintingdetail.Theotherbrushisolderandslightlyworn,butisperfectforbroadwashes.

“Thereisonlysomuchyoucansayaboutpainting–paintingisadoingthing.”

JohnYardleyalwaysstartsbydrawinginpenciltoindicatewherehewantsto

placethefigures.Theyconstituteanintegralpartofthecomposition,notmerely

afterthoughtsthatareinsertedatrandom.

Thebackgroundispaintedfirsttoestablishbroadareasoftoneandcolor,

leavingpatchesofwhitepaperwheretheartistintendstointroducelocalcolor,

perhapstosuggestadressoraman’scoat,forinstance.

Figuresarepaintedfreelytosuggestmovement,precludingdetailthatwould

spoiltheillusion.Here,abroadareaofshadowanchorsthegroupoffiguresto

theground.

“Thesecrettosuccessfulwatercolorpaintingisknowinghowmuchwatertouse.This

onlycomeswithexperience,butonceyougetafeelfortherightcombinationofwater

andcolor,youhavecontroloverthemedium.”

JohnYardleyFigureStudiesWatercoloronpaper

EconomyofmeansFiguresshouldlookcredible,evenwhenpaintedsimply–butdon’tconcentrateonunnecessarydetail.Forexample,thebraintellstheviewerthatpeoplehavelegsthatendwithfeet,sothereisnoneedtopainttheshoes.

Themostbasiceffectscanbeusedtoimplymovementanddirection.Asmallwhite“V”leftatthenecklinewillindicatethatafigureiscomingtowardsyou.Paintitinwithsolidcolorandthefigureappearstobewalkingaway.

Castshadowssuggestthatfiguresarestandingonsolidground,buttheytooneedtoobeytherulesofperspective.

JohnYardley

StreetScene,SorrentoWatercoloronpaper51×76cm(20×30in)SEEALSOFIGUREDRAWING140ACTION&POSE141PAINTINGALANDSCAPE274PAINTINGOUTDOORS134PERSPECTIVE302WATERCOLORPAINTS87

PAINTINGAFACEThere’snoquestionthatportraiturecanbesomewhatdaunting,evenfor

experiencedartists.Itcanbequitedifficulttoconcentrateonthemechanicsof

drawingandpaintingwhen,atthebackofyourmind,youarewonderingwhat

yoursitterisgoingtothinkofyourefforts.Theimagewehaveofourselvesis

oftenquitedifferentfromhowothersseeus.Consequently,attemptingto

createafaithfulportraitofyoursitterthatneitheroffendsnorflattersmaywell

beadelicatebalancingact.

ChoosingyourmodelOnewaytoavoidembarrassmentistopaintaself-portrait.Youcanthenbe

totallyobjective,andworkforaslongasyoulikewithoutfearoftiringyour

model!Ifyoudon’twanttopaintafull-faceportrait,setupapairofmirrorsin

suchawaythatyoucanseeyourselffromdifferentangles.

Otherobviouscandidatesareyourfriendsandmembersofyourfamily,who

willusuallyprovetobewillingparticipants.Paintingpeopleyouknowintimately

shouldhelpyoubringouttheirtruecharacter,providedthatyoucandiscipline

yourselftolookbeyondyourownpreconceptions.

Whatevertherelationshipwithyoursitter,youaremorelikelytoapproachthe

taskwithenthusiasmifyougenuinelyfeelthatpersonwillmakeaninteresting

subjecttopaint.

Workingfromphotographs

Thereisnosubstituteforpaintingfromlife,butit’susefultotakephotographsofyoursitteratthebeginningofasessionandagainattheend.Photosarehelpfulifyouwanttoworkonthepaintingbetweensittings,orifyourmodelisveryyoungandlikelytotirequickly.However,acameralenscanproduceadistortedimage,particularlywhenshootingclose-upswithawide-anglelens.

PosingyourmodelBeforeyousettleonapose,tryoutvariousviews,fromfullfacetothree-quarterviewandprofile.Tiltingtheheadupordownoffersevenmorepossibilities.

ComposingaportraitThefeaturedpaintingisaconventionalhead-and-shouldersportraitagainsta

plainbackgroundthatemphasizesthecontoursofthefaceandthrowsthe

featuresintostarkcontrast.Theartist,NickHyams,hasselectedathree-quarter

view,whichmakesiteasiertoseethefeaturesinthreedimensions.

Lightingwillalsoaffectyoursubject.Afaceunderevenilluminationcan

appearalmostflat,whereasastrongsidelightthrowsthefeaturesintorelief.

Youcouldshowmoreofyoursitter,andalsoincludeasettingthathelpsto

Youcouldshowmoreofyoursitter,andalsoincludeasettingthathelpsto

conveythemodel’slifestyleorinterests,butifyourobjectiveistoachievea

recognizablelikeness,itpaystokeepthecompositionsimple.

Helpyourmodeltofeelcomfortableandrelaxed–don’texpectanyoneto

holdasmileorotherexaggeratedexpressionforanylengthoftime.Be

encouraging,andinvolveyoursitterintheprocessbyallowinghimorhertosee

andcommentonyourworkduringthebreaks.

Agreeonwhatyoursittershouldwear.Itdoesnothavetobeanything

elaborate,buttheadditionofjewelry,ascarfornecktie,orevenahat,may

contributesomethingtothepainting.Astheworkprogresses,feelfreetoalter

thecolorandtextureofthesitter’sattireifyoufeelitwouldimprovethe

painting.

MakingapreliminarydrawingWeallhavethecapacitytorecognizeindividualsandcantellwhenaportrait

actuallylookslikesomeoneweknow.Asanarttutor,NickHyamsencourages

hisstudentstoharnessthisinstinctivepowerofobservationwhentheyare

drawingorpaintingalikenessofanotherhumanbeing.

Beforeyoucommityourselftopaint,itisworthmakingapreliminarydrawing

ofyoursubject.Drawingconcentratesthemindandgivesyouanopportunityto

observeyoursitterclosely.

Evenabasicunderstandingofhowthebodyisconstructedenablesanartistto

drawandpaintwithconfidence,anditistheunderlyingbonestructurethat

givesusthemostimportantcluestoworkwith.

Theeyesaresetdeepwithinroughlycircularsocketsintheskull(youcan

detectthembeneaththelayersofskinandmuscle).Thecheekbonesjustbelow

thesocketsareinvariablyprominentfeatures,asisthecurveofthelower

jawbone.Evenwhenitiscoveredwithhair,thesizeandshapeofthecranial

domeisvitaltotheoverallproportionofthesitter’shead.

AchievingalikenessAperson’sskullcontributesinlargemeasuretotheirappearance.Ourmodelhashighcheekbones,quitelargewell-definedeyesockets,andadelicatechin.Thesecharacteristics,togetherwithherfulllips,slightlyalmond-shapeeyesanddistinctivenose,distinguishJoycefromeveryotherindividual.

Astronglylitthree-quarterviewmakesthemodel’sfeaturesstandoutagainstthedarkbackground.

BasicproportionsAlinethroughthebottomoftheeyesocketsdividesthehumanskullinhalf.Whenpaintingsomeonewithafullheadofhair,thelinerunsthroughthecenteroftheeyes.

ThedrawingPortraitureisnevereasy,buttheartistNickHyamsadvocatesamethodof

paintingthatallowsyoutocorrecttheinevitablemistakesyouwillmakewithout

havingtothrowawayallthevaluableworkyouhaveputintocreatingaportrait.

Thefeaturedpaintingistheresultofanumberofsessions,spreadoveran

extendedperiod.Althoughthedrawingwasmadefromlife,thefinishedportrait

waspaintedfrommemory.

Theadvantagethatapaintedportraithasoveraphotographisthattheartist

isfreetomakesubtlechangesofemphasisinordertodrawattentiontoa

person’suniquecharacteristics.Comparethefinishedpaintingwiththecarbon-

pencilstudyontheright,andyoucanseehowNickHyamshasdeliberately

emphasizedthesitter’scheekbonesandpointedchin.

“Almostinstinctively,Iwillselectcertainfeaturesthatcharacterizethemodel.Iam

tryingtoarriveatsomethingthatsaysmoreaboutthesitterwithoutitbecominga

caricature.”

NickHyamsPreliminaryDrawingCarbonpencilonpaper38.5×28cm(151/2×11in)

UnderdrawingandgroundThefinishedworkbeganwithasimplepencildrawingthatwasusedasaguide

tothepainting.Thewholesurfacewasthencoveredwithawashofrawsienna,

appliedwitha50mm(2in)brush.

“Iliketostartwithacoloredground.Itimpartsharmonytoapainting.Italsogives

youawarmbackgroundsothatyouarenothavingtodealwiththestarkwhitepaper,

whichcanbeverydistracting.”

Don’tattempttocreateaflatwash,justapplythepaintinanydirection,even

mixinginasecondcolorifyouwantabitmorevariation.Thegroundfixesthe

pencilunderdrawing,sothereisnofearofitsmudging.

MediumAglossmediumwasusedtoincreasethetransparencyoftheacrylicpaintandtoimprovetheflow.

PaperThispaintingismadeon100percentcotton,300gsm(140lb)hot-pressedpaper.Havingasmoothsurface,thepaperdoesnotimposeatextureonthepainting.

BrushesSyntheticbrushesareidealforacrylics.Theirbristlesarestrongandspringy,andarerelativelyeasytoclean.NickHyamsusesroundbrushesinarangeofsizes.

UnderpaintingUsingthecoloredgroundforyourhalftones,developanunderpaintingtoworkoutthebasictonalvalues.Forthispainting,variousmixturesofrawumber,cadmiumlemonandwhitewereusedtoroughlypaintinthedarkerareasandhighlightswithwashesofcolor.Havingblockedinthebasiclightsanddarks,paintadarkwashacrossthebackgroundsothatyoucanchecktherelativetonalvaluesofthefacebeforeyouproceedwithcolor.

PaintsIfyouarenewtopaintingportraits,andespeciallyifyouareintendingtouseacrylicpaints,itisagoodideatoconfineyourselftoalimitedpaletteconsistingprimarilyofearthcolors.Untilyoubecomemoreexperienced,paintingaportraitwithbrightcolorscanmakeyoursitterlooklikeapainteddoll.Thefeaturedportraitwaspaintedusingthefollowingcolors:

Ifyoufeelaneedtoexpandyourpaletteslightly,thefollowingcolorsarealsorecommendedforportraiture:

ModellingwithcolorSomeartistsadoptaboldapproach,attackingthecanvaswithgusto.Such

paintingsareoftenalivewithenergyandamplyrewardtheriskstakenbythe

artist.However,whatappearstobecarefreeabandonisoftentheresultofyears

ofexperienceandexperimentation.

Youhaveabetterchanceofsuccess,especiallywithacrylicpaints,ifyou

approachyourworksystematically.NickHyams’technique,whichrelieson

simplecombinationsofcolor,enablesyoutokeeptheprocessundercontrol.

Asyouworkupthepainting,keepsteppingbacktoevaluatetheeffectofthe

modellingandalsotochecktheoveralltonalbalance.Ifonepartappearstoo

dark,justaddafewspecksofapalertonetomodifyit.Ifthehighlightsaretoo

bright,knockthembackwithdotsofdarkercolor.

OpticalmixingInthisprocesssmallspecksofpurecolorlaidsidebysidemergetogetherwhenviewedfromadistance,suggestingadifferentandmoresubtlecoloring.

HighlightsThelightestareasarepaintedwithcadmiumlemonandwhite.Thesehighlightsarewarmedwithspecksofredoxidewhich,whengroupedtogether,begintomodeltheform.

ShadowsThesamethreecolorsareusedintheshadedareas,wheretheunderlyingrawumbermakesforacoolercoloringgenerally.Deepentheshadowswithspecksofdarkerandcoolercolorsuntilyouachievetherequireddepthoftone.

ThehairDon’tlosesightoftheunderlyingshapeoftheheadwhenyouarepaintinghair.Linearbrushstrokesaremoreexpressivethandots,andscumblingwithadrybrushaddstexture.

PaintingtheeyesNotehowthecircularirisispartlyhiddenbeneaththeeyelid,whichalsocastsashadowacrosstheeyeball.Thesphericalshapeoftheeyeballissuggestedwithmodellingoftheupperandlowerlids.Here,specksofredoxide,cadmiumlemonandwhitepainthavebeenusedtodepictthewhitesoftheeyes.Makesurethatbotheyesarelookinginthesamedirection.Manyaportraithasbeenspoiledbytheartistgivingthesitterasquint.

WorkingupthedetailsLineisanartisticconvention.Inreality,thereareonlyedgeswhereacurvedsurfaceisseenasahorizonorwhereonesurfacemeetswithanother.Drawthesemarginsasbrokenlines,usingdotsofcolorthatmergeandblendtocreatetheshapeyouwant.Thedarkestareasofdrawinginthispaintingaremadewithspecksofrawumberandblack.

BackgroundWhatappearstobeaplainbackgroundfromadistanceshimmerswithtinyblue-gray,brownandblackbrushstrokes.

NickHyams

JoyceAcryliconpaper38×28cm(15×11in)SEEALSOACRYLICPAINTS110MEDIUMS118MIXINGCOLORS220PAINTINGAFRIEND314SCUMBLING176

WORKINGONTHEFEATURESWhenusingwordstoidentifyanindividual,wetendtorelyondescriptionsof

theirdistinguishingfeatures–thinlips,longnose,bigears,andsoon.

Similarly,inpainting,anaccuratedepictionoffacialfeaturesgoesalongway

towardsobtainingarecognizablelikeness.Thisiswhatmostportraitistsare

strivingtoachieve,andwhatmostsitterswanttohangonthewall.

PreliminarysketchesBeforepaintingafullportrait,gettoknowyourmodel’suniquefacial

characteristicsbymakingpreliminarysketches,notforgettingtorelatethemto

theoverallproportionsofthefaceandhead.Usetheopportunitytomaketonal

studiesandcolornotes.

Closeobservation

Thisartistmovesaroundhersitters,sketchingdetailsinwatercolorandcontécrayonbeforeembarkingonafinishedpainting.

ValerieWiffenStudiesofFacialFeaturesWatercolorandcontécrayononpaper35.5×53.5cm(14×21in)SEEALSOCOLOREDPENCILS42CONTÉCRAYONS52WASHTECHNIQUES182WATERCOLORPAINTS87WET-ON-DRY189

PAINTINGAFRIENDThisisanexampleofportraituremadewithpanacheandenergy.It’sastyleno

completebeginnercouldhopetoemulate,butitisagoaltowhichmanyartists

aspire.WatchingKenPaineatworkisaninvigoratingexperience,becausehe

isafirmbelieverinthrowingcautiontothewind.“Bebold.It’sonlya

painting.It’snevergoingtobelife-threatening.”

PaintingmorethansuperficialappearanceAswehaveseenpreviously,anartistwillsometimesexaggeratefacial

characteristicsinordertoconveythetruelikenessofthesitter.Takingitastep

further,aperceptivepaintercanexpressmorethansuperficialappearance.

MaterialsThisisapaintingmadewithacrylicpaintandsoftpastels,arichcombination

thatallowsforahugevarietyofboldandexpressivemarks.Thereisverylittle

timespentwaitingforthepainttodry–sotheartistcanswitchfrompaintto

pastelandbackagain,asthemoodtakeshim.

Thesupportisagood-qualitymountingboardwhichhasbeencoatedwith

gesso,andthensprinkledwithpowderedpumice.Thisprovidesafinelytextured

surfacethatacceptsbothmaterialsequallywell.

Whenworkingwithmixedmedia,KenPaineusesone,orpossiblytwo,large

filbertsfortheunderpainting,whichissubsequentlyoverlaidwithlayerupon

layerofpastelstrokes.

PosingyourmodelWhenyouposeyourmodel,thinkabouthowyoucanusebodylanguagetoconveydifferentaspectsofthesitter’spersonality.Itiseasytoimaginehowtakingupaforceful,aggressivestancewouldgiveacompletelydifferentimpressionfrom,say,lounginginanarmchair.Buthumanbeingscanpickupmoresubtlemessages.Amodelstaringstraightoutofthecanvascouldbeinterpretedaschallengingorengaging,whereasdowncasteyesmaybeseenaspassiveormelancholy.Withalittledirectionfromtheartist,thismodeltookupanatural,contemplativepose.

MarkmakingExpressivemarks,madewithbrushandpastelstick,aretheartist’sdirectresponsetothesubjectofthepainting.

MirrorimageUseamirrortolookatyourportraitfromadifferentviewpoint.Thiswillhelpyoutoevaluatethepaintingintermsofcompositionandtonalbalance.Italsoenablesyoutoseethecanvasfromadistance–usefulifyouworkinasmallstudio.

UnderdrawingInordertopindownthemainelementsofthecomposition,theartistbeginsby

drawingwithpastel.Fromthebeginning,thelinesofthetorsodirectthe

onlookertowardsthefocalpointofthepicture,thesitter’shead.Placingthe

focalpointslightlyoffcenterhelpstocreatewell-balancedshapesoneachsideof

thefigureandmakesforamoredynamiccomposition.

UnderpaintingWithinminutesofstartingtheportrait,KenPainepicksupabrushandstarts

modellingtheformwithlightandshade.Heblocksinthedarkertones,usinga

wetbrushtomanipulatethepastel,andpaintsthehighlightswithwhiteacrylic.

“WhenIlookataperson,Idon’tseetheirbodyortheirfeatures:Iseeshapes–shapes

withinshapesandshapesbetweenshapes.AndifIpaintthoseshapeswell,Iwillgeta

goodlikenessofthatperson.”

Theartistbringsinwarmandcoolaccents,usingamixtureofyellowochreand

rawsiennaforthefleshtones,andacoolgreenfortheareasinshadow.Flashes

ofscarlet,warmblackanddeepyellowareusedtochiseloutthefeatures.

Paintingadarkbackgroundshowsupthesideofthefaceandshoulder.

CreatingapainterlysurfaceHavingestablishedthebasicform,theartistbecomesengrossedinthestruggle

togetthesitter’slikenessdownontothecanvas.Usingcoolgraysandochres,he

drawsinthehalftones;bringsthesitter’sfacetolifewithdeftstrokesofblack

andredpastel;andthenintroducesthestronghighlightswiththesideofapastel

stick.

“Apaintinggoesthroughmanydifferentstages.Youmustbepreparedtobuilditup

thenbreakitdownagain.It’snoteasy,butitisanessentialpartoftheprocess.”

Eventually,thepaintingreachesapointwhichtheartistfeelsisafirm

foundationforthefinalstages.

“Thesearetheunderlyingcolorsthatwillshowthroughtheall-importantmarksIshall

bemakingtofinishtheportrait.Ifyouproceedwiththatprocessbeforethepaintingis

ready,theportraitwillbelifeless,butifyoupersistwiththebasicmodellinguntilyou

arehappywithit,thenyoucanreallyenjoythenextstage.”

Blockinginthetones

Addingwarmandcoolaccents

BringingthefacetolifeKenPainedrawsthefeatureswithboldpastelstrokes,buthedoesn’thesitatetotakeupapaintbrushandreworktheportraitwhenitisn’tquitegoinghisway.

FinishingtouchesReturningtopastelsoncemore,theartistputsthefinishingtouchestothe

portrait.Evenwhenheisconcentratingondetail,KenPainecontinuestowork

freely;heappliesbroadstrokes,usingthesideofastick,thenmakesdelicate

marksandlinesbydrawingwiththepointandedge.

BalancingthepaintingTheportraitisallbutcomplete,butnowtheartistmustdecidehowtoconvey

thebulkofthefigurewithoutdistractingfromthefocalpointoftheportrait.

Thisheachieveswithboldbrushstrokesandvigorouslinesthatbreakdownthe

edgesofthetorsoanddirecttheviewer’sattentiontowardsthehighlydetailed

features.Thefinalbalanceismadebyblockinginthebackgroundcolors,using

darkandlightareastothrowthesitter’sheadintorelief.

AcompleteillusionCloseup,thefinishedpaintingcouldbecomparedwiththeworkofanabstractpainter,yetstepbackandallthoseexpressivemarkscoalesceintoacompellingandconvincingportraitoftheartist’sfriend,Andy.

“Iamtryingtoproduceaninterestingpainterlysurface.Itisimportanttorealizethat

youarecreatingapainting,youarenotmakingacopyofwhatyoucanseeinfrontof

you.Justasajazzmusicianmightimproviseonatheme,soIamtakingcertain

libertieswiththeportrait.It’swhatwecallartist’slicence.”

KenPaine

AndyAcrylicandpastelonmountingboard84×58cm(33×23in)SEEALSOACRYLICPAINTS110EXPERIMENTALPOSES322FIGUREDRAWING140PAINTINGAFACE306PASTELS48

PAINTINGAPERSONAportraitcanencompassmorethanaperson’sheadandshoulders.Withthis

exercise,wesetouttopaintafullfigure,clothedandsetagainstasimple

background.Itisperhapsmoreimportanttocreateanimpressionofasolid,

well-proportionedhumanbeingthanitistoachievearecognizablelikenessof

themodel.

AstheartistValWiffenisquicktopointout,thereisoftentoomuchemphasis

placedonthefeatures,whenatthisscalepostureandmeaningfulgesturesare

equallyimportantforconveyingcharacterandpersonality.

“Don’tbetooconcernedifyoudon’tachieveanobviouslikeness,becauseyourpainting

maystillbeaverygoodrepresentation.”

MakingasketchplanValWiffendispenseswithadetailedunderdrawing,optinginsteadtomakea

sketchplan,usingasepiawater-solublecoloredpencilandwashinordertoplot

themainelementsofthecomposition.

“Iliketoputdownafewlines,sortoflandmarksthatwillguidemethroughtheearly

stagesofpainting.Icanchecktheproportionsofthefigureandatthesametimeresolve

thecomposition,whichinthiscaseisaplayontriangleswithinasquareformat.”

Tostrengthentheimageonthepaper,theartisttakesabrushloadedwithclean

wateranddrawsitacrossthelinework,dissolvingthepencilandcreatingwashes

ofcolor.

MaterialsandequipmentThispaintingwasmadeon410gsm(200lb)watercolorpaper,usinggouacheandtemperablockcolorappliedwithasingleweasel-hairbrush.

Tonalwashesarecreatedbybrushingwaterovertheinitialwater-solublepencildrawing.

Thefirstwashesarethenlaidinbytheartistwithtemperablockcolor.

Temperablocksareasolidformofgouache(seepage104).

ChoosingyourviewpointInquiteasmallstudio,standingoveraseatedmodelmayproduceanawkwardbird’s-eyeview–inwhichcase,youmaybebetteroffseatedatthesamelevelasyoursitter.However,standingatyoureaselwillgiveyougreaterfreedomofmovement,andyoucanstepbackfromtimetotimeinordertolookatyourworkfromadistance.

KeepinggouachemoistTheartistusesastay-wetpalettewhenworkingwithtubesofgouache.Shekeepsthepaintmoistbymistingitoccasionallywithwaterfromasmallplantspray.

DressingyourmodelEncourageyoursittertochooseclothesthatheorsheisusedtowearing–somethingthatexpressesthesitter’spersonality.Thiswillhelptoreinforcethesenseoflikenessinyourpainting.Thesimplesttextilesareoftenthemostdifficulttopaint.Distinctpatterns,suchasstripesorchecks,willfollowthecontoursofthe

bodyandmakeiteasiertodepictthemodelinthreedimensions.

PaintsandpaintbrushesPaintsGouacheisaversatilemedium.Itcanbelaidastransparentwashes,muchlike

watercolor,butwhenappliedinathickerconsistency,gouachehasgoodcovering

power,whichgivesanartisttheoptiontoalterorcorrectapaintingwithoutthe

colorsbecomingmuddy.Whendry,thesurfaceofthepainthasanopalescent

glow,similarinsomewaystosoftpastel.Unlikewatercolor,whichstainsthe

paper,gouachemerelysitsonthesurfaceandcanbewashedoffwithadamp

sponge,leavingverylittletraceofcolorbehind.

Fortheearlystagesofthefeaturedpainting,theartistusedtemperablocks

(gouacheinsolidform)torendercolorwashes.Astheworkprogressed,she

revertedtoconventionalgouachepaintsuppliedintubes.

PaintbrushesValWiffen’spersonalpreferenceisforChinese-madebrushes,withwhichshe

canmakeawidevarietyofmarks.Forfigurepainting,sheadvocatesusingat

leastonebrushthatcomestoafinepointandalargemopforapplyingbroad

washes.Forasmall-scaleworklikethis,however,shecanmakedowithasingle

brushthatfulfilsbothpurposes–alargeweasel-hairbrush(equivalenttoaNo.

14round).

PositiveandnegativeshapesWiththenextstage,theartistgetstogripswithdrawingandworkingonthe

tonalvaluesofthecomposition.Applyingtemperawashes,sheblocksinthe

positiveshapes,whichconstitutethefocalpointofthepicture,andalsothe

negativeshapescreatedbyspacesandareasofcolorsurroundingthefigure.

“IfIamhavingtroublepaintingthenegativeshapes,itmeansthefiguredrawing

requiressomeadjustment.”

SolidityandformWiththeposefirmlyestablished,theartistbeginstohomeinonspecificshapes

andcolors.Sheintroducesstrongerandrichercolorstorenderfoldsinthe

clothing,thestripedsofacoverandthemodel’sboots.Withonlytheminimum

ofdetail,thefigurealreadylookssolid,withhisweightnestlingintothesoft

seating.

IntroducingdetailWithdeftstrokes,theartistbeginstomodelthebasicfacialfeatures.Folded

fabricstakeshape,withcastshadowsandhighlightsindicatedwithstrokesof

paint.Althoughbroadlypainted,detailssuchascollars,cuffs,pocketsandseams

giveformanddefinitiontotheclothing.

Thepicturedevelops

KeepingcolorsfreshWhenlayinggouache,makeasinglestrokeinonedirectiononly.Thisdepositsthepaintonthesurfacewithoutdisturbingtheunderlyingcolor.

Blockinginpositiveandnegativeshapes

Introducingstrongerandrichercolors

Detailingthefeaturesandclothing

FromstarttofinishAllowingforrestbreaks,thepaintingwasbroughtclosetofruitionoveraperiod

ofaboutfivehours.Thesequencebelowshowshowtheportraitevolvedfrom

thesketchplanandloosewashes,untilthefinishedpainting(opposite)finally

emerged.Itisworthnotingthattheartistresistedthetemptationtopaintthe

model’sfeaturesuntiltheveryendofthesession.

Paintingskintones

Inthiscase,so-calledwhiteskinismorelikeawarmgraywithmauve-tintedshadows.Alwayslookcarefullyatfleshtonesandtrytoidentifythecolorsobjectively.

PaintingeyesDon’tallowtheeyestodominate.Ifyoupaintthemwithpurewhitepaint,yourmodelcanappeartobestaringunnervinglyoutofthepicture.

PaintinghairThehairstylecontributestothesitter’sappearance.Thereisnoneedtopainteverywispofhair,butheretheartistwasabletointroducesufficientdetailtoconveytheageandcharacterofhermodel.

PaintinghandsFormostpainters,thehandsareasourceofconsternation,becausetheyappeartobesuchcomplexstructures.Paintthemsimply,asplanesseparatedbyrowsofknuckles,rememberingthatthesejointsareonlycapableofhinginginonedirection.

ValerieWiffen

PortraitofSimonGouacheonpaper38×38cm(15×15in)SEEALSOFORESHORTENING303GOUACHE104TEXTURALEFFECTS208PAINTINGAFACE306PAINTINGHANDSANDFEET330STAY-WETPALETTES121,283WASHTECHNIQUES182WORKINGONTHEFEATURES312

EXPERIMENTALPOSESForlongfigure-studysessions,artistsgenerallyasktheirmodeltotakeupa

conventionalseatedorstandingpose.Butyoucanextendyourrepertoirewith

someten-minutesessions,toenablethemodeltoadoptamoredramaticpose,

ortoletyoupractisecapturingtheessenceofafigureinmotion,usingarapid

andsketchystyle.

Rule-of-thumbproportionsYoucandividetheaveragehumanfigure,fromcrowntoankle,intoapproximatelyeightheadlengths.

Relaxedposes

Withshortbreaks,amodelcanholdtheseposesforhoursonend.Notethetiltoftheshouldersinducedbyshiftingtheweightontoonefoot.

SlowmotionThemodelmovedslowlyfromoneposetoanotherwhiletheartistcaughttheactionwithpencilandwatercolor.

SharonFinmark

Transparenciesoffigurestudiesandpaintingsfromtheartist’scollectionVariousmediaonpaper

FiguresincontextFurnitureandsimplepropscanbeemployedtomakeaneye-catchingposelookplausible.Bedroomsandbathroomswillmakeappropriatesettingsfornudeorsemi-clothedfigures.SEEALSOFIGUREPAINTINGINTHESTUDIO324PAINTINGAFRIEND314PAINTINGHANDSANDFEET330PUTTINGLIFEINTOAPAINTING304

FIGUREPAINTINGINTHESTUDIOFormanyamateurartists,makingastudiopaintingofanudemodelisa

relativelyambitiousproject,butonetowhichmostaspire.ToKenHoward,

wellknownforhisback-litlifestudies,itisafamiliarprocess,buthispainting

featuredheregoesastepfurther.

Thisparticularpictureisasophisticatedcombinationofthreethemes–figure

painting,roominteriorandstilllife.Makingalltheseelementsworksuccessfully

inonepicturebringsustothecoreofthisartist’sapproachtopainting.

“Paintingistheprocessofkeepingeverythingworkinginaproperrelationship.Keep

youreyeonthetotalpicture,bringingeverythingalongtogetherrightuptothelast

mark.Thatisthekey.”

Thisisaveryimportantthemethatwewillreturntoagainandagainasthework

progresses.

Workingwithamodel

Hiringaprofessionalmodelisaluxuryfewpainterscanafford,butthere’snoneedtogotosuchlengthsifthereareclosefriendsorfamilywhoarewillingtositforyou.Particularlywhenusingamateurmodels,it’sessentialtochooseacomfortableposethatyoursubjectcanholdforextendedperiods.Youshouldalsoallowforregularbreaks,markingthekeypointsoftheposewithmaskingtapesothatyourmodelcantakeupthesameposition.Besuretokeepyourworkroomwarm,andtoprovidesomewhereforyourmodeltodisrobeinprivate.

Settingupthepose

Itpaystothinkabouthowyouwanttoposeyourmodelbeforeheorshearrives.Thatwayyouwon’twastevaluabletimearrangingyourpropsandlighting.Inthispainting,themodelisposedagainstthediffusedlightfromawindow,withadark-tonedpicturehangingbehindhertoprovidedramaticcontrasttoherprofile.Atable,whichispositionedtobreakuptheforeground,holdsaselectionofjarsandbottlesthataddsparkleandcolorfuldetailtothepicture.

Thefollowingsequencecoversapproximatelythreehours’work,andwasexecutedina“one-wet”session.Thefinishedpaintingoppositewastheresultofafurthertwo-hoursession.

KenHoward

PaulaOiloncanvas60×50cm(24×20in)

Paint,brushesandcanvas“Thereisnoreasontobeafraidofusingoils.Ifyouwanttobeafraidofsomething,be

afraidofwatercolororgouache–there’snoturningbackorscrapingoffwiththese

paints.”

AswithmuchofKenHoward’swork,thisisinessenceatonalpaintingwhichis

madewithalimitedpalette,inthiscasecadmiumlemon,cadmiumred,French

ultramarine,Naplesyellow,rawumber,blackandwhite.Heusesglazemedium

toacceleratethedryingwhilepreservingthetransparencyofthepaint,andrinses

hisbrushesinajarofpureturpentine.

“Thepaletteofcolorsthatanartistusesisabitlikethekeyacomposermightchoose

whenwritingmusic.Thecomposerwouldn’twriteeverypieceofmusicinthesamekey

andnoartistusesthesamepaletteforeverypicture.Eachtimeyoucometoapainting

youshouldbetryingtodosomethingbetterordifferent.”

KenHowardstressestheimportanceofalwayskeepingyourpaintbrushesclean.

“Iprefertoworkwithrelativelylargebrushes.Ifyoustartusingsmallbrushesduring

theearlystagesofapicture,youlosespontaneityandfreshness.WhileIamworkingon

aparticularpaintingIreservespecificbrushesforthedifferentcolorsIamusing.Itisa

mistaketokeepusingtheonebrush,becauseevenwhenyouhaverinseditinturps

thereisstillaminuteamountofpaintleftinthebristleswhichgetstransferredalong

withthenextcoloryouputonthecanvas.Usingseveralbrushesistheonlywaytokeep

yourcolorslookingfresh.”

BrushesThispicturewaspaintedwithhog-hairflatsandfilberts,plustheodddecorator’sbrush.

PaintsOilpaintisKenHoward’spreferredmedium.

ThecanvasThesupportforthisworkisasizedlinencanvas,measuring60×50cm(24×20in),coatedwithawhiteoilprimer.Aneutralgroundcolorwasappliedtoprovidetheimportantmidtone.

Gaugingproportionsandrelationships

Usethemodel’sheadtogaugetheproportionsofherbody.Atthesametime,establishtherelationshipbetweenthedifferentpartsofthefigure,usingkeyverticalandhorizontalgridlinesthatrunthroughthepicture.

DrawingwithcharcoalDon’tmakethemistakeofthinkingyoucansimplyfillinthefinishedcharcoaldrawingwithcolor.Asyoumakeeachmarkwithpaint,youshouldberelatingitbacktoyourmentalgrid,constantlyimprovingonthedrawingasyouaddcolorandtonetothepainting.

BlockinginthedarktonesTodefinethemodel’sprofileandhair,thedarkerareasofthepictureareblockedinwithbroadwashesofpaintthinnedwithturpentine.

Underdrawing“Ihavemetalotofgooddraughtsmenwhocouldnotpaint,butIhavenevermeta

goodpainterwhocouldnotdraw.”

Fromtheveryearlieststagesofapainting,KenHowardisconcernedwith

workingoutproportionsandrelationships.Whenfacedwithablankcanvas,he

likestogethiseyeinbydrawingwithcharcoal.Thisnotonlyallowshimto

checktheproportionsofthefigure,butalsotoworkouthowthevarious

elementsofthepaintingrelatetoeachother.

Layingin

Thenextstageofthepaintingisthevitallayinginofthefullrangeoftonesand

Thenextstageofthepaintingisthevitallayinginofthefullrangeoftonesand

keycolors,establishingafirmfoundationuponwhichthepictureisbuilt.Tonal

balanceisall-importantatthispoint,butyoushouldalsobeawareofhowthe

colorsrelate.Havingidentifiedandmixedacolor,checkwherethatcolor

appearselsewhereinthepicture,andbrushthatintoo.Thiswillhavetheeffect

ofunifyingapainting.

PaintingfleshtonesWarmfleshtonesareappliedtothefigure,followedbytheneutralgraywallbehindthemodel,thenred-brownbrushstrokesforthechair.

InsertinghighlightsNowthelightertonesandhighlightsareintroduced,includingthecurtainedwindow.

Theimageonthecanvasbeginstoclarify,muchlikelookingthroughacameralenswhilethepictureisslowlybroughtintofocus.Apaintingcanoftenlookitsbestatthisearlystagebecauseitseemstobreathelifeandspontaneity.

PaintingtheforegroundTheforegroundbeginstoemerge.Theshadowsbeneaththetablearepaintedinwithabrush,thenliftedoffwitharagtosuggestreflectedlight.

PaintingstraightedgesAlongrulerisusedtoguidethebrushwhenpaintingthestraightedgesofthewindowframe.

FocusingattentionThereismorethanoneapproachtopainting.Someartistswillworkupthe

entirepaintingindetailuntilthewholepictureisfinishedtothesamedegree.

Alternatively,apaintercanfocustheonlooker’sattentiononwhatheorshe

considerstobetheimportantelementsofthepicture.Thisisachievedby

concentratingonthefocalpointsandpaintingtheperipheralpartsofthepicture

inlessdetail.ThisistheapproachfavoredbyKenHoward.

“IhaveapointinapicturewhereIwanttheeyetolinger,becauseIbelievethatisthe

wayoneseesinreality.Ifyoulooksomeoneintheeye,therestoftheirfaceisoutof

focus,asortofimpression.ThatisthewayIliketopaint.”

Asyouwork,itpaystocomparemixedcolorswiththelighteranddarkerareas

ofthepaintingtoavoidbecomingabsorbedindetailattheexpenseoftheoverall

picture.

IntroducingdetailDashesofcolorandtoneareaddedtorepresentthebottlesandotherobjectsintheforeground.

Still-lifeelementsThestilllifeintheforegroundisonefocalpointthatreceivesspecialattention.Smalldabsorstreaksofpaintsuggestreflections,highlightsandareasinshadow.

FeaturesandfleshtonesAsthepaintingprogresses,moreworkgoesintothemodel’sfeatures,andthefleshtonesarestrengthenedtogivesoliditytothefigure.

AnindividualapproachKenHowardbelievespeopleteachthemselvestopaint.

“Therearenofixedrulesthatyoucanpasson–thereisnomethodthatsuddenlymakes

itpossibletodraworpaint.Asateacher,allyoucandoisexplainyourapproachto

paintingandencouragepeopletoobservewithapainter’seye.Teachingartisabout

sowingseedsinpeople’smindstoinspirethemtosearchfortheirownway.Some

studentshavetoldmethemostencouragingthingIhavetaughtthemisthatItoocan

getmyselfinamess,butthenfindmywayoutagain.”

SEEALSOEXPERIMENTALPOSES322PAINTINGHANDSANDFEET330

PAINTINGHANDSANDFEETLikefaces,handsandfeethavedistinctivecharacteristics–fleshy,slim,

elegant,pale,dark,youngorelderly–thatcontributesignificantlytoa

likenessofyoursitterandtowardsthesuccessofyourpainting.Whenmaking

figuredrawingsandpaintings,payattentiontothesizeandproportionof

handsandfeetinrelationtotherestofthebody.

MakingcolorstudiesWorkingmostlyfromlivemodels,ValerieWiffenhascreatedasketchbookpageofcolorstudiesingouache.Makingsimilarstudieswillhelpyoutoappraisethecomplexshapesandproportionsofhandsandfeet,andgiveyoutheexperiencetodevelopavisualshorthandforpaintingthemconvincinglywhenyouarecreatingfull-figureportraits.

ValerieWiffen

StudiesofHandsandFeetGouacheonpaper35.5×53.5cm(14×21in)

SEEALSOFIGUREPAINTINGINTHESTUDIO324GOUACHE104

PAINTINGAPERSON318WORKINGONTHEFEATURES312

PAINTINGANIMALSANDBIRDSWildlifeartistsoftenspecializeinnaturalisticdrawingsandpaintingsof

animalsandbirds.Ittakesdedicationandexperiencetorenderwildanimalsin

theirnaturalhabitat,butyouwillfindthatdomesticpetscanbechallenging

andrewardingsubjects,too–althoughtheycanbejustasuncooperative!

Withfurandfeatherfeaturedstrongly,animalsandbirdscanofferawealthof

colorandtexture.Andtheyhaveanaturaltalentforstrikingquitestunning

sculpturalposes.

However,beforeyoulaunchintoafull-scalepainting,developafewideasfor

possiblecompositionsbystudyingyourpets’habitsandalsobyrecordingtheir

dailyliveswithsomerapidsketchesorreferencephotographs.

SketchingfromlifeThewildlifeartistPeterPartingtonfavorsasoftgraphitepencil.

WorkingwithunreliablemodelsAnimalsandbirdsarenotoriousforrefusingtoco-operate.Thereisnopointintryingtocontroltheirhabits;yousimplyhavetoworkroundthem.Oneobviouswayistopaintyourpetwhileitisresting,buteventhenitpaystogettheessentialsdownasquicklyaspossible.Also,mostanimalswillsettlequietlyforashortperiodwhiletheyarefeeding.Ifyouwanttoprogresstosomethingmoreexciting,youhavetofindwaysofrenderinganimalsonthemove.

PreparatorysketchesandstudiesSomeartistsrelyentirelyonphotographicreference.Thisisamethodwith

obviousadvantages,especiallyforrecordingintricatemarkingsandforcapturing

fleetingposes.Nevertheless,sketchingisstillthebestwaytocreateamental

bankofimagesthatyoucantranslateintofinishedpaintings.Ifyouspend

enoughtimelookingintentlyatanimalsandbirds,youwillbesurprisedathow

muchinformationyoucanstoreinyourmemory.

Atfirst,itmaywellseemimpossibletodoanythingworthwhile.However,by

Atfirst,itmaywellseemimpossibletodoanythingworthwhile.However,by

persevering,youwillsoondiscoverthatanimalshaveatendencytoreplicate

actionsandpostures.Soeventhoughyoumayonlyhavetimetogetdownoneor

twolines,theoddsarethattheanimalwilleventuallytakeupasimilarpose,

givingyouachancetoaddmoredetailortoscribbletonesandtexturesoveryour

initiallinedrawing.

PeterPartington

SketchDrawingsGraphitepencilonpaper

Birds’eggsTheseareperfectexamplesofnature’sabilitytocreatewonderfullysubtlecolorsandtextures.Ifyoucomeacrossabandonedeggs,youwillfindthemfascinatingsubjectsfordetailedstudiesandpaintings.

Ears

Withvelvet-likefurontheoutsideandsmoothskinprotectedbydelicatehairsontheinside,acat’searsfaceforwardformostofthetime.Thereareintricatefoldswherethelowerearjoinsthehead.

WhiskersThecat’swhiskersarecoarsehairsthatsproutfromamongtheshorterandsofterfurthatcoversthemuzzle.

PaintingbirdsEvenmorethananimals,cagedbirdspresentthechallengeofcapturingrapid

movement.Feathersarefascinatingandoftencolorful,providingendless

possibilitiesforpatternanddesign.

RenderingplumageAbird’splumagecomprisesdifferent-sizedfeathersarrangedingroupsortracts

thatoverlaponeanother.Asageneralrule,thefeathersgetsmallertowardsthe

breast,andlongertowardstheback.Thelongestonesaretheprimaryflight

feathersthatformthewingtipsandtail.

UsingadiamondgridAquickwaytore-createthislayeringistodrawadiamondgrid,whichyouthenfillintosuggestthecoloredtipsofindividualfeathers.Keepacloseeyeonlocalcolorandtheeffectsoflight.

Paintingyourcat’sportrait

Justlikehumans,individualanimalshavetheirdistinctivecharacteristics,which

Justlikehumans,individualanimalshavetheirdistinctivecharacteristics,which

enableyoutodistinguishyourpetfromperhapshundredsofsimilaranimalsin

yourneighborhood.Here,thecatissingledoutasaworthysubjectfor

portraiture,butmakingsimilarobservationsandstudieswillenableyoutocreate

anintimatepictureofanyanimal.

Studythefeaturesandtheoverallshapeoftheanimal’shead.Theaveragecat

haslargetriangularears,whicharesethighonaroundedhead.Exceptfor

certainexoticspecies,catshaveashort,almostflat,muzzle.

Therelativelylargeeyesareonalinethatdividesthecat’sfaceinhalf.Divide

thelowerhalfintwotodefinethetopofthetriangularnose,whichmoreorless

spansthespacebetweenthecat’seyes.

FacialmarkingsThefurisgroupedintoridgesthatrunverticallyacrosstheforehead.Somebreedsofcathavestripedmarkingsthatfollowtheseridges.

EyesTheleaf-shapeeyesareoutlinedinblack.Theeyelidcastsadeepshadowacrosstheiris;thedistinctivepupilchangesshapeinresponsetothelight.

AcatatrestPeterPartingtontakesupthecatthemebypaintingabrindledtabbywho–

thoughnotactuallyasleep–isperfectlyrelaxedandenjoyingtheheatfromthe

stovenearby.SheislyingonafadedPersianrugthataddscolorandpatternto

thepainting.

Theartiststartsbydrawinginthemainelementsofthecomposition,

includingthecat’smarkings,andthenappliesawarmishblue-graywashthatis

mixedfromcobaltblueandlightred.Someareasofthepaperareleftwhitefor

highlights.

Shadowsandlocalcolorareintroducedtogiveformtothecomposition,and

toindicatethetabbycat’sstripedmarkings.Colorsareallowedtomerge,togood

effect.

Theartistthenbeginstostrengthenthetonesandworkupthesurfaceofthe

fur,usingablue-graymixedfromcobaltblueandrawsienna.It’sbesttoapply

thepaintinthedirectionofthefur,blottingthehighlightswithsomesofttissue

papertoliftoutareasofcolor.

PeterPartingtondevelopsthecat’sfeaturesandfacialmarkingswiththe

smallerpaintbrush,andthenintroducesahintofburntumberinordertowarm

thefuraroundthecat’snoseandcheeks.

Finally,thecarpetisworkeduptobalancetheforeground.Oncethepainting

hasdriedthoroughly,thelasttouchesandtexturesareadded,usingcolored

pencils.

PaintingfurThere’snoneedtoincludeeveryhairwhenpaintingacat’scoat.Itismore

importanttolookfordistinctivemarkingsthathelptodescribetheanimal’sform

andcharacter.Youmayfinditpaystoconcentratemostdetailaroundthecat’s

faceandhead,keepingtherestofitsmarkingssketchyandfree-form.

Preliminarydrawings

Beforeembarkingonthepainting,theartistmadetwoorthreepencilstudiesfromdifferentangles.Healsomadecolornotesanddrewadiagramofthepatternedcarpet.Armedwiththisinformation,heretiredtothestudiotopaintthepicture.

Materialsandequipment

Thefeaturedpaintingwasmadeon300gsm(140lb)watercolorpaper,lightlytapedtoadrawingboard.Mostoftheworkwascarriedoutwithwatercolor,butdetailsandtextureswereaddedwithcoloredpencils.Forthispainting,theartistusedjusttwobrushes:aNo.16roundforthebroadwashes,andaNo.10roundforpaintingdetails.

PeterPartingtonMrsTabsMixedmediaonwatercolorpaper32.5×43cm(121/2×17in)

FurabsorbsandreflectslightWhendepictingfurinadrawingorpainting,lookforchangesoftonecausedbythewaythefurabsorbsandreflectsthelight.Asageneralrule,whenthehairsarepointingtowardsyou,furlooksdarkintone.Whentheyarelyingflatandpointingawayfromyou,thefurappearsglossyandlighterintone.SEEALSOCOLOREDPENCILS42PAINTINGAFACE306WATERCOLORPAPERS28WATERCOLORPAINTS87

GETTINGYOURIDEASDOWNThere’sapopularmisconceptionthat“real”artistsbalkattheideaoftracing

animageontocanvasorpaper.Nothingcouldbefurtherfromthetruth.For

centuriesartistshavesoughtwaysofaccuratelytransferringimagesontoaflat

surface–andalthoughagreatdealofcunningtechniquewas(andstillis)

oftenemployedtoachieveasuccessfulresult,thenotionthatitmightbe

construedas“cheating”neverenteredtheirheads.

PrickingandpouncingOneofthemostwidespreadmethodsoftransferringimageswastomakeafull-

sizedrawingor“cartoon”andthen,followingthelineswithatoothedwheel,

punchaseriesofcloselyspacedholesthroughthepaper.Theperforateddrawing

waslaidontothesupportand“pounced”bytappingwithaclothbagfilledwith

finecharcoalorchalk.Thepouncingforcedthepowderedmaterialthroughthe

holes,leavingareplicaoftheprickedimageonthesupport.

TracingTracingisasimplewayofcopyingeitherdrawnorphotographicimagesontoa

paperorcanvassupport.Youcanbuyflatsheetsandrollsofgood-qualitytracing

paperthathavesufficienttransparencyandstrengthtoenableyoutoworkeasily.

TracingpaperTapetracingpaperoveryouroriginalandlightlytracetheimage,usingasharp

pencilorfinefelt-tippen.Scribbleacrossthebackofthetracingwithasoft

graphitepencil;thentapethetracing,graphitesidedown,ontoyoursupport.

Youcantransferthelineworkbydrawingoverthetracedlineswithapencil,and

thenremovethetracingtorevealtheimagemarkedoutingraphiteonthe

support.

UsingtransferpaperAsanalternativetographite,sandwichasheetofcarbonpaperordark-redrouge

paperbetweenthetracingandthesupport.Rougepaperisaspecializedpaper

usedbyprofessionalstotransferdesigns.Itsmainadvantageisthatunwanted

lineworkcanbeerasedeasily.Youmayfindthelinescreatedbycarbontobea

littletooopaqueandpermanent.

TracingonalightboxYoucantraceanimagedirectlyontopaperoranunstretchedcanvas,usinga

photographer’slightboxdesignedforviewingtransparencies.Thistypeofbox

comprisesafluorescentstriplightmountedbeneathasheetoftranslucentglass

orplastic.Thelightisbrightenoughtothrowaclearimagethroughreasonably

thickpaperorcanvas.

DrawingmachinesInthepast,inventiveartistsdevisedmanywaysoftracingtheoutlinesofthree-dimensionalobjectsontosheetsofglass.

CameraobscuraInthefifthcenturyBC,itwasdiscoveredthatlightpassingthroughasmallapertureintoadarkenedroomproducesaninvertedimage.Bytheseventeenthcenturythecameraobscura,aboxwithalensintheaperture,wasbeingusedasadrawingaid.

TracingwheelUsedtopunchadesignontoasupport.

ScannersanddigitalcamerasForrelativelylittlemoney,youcanbuyascannerthatwillcopyflatartworkandphotographsontoacomputer,whereitispossibletochangethescaleandrecroptheimagebeforeprintingit.Youcanalsotransferpicturestakenwithadigitalcameradirectlytothecomputerforprintingout.

ChangingscaleArtistsfrequentlyneedtochangetheproportionoftheoriginalimageinorderto

fitalargerorsmallersheetofpaperorcanvassupport.Thereareseveralmethods

forenlarging,transferringandmanipulatingimages,someofwhichare

mentionedbelow.

Gridding-upTomakeanaccurateenlargementorreduction,drawasquaredgridacrossthe

originalimage.Ifyoudon’twanttomarktheoriginal,drawyourgridona

tracing-paperoverlayoronasheetoftransparentacetate.

Drawasimilargridoflargerorsmallersquaresonthesupport.Toplotthe

gridacrossthewidthofthesupport,countthenumberofsquaresinonerow

drawnacrosstheoriginal(sayninesquares),andthenalignthetipofyourruler

ortapemeasurewithoneedgeofthecanvasandthetenthdivisionwiththe

other.Makeapencilorcharcoalmarkagainstdivisionsonetonine,thenusea

T-squaretodrawarowofverticallinesacrossthesupportfromeachmark.

Youcancreatethegridofsquaresbydrawingaseriesofhorizontallineswith

thesamespacingandatrightanglestothefirstsetoflines.Finally,copythe

imagesquarebysquareontothecanvassupport.

TilingwithphotocopiesVerylargeassembliescanbecreatedbytapingphotocopiesorcomputerprintoutstogether.Thesecanthenbegriddedortracedandtransferredtothesupport.

UsingaphotocopierIfyouhavereadyaccesstoaphotocopier,thenenlargingandreducingpictures

couldn’tbesimpler.Mostmodernmachineswillprintcopiesupto400percent

largeror75percentsmallerthantheoriginal.

ProjectingpicturesTothrowanimageontoasheetofpaperorsmallcanvas,youcanusea

photographer’senlargeroratable-topoverheadprojector.Adjustthefocus,then

drawthemainelementsonthesupportwithasoftpencilorcharcoal.

Workinprogress

Thepaintingaboveisbasedonacuttingfromanewspaper.Theartisthasenlargedandcroppedtheproportionoftheoriginalimageandtransferredittothecanvasusingthegridding-upmethod.Theoriginaldrawingandgridlinesaregraduallyobliteratedasthepaintingprogresses.SEEALSOCOMPOSINGFROMIMAGINATION338

COMPOSINGFROMIMAGINATIONMostofthepaintingsinthisbookhavebeenmadefromlifeorbyusingdirect

photographicreference.Althoughartistsmayhavereinterpretedthesubjects

tosomeextent,theyaremoreorlessfaithfulrepresentationsofwhatthe

artistscouldseeinfrontofthem.However,itcanmakeastimulatingchange

toconstructapicturefromimagination,usingavarietyofreferencematerial,

suchassketches,photographsandmagazinecuttings,asabasisforthe

composition.

ChoosingalocationAlastairAdamswantedtopaintacaféorbistroscene,whichwouldgivehimthe

opportunitytoincludegroupsofpeopleandindividualsengagedinavarietyof

activities.Hetriedoutanumberofsmallintimatelocations–whichhadplenty

ofatmosphere,butnotenoughgoingon.Mostofthemwerealsodimlylit,

makingitvirtuallyimpossibletotakereferenceshots.

Eventuallyhedecidedonadiningareainashoppingmall,whichsuppliedall

hisneeds.Itwasalargeopeninteriorwithagoodsourceofnaturallightwhere

anartistcouldsitunnoticedwhilehewatched,sketchedandphotographedthe

numerouscharactersthatpassedthrough.Innotime,hecouldretiretothe

studiowithmorethanenoughreferencetobeginthepainting.

On-the-spotobservationandback-upreferencesAlastairAdamsconstructedhispaintingfromaseriesofreferences.Youwillneverusealltheimagesyougatheronlocation,butitpaysyoutoaccumulateasmuchreferenceasyoucan,includingsketches,photographsandmagazinecuttings.

ResearchingthelocationIfyouhavemadeahabitofcollectingpictorialreference,youcouldbeginbysiftingthroughyourfilestoseeifthere’sanythingyoumightuseasastartingpointforyourpainting.Alternatively,youmayprefertostartfromscratchandlookforalocationthatoffersawealthofdiversematerial.

WorkingontracingpaperThissequenceshowshowAlastairAdamsbuiltupapreparatorycollageoftracing-paperoverlaysasabasisforhiscomposition.Beingtranslucent,tracingpaperallowstheartisttoimposelayeruponlayerwithoutcompletelyobscuringtheunderlyingstructureanddetail.

TransferringtheimageHavingfinalizedthecomposition,theartistmakesanenlargementofthecollagetomatchthesizeofthesupport,thendrawsasquaredgridontheenlargementandanidenticalgridonthesupport.Bycopyingtheimageexactly,squarebysquare,heisabletore-createthecompositiononthesupportasanunderdrawingforthefinishedpainting.

WorkingonthecompositionBythetimeyougettothestudio,youprobablyhaveafairlystrongimageofthe

paintinginyourmind’seye.Someartistswillmakeapreliminarydrawing,using

referencetheyhavegatheredonlocationtojogtheirmemory.AlastairAdams

preferstoincorporatehisreferencematerialbyenlargingandreducingtracings

ofhisdrawingsandphotographsonaphotocopier,andthentapestheimagesto

anenlargeddrawingoftheinterior.Workingontracingpapergiveshim

completefreedomtoredrawtheinteriors,figuresandinanimateobjectstosuit

hiscomposition.Notonlycanhechangethescale,hecanalsoflipthetracing

papersothatapersonisfacingintheoppositedirection,modifyaposeby

combiningdetailsfromdifferentshotsofthesameperson,orcomposeagroup

ofseatedfigures.

Whencombiningdisparateimages,itisimportanttocorrecttheperspective

asyouconstructthecomposition.Inthesequence(below),theartist’sviewpoint

isfromaseatedposition,sotheheadsofalltheseatedfiguressharethatsame

eyelevel.Onlythestandingwaitressappearsatadifferentlevel.

“Istartbyre-creatingthesetting,usingthebackgroundasanemptystageformy

characters,whichIarrangetobalancethecompositionandtosuggestdepthinthe

paintingbyprovidingclose-updetailintheforeground.”

FleshtonesFleshtonesarebasedonwhitemixedwithcadmiumredmediumorcrimsonandcadmiumyellowlightorcadmiumyellowmedium.Topreventthesecombinationsbecomingtoowarmandpink,theartistalsoaddspurpleorgreentoneutralizethemixes.

PaintingsignsInthistypeofsituation,therearealwaysanumberofprintedsignsandgraphicimages.Itisessentialtoincludethemtoconveytheatmosphereofthelocation,butifyoumakethemtoolegibletheycandetractfromthemainsubjectmatter.Itisbettertosuggestletteringandsymbolswithsimplebrushstrokesandspotsofcolor.

Materialsandequipment

Thefinishedpicturewaspaintedwithafairlylimitedpaletteofacryliccolors–

Thefinishedpicturewaspaintedwithafairlylimitedpaletteofacryliccolors–

titaniumwhite,cadmiumyellowlight,cadmiumyellowmedium,cadmiumred

medium,quinacridonecrimson,dioxazinepurple,phthalogreen-blueshadeand

phthaloblue-greenshade.

Forfinedetail,theartistusedNos3and5roundsynthetic-bristlebrushes,

designedspecificallyforapplyingacrylicpaints.Whenmanipulatingthicker

paint,hepreferstouserelativelystiffhogbrushes,inthiscaseNos2,4and6

flats.

Thepaintingwasmadeonasheetofmedium-densityfiberboard(MDF),

whichdoesnotbucklewhenwetpaintisapplied.Theboardhasasmooth

surfaceanditisstiffenoughtoallowthepainttobebuiltupquitethickly.

Havingtransferredtheunderdrawingtotheboard,theartistcoateditwitha

clearacrylicprimerthatallowsthenaturalcolorofMDFtobeusedasawarm

mid-tonegroundcolor.

ThefinishedcompositionTheactiontakesplacewithinthelowertwo-thirdsofanalmostsquareformat.

Thismassofcoloranddetailisbalancedvisuallybytheneutralcolors,geometric

planesandsimplelinearpatternsoftheshopping-mallwallsandskylights.

Thepaintingisdividedverticallybyaconcretepillarthatdirectstheviewer’s

gazetowardsaforegrounddominatedbyanelderlygentlemanreadinga

newspaper.Foregrounddetailservestoadddepthtothepaintingandencourages

theeyetolingeruntilitiseventuallyledawaybyacurvingchairback,towards

thewaitressclearingthetableontheleftofthepicture.Heractivityiscrucialin

counterbalancingthepassive,almostcontemplativeposturesoftheother

charactersinthepainting.

Therelativelylargeareaofneutral-coloredfloorcreatesacalmbalance,giving

theeyearestbeforeitalightsuponayoungwomansippinghercoffeeand

groupsofpeoplefinishingtheirmealsorengagedinconversation.Thoughsmall

inscale,thesefiguresarebeautifullyrealized,withsufficientdetailandanimation

tomakethembelievable–yetkeptsimpleenoughtoensuretheyrecedeintothe

background.

AprotectivecoatofvarnishTomaintaintheirrichcoloringandpreventthepaintabsorbingdust,AlastairAdamsinvariablyprotectshispictureswithacoatofvarnish.

Paintingneutrals

Theneutralareasofthepaintingcompriseanumberofsubtlegraysandoff-whites.Theywerecreatedbyaddingcomplementarycolorstoabasicwhitemix–forexample,whitewithcadmiumyellowlightandasmallamountofpurple.Theneutralcolorsjustbelowtheglazedatriumhadtobekeptcoolsothattheywouldrecedeandsuggestdepthinthepainting.Theyaremadewithgreensandbluesmixedwithcrimsonandcadmiumred,andjustahintofcadmiumyellowlight.

AlastairAdamsCaféSceneAcryliconboard51×54.5cm(20×211/2in)

KeepingcolorsfreshTheartistmanagestokeephiscolorsfreshanduncontaminatedbybuildingupanimagewithdistinctpatchesofcolorlaidsidebyside.Thismethodalsopreventsapaintingbecomingfussyandoverworked.

EmpathywiththecharactersWearenotdirectlyengagedwithanyofthefiguresinthispaintingabove–wearemerelyspectators.Yetasonlookers,wecannothelpspeculatingwhetherthemanreadinganewspapermayperhapsbewaitingforhiswifeorafriendtoreturnfromshopping;orifthewaitressistakingadvantageofatemporarylullbetweenorderstoclearthetables.SEEALSOACRYLICPAINTS110GETTINGYOURIDEASDOWN336PAINTBRUSHES78,120PUTTINGLIFEINTOAPAINTING304RESOURCESANDREFERENCES126SPACE,DEPTHANDDISTANCE302

Chapter9

THESTUDIO

Whetheryourworkplaceisalarge,airystudio,aspareroomorevenjustacornerofaroomorakitchen

table,itisimportantthatitshouldbecomfortable,well-litandproperlyorganized.Inadditiontobeing

theplacewhereyoucreateart,thestudioareaismostprobablywhereyouwillstoreitandprotectitfrom

damageandtheelements.Varnishing,usingfixative,andmountingandframingarenotonlythe

methodsofpreservingyourartworks,theyarealsoeffectivewaysofshowingthemofftotheirverybest

advantage.

STUDIOORGANIZATIONItgoeswithoutsayingthatyourstudioshouldhaveadequatelightingand

ventilation,buttherearenohard-and-fastrulesaboutthewaytoorganize

yourstudioequipment.Themainrequirementisthatyoushouldbeableto

reacheverythingcomfortablyandconvenientlywiththeminimumofeffort.

Themoremobileyourset-up,theeasieritistoadaptittochanginglight

conditions,differentsubjects,andbothsittingandstandingworking

positions.

StoringpaperPapershouldbestoredflatinadryplace,wrappedincleanpapertoprotectit

fromdustandlight.Watercolorpaper,inparticular,shouldbeprotectedfrom

damp,whichcanactivateimpurities,producingspotsthatwon’ttakecolor.

StoringcanvasesandboardsTopreventcanvasesandboardsfromwarping,storethemuprightinadryplace.

Apaintingrackiseasilybuiltfromlengthsof25×50mm(1×2in)lumber,and

canbeusedtostorebothunusedcanvasesandunfinishedpaintings.

StoringdrawingtoolsIfpencils,crayonsandsticksofcharcoalarethrowntogetherinadrawer,they

willbecomedisorganizedandmaybreakorchip.Standthemend-upinapotor

jar,orkeeptheminabox.Anotherplacetostorethemisingroupsinthe

separatecompartmentsofaplasticcutlerytrayforeasyaccess.

EquipmentlayoutThesurfaceonwhichyoulayoutyourpaints,paletteandotherequipmentmay

consistofanordinarytable,oratrolleywithwheelsorcastersformobility(an

oldteatrolleyorteawagonisideal–theshelfunderneathisusefulforstoring

equipmentyouarenotusingallthetime).Foreasyaccess,itshouldbeplacedat

rightanglestoyoureaselorworksurface.

HandybrushholderIfyouusealotofbrushes,thissimpledevicewillkeepthemallneatlytohandandpreventthemfromrollingoffthetableontothefloor.Becausetheyareproppedatanangle,theyareeasiertopickupwhenneeded.CutaseriesofV-shapednotchesalongtheuppersurfaceofalengthof25×25mm(1×1in)wood.Layitonyourpaintingtableandrestthebrushesinthegrooves,withthebristlesprotrudingfromtheedge.

ImprovisingstorageAmetalwinerackcanbeusedtostorewetoilpaintings;thisisusefulifyoudon’thavethespaceforawall-mountedpaintingrack.

LightingGoodlightingiscrucialtothesuccessfulexecutionofcreativeartwork–without

it,youwillhaveproblemsseeingclearlyandrenderingcolorsaccurately.The

typeoflightanditssourcearealsoimportantinprotectingyoureyesfromstrain.

NaturallightThebestnaturallightforbothdrawingandpaintingiscoolandeven,withno

directraysorchangingshadows.Aroomwithnorth-facinglightisidealfora

studio(south-facinginthesouthernhemisphere).Itoffersindirectlight,largely

reflectedfromthesky,thatremainsconstantduringthewholeday.Northlight

isalsoneutralinhue,sinceithasnoneoftheyellowcastofdirectsunlight.

Harshlightcanbecooledandsubduedbycoveringthewindowwithsomethin

gauze,cottondrapesorashade.

ArtificiallightInadditiontoalteringthecolorvaluesofobjects,artificiallighttendstocast

ratherharshshadows.Whereasapaintingdoneinnaturallightwilllookfine

underartificiallight,thereverseisnotalwaystrue.

SimulatingdaylightIfyouhavetomakedowithartificiallighting,thenlampsfittedwithdaylight-simulationbulbsarethebestalternative.Theseblue-tintedlightbulbssimulatenorthlight,whichallowsperfectcolormatchingandisrelaxingtotheeyes.Daylight-simulationfluorescenttubesarealsoavailable;theyareinterchangeablewithstandardfluorescenttubes.

Anidealstudio

Awell-organizedstudiofreesyourmindtoconcentrateonpaintinginsteadofsearchingformaterialsandequipment.Theentirestudioabovewasdesignedaroundsomeinexpensive,ready-madefurniture.Thestrongplywoodboxesandwall-hungshelvingtakecareofstoragerequirements,andtheworktablecanberaisedtoaconvenientheightifyouprefertoworkstandingup.

JohnMartinMorningStudio,BrightonOiloncanvas45x60cm(18×24in)

Manyartistsfeaturetheirownstudiosintheirwork.JohnMartin,forexample,haspaintedthissamestudioonmanyoccasions,foreverfascinatedbythedifferentlightthatfallsthroughthewindow.

SEEALSOCANVAS14WATERCOLORPAPERS28DRAWINGMEDIA37

EASELSFromthevariousstylesandsizesofeasels,yourchoicewillbedictatedbythe

spaceyouhaveforworking,whetheryouworkmostlyindoorsoroutdoors,

andbythescaleonwhichyouwork.

EaselpositioningYoushouldalwayspositionyoureaselsothatthelightsourceisslightlybehind

youandcomingoveryourleftshoulderifyouareright-handed–viceversaif

youareleft-handed.Byworkinginthisway,yourhandwillnotcastashadow

acrosstheworkingsurface.

Table-topeaselsThetable-topeaselprovidesauseful,compactsupportforsmallerpaintingsanddrawings,andcanbefoldedflatforstorage.Therearevariousdesigns,fromasimplecollapsibletripodtoasturdyframethatfoldsflatwhennotinuseandcanbesetatdifferentangles.Woodeneaselsaresturdierthanthealuminiumversions.

Heavy-dutyeaselsAheavy-dutyH-framestudioeaselisexpensiveandcumbersome,butprovidesasturdysupportforworkonalargescale.Thepaintingrestsonaledgethatalsoformsacompartmentforholdingpaintsandbrushes,whileaslidingblockatthetopholdsthepaintingfirmlyinposition.Theheightisadjustable.Somemodelsareonwheelsorcasterssothattheycaneasilybemovedaroundthestudio.

RadialeaselsIfyouhavelimitedspace,thecompactradialeaselprovidesareasonablyfirm,butlessexpensive,alternativetotheH-frameeasel.Sturdyandversatile,itconsistsofacentralpillarwithadjustabletripodstruts.Thecentraljointtiltsbackandforwardsothatyoucanangleyourworktoavoidglare,andtheheightisadjustableforsittingorstanding.Itcanbefoldedforeasystoragewhennotinuse.

CombinationeaselsAfoldingradialeaselanddrawingtablecombined,thecombinationeaselcanbelockedinanypositionbetweenverticalandhorizontal.Inthehorizontalpositiontheeaselbecomesaflatworkingsurfacethatwillholdalargedrawingboard.

BoxeaselsThewoodenboxeaselissturdierthananordinarysketchingeasel,butequallyportable.Itcombinesapalette,adeepdrawerforstoringpaintsandequipment,acollapsibleeaselandacarrierforcanvases,allofwhichcanbefoldedupintoonecompactunit,completewithastrongcarryinghandle.

SketchingeaselsThetripod-stylesketchingeaselislightweightandeasilyportable,andissuitableforoutdoorworkandsmall-scaleworkindoors.Availableinaluminiumandwood,ithastelescopiclegstoenableyoutoworkataconvenientheight,andthepivotedcentralsectioncanbetiltedtoahorizontalposition.Itcanbefoldedawaywhennotinuse.

KenHoward

Self-portraitatOrielOiloncanvas120×100cm(48×40in)KenHowardrejectstheconventionalportraitbypaintinghisstudioasanextensionofhimself.Herevelsinthebrushes,jarsofthinners,propsandparaphernaliathatgraduallytakeovereveryartist’sstudio,conveyingtherelaxedatmosphereinwhichhechoosestowork.SEEALSOPAINTINGOUTDOORS134

PROTECTINGARTWORKAlltoooften,picturesarestoredindampbasementsorleakingattics,orhung

inroomswithinappropriateorharmfullighting.Theyareoftendisplayedor

storedawaywithoutanymeansofprotection.Afewsimpleprecautionscando

muchtopreserveyourpicturesinthebestpossiblecondition–havinglabored

withloveandtimeonanartwork,itmakessensetolookafterit.

Avoidingdamp,lightandheatKeepallartworksawayfromdampandhumidconditions,whichencourage

mildew,andalsofromexcessivelydryconditions.Inaddition,youshouldavoid

extremetemperaturechanges,suchasthosecausedbyroomheaters,radiatorsor

draftywindows.

Someofthegreatestdamagetopicturesisdonebystrong,directlight,which

canfadecolorsanddiscolorvarnishes.Instrongsunlight,orunderspotlights,

heatcanbeequallydamaging,sodisplayyourpictures,particularlyworkson

paper,awayfromdirectsunlightandindiffusedartificiallighting.

StoringwatercolorsanddrawingsUnmountedwatercolorsanddrawingsshouldnotbeleftunprotectedforlong,

andshouldbestoredinasafeplaceuntilsuchtimeasyoucanhavethemframed.

Theyshouldbestoredflatinlargedrawersoraplanchest,oratleastina

portfolio,interleavedwithsheetsofwaxedpaper,cellophaneoracid-freetissue,

inordertopreventthemrubbingtogetherandbecomingsmudged.Aheavy

boardlaidontopwillpreventanylateralmovement.

Donotstacktoomanydrawingsontopofeachother,asthismaycompact

anddamagethesurfacepigment.Itisnotagoodideatorollupandstore

drawingsthathavenothadfixativeapplied,asthepigmentswilltendtodropoff

orsmudge.

TransportingpaintingsIfyouneedtotransportframedpaintings,youshouldprotectthecornersofthe

framesbypaddingthemoutwithplasticfoamorbubble-wrap,orwith

cardboardsleeves.Thiswillalsopreventthepaintingsleaningflatagainsteach

otherinstorage.

Transportingpaintings

(1)Cutoutfourshapes.

(2)Foldtheflaps.

(3)Fitandsecurethesleeves.

Makingprotectivecardboardsleeves1Tomakecardboardsleeves,cutoutfourshapesasshown,makingthespace

betweentheparalleldottedlinesslightlylargerthanthewidthoftheframe.

2FoldflapsAandBandthentapethemclosed.

3Fitthesleevesovereachcornerandtapethemtothebackingortheglass(not

theframe,asitmaydamageanysurfacedecoration)tokeeptheminplace.

Unframedpictures

Picturesthatyouwanttokeep,butnotframe,shouldbestoredinasafeplace,suchasaportfolioorplanchest.

ProtectingoilpasteldrawingsUnlikeotherpastels,oilpastelsdonotrequirefixing,becausetheblendofpigments,fatandwaxneverfullydries.Forthisreason,itisinadvisabletoapplyvarnishoveroilpastels;shouldyouneedtoremovethevarnishatalaterdate,itwilltakemostoftheoilpastelcoloroffthesurfacewithit.Themosteffectiveandlastingprotectionistomountoilpasteldrawingsunderglass.

ProtectiveframingThewayyoupresentartworknotonlydisplaysittobestadvantagebutalsoprotectsitfrompollutantsandaccidentaldamage.Below,thedrawingishingedfromthetopedgeonly,withinafoldedbookmountthatholdstheglassatasafedistance.AstiffbackingboardofhardboardorMDFkeepsthedrawingflat.

ProtectingdrawingsDrawingsexecutedinafriablemedium,suchascharcoal,pastel,contécrayon

andchalk,areeasilysmudged.Whentheyareframed,thereisadangerof

pigmentparticlesdriftingdownundertheglassandsoilingthemountboard.

FixativeTopreventtheseproblems,thiskindofdrawingshouldbeprotectedwith

fixative.Thisisathin,colorlessvarnishwhichissprayedontothepictureand

fixesthepigmentparticlestothesurface.Itismostcommonlyavailablein

aerosolspraycans,whicharethemostconvenientmethodtouse.Alternatively,

therearemouthdiffuserswhichhaveaplasticmouthpiece,throughwhichyou

steadilyblowafinemistoffixative.

Sprayingadrawingwithfixativerequiresadelicatetouch;itshouldbeapplied

sparingly,asacoupleoflightcoatsarebetterthanoneheavyone.Itisworth

practisingonpiecesofscrappaperuntilyoudiscoverhowtoproduceafine,

uniformmistwithoutgettinganydripsonthepaper.Ifyouholdthespraytoo

close,itwillsaturatethesurfaceandmayrunandstreakyourwork.

Makesurethatyoualwaysworkinawell-ventilatedarea,inordertoavoid

inhalingtoomuchofthespray.

ApplyingfixativePinyourfinishedworkverticallyandholdtheatomizeratleast30cm(12in)

awayfromtheimage,pointingdirectlyatit.Beginsprayingjustbeyondtheleft

sideofthepicture.Sweepbackandforthacrossthepicturewithaslow,steady

motion,alwaysgoingbeyondtheedgesofthepicturebeforestopping.Keepyour

armmovingsothatthespraydoesnotbuildupinonespotandcreateadark

patchorstarttodripdownthepaper.

MouthdiffusersThesehaveaplasticmouthpiecethroughwhichfixativeisblown.

SEEALSOCHARCOAL46PASTELS48OILPASTELS50CONTÉCRAYONS52DRAWINGACCESSORIES61MOUNTSANDFRAMES352HEALTHANDSAFETY386

VARNISHINGPAINTINGSAlayerofvarnishwillgivethesurfaceofapaintingauniformglossorsemi-

mattfinishthatwillbringthewholepicturetogetherandwillenhancethe

depthandlusterofthecolors.

Whyusevarnish?Ifoilandacrylicpaintingsarewellcaredforandarecleanedoccasionally,theydo

notnecessarilyhavetobevarnished.However,varnishwillcertainlyprotectthe

paintfilmfromanydamagecausedbyscuffing,humidity,dustandatmospheric

pollutants.Thevarnishitselfwilleventuallybestainedbytheseelements,which

iswhyaremovablevarnishispreferredbyrestorers;whenitbecomesdirtyor

cracked,itcanberemovedwithsolventsandreplaced.

NaturalvarnishesNaturaldammarvarnish,whichiscomposedofdammarresinandwhite

(mineral)spirit,enhancescolorswithminimalglossandyellowing;itdoesnot

crackorbloom(becomeopaque).Naturalmasticvarnish,withmasticresinand

turpentine,driestoahighgloss.However,itdoeshaveatendencytodarken,

crackandbloom.

SyntheticvarnishesSynthetic-resinpicturevarnishes,suchasthosemadefromketone,arepreferable

totraditionalnatural-resinvarnishes.Whereasvarnishwasoncequitelikelyto

darkenandcrack,modernversionscanbereliedupontobenon-yellowingand

tough,yetflexibleenoughtowithstandanymovementofthecanvaswithout

cracking.

VarnishingoilpaintingsItisveryimportantthatanoilpaintingiscompletelydrybeforefinalpicture

varnishisapplied;thiscantakeanythingfromsixmonthstoayear,perhaps

moreforthicklyimpastedpaint.

Oilpaintexpandsandcontractsasitdries,andprematurevarnishingmay

causecrackingasvarnishislessflexiblethanoilpaint.Retouchingvarnish,

however,canbeappliedassoonasthepaintistouch-dry–normallywithina

fewdays.Thiswillprotectthesurfaceuntilitisdryenoughforfinalvarnishing.

VarnishingacrylicpaintingsDespitepopularbelieftothecontrary,itisasadvisabletovarnishcompleted

acrylicpaintingsasoils;althoughacrylicdrieswaterproofandastoughasnails,it

picksupdirtjustlikeanyotherkindofpaint.Acoatofvarnishgivesyour

paintingextraprotectionandalsoenhancesthebrillianceofthecolors.Itevens

outanydifferencesinglosswhenthepaintdries;thesedifferencesarecausedby

mixingvariedamountsofwaterormediumwiththecolors.

Donotuseacrylicmediumsasafinalvarnish,becausetheycannotberemoved

whendirty.Alwaysuseaproprietaryacrylicvarnish,whichdriesquicklytoa

clearfilmthatcanbecleanedeasilywithsomemildsoapandwarmwater.Itcan

beremoved,ifrequired,usingwhite(mineral)spirit.Youcanbuyeitherglossor

mattvarnish,oryoucanmixthetwoinordertocreateapleasingsemi-matt

finish.

Acrylicpaintingscanbevarnishedassoonasthepaintisdry,whichnormally

takesacoupleofhoursatmost.

SimonJenningsLeavesofGrassAcryliconcardboardwithCrylavarnish45×60cm(173/4×233/4in)

VarnishingpaintingsmadewithoilsticksWhenthepaintisthoroughlydry,traditionaloil-paintvarnishesmaybeused.Thereisaspecialisolatingvarnish,whichmaybeapplied6–12monthsaftercompletion;thisfirst-stagevarnishingisfollowed24hourslaterbytheapplicationofafinishingvarnish.Thedualprocessinvolvedenablesthefinishingvarnishtobeeasilyremovedatalaterdate,ifrequired,withwhite(mineral)spiritorturpentine.

VarnishingoilsandacrylicsVarnishingshouldbedoneinawarm,dry,dust-freeventilatedroom.Avoidvarnishingindamporhumidconditions,asthismaycausethevarnishlayertoturnhazy.

(1)CleanoffdustandgreaseEnsurethatthepaintingisfreeofdustandgrease.

(2)ApplyvarnishinonedirectionApplythefirstthincoatofvarnishwithabroad,soft-hairedbrush,preferablyavarnishingbrush.Strokethesurfacesmoothlyandevenly,workinginonedirection,soasnottocreateairbubbles.

(3)ApplyasecondcoatatrightanglesLeavetodryovernight,thenapplyasecondcoatatrightanglestothefirst,unlessyouareusingamattvarnish,inwhichcasebrushinthesamedirectionasbefore.Leavethepictureinahorizontalposition,protectedfromdustandhairs,untilthevarnishhasdriedhard.SEEALSOOILPAINTS64OILSTICKS70OILMEDIUMS76AVOIDINGPROBLEMS164ACRYLICPAINTS110ACRYLICMEDIUMS118HEALTHANDSAFETY386

MOUNTSANDFRAMESWhenselectingaframeforanartwork,yourchoicewillbeaffectedby

personaltaste,prevailingfashionsandthetypeofimagebeingframed.The

onegoldenrule,however,isthatthestyleandcoloroftheframeshould

complementandenhancetheimagebutshouldnotattracttoomuchattention

toitself.

BasicconsiderationsAwell-chosenframenotonlyenhancestheappearanceofapaintingordrawing,

italsoprotectsandconservesit.Unlessyoualreadyhavesomeexperienceof

framing,thistaskisbestlefttoaprofessionalframer.However,whetheryou

frameyourownworkornot,therearecertainaestheticpointstoconsiderwhen

choosingthestyleandcolorofthemountandframe.

FramingworksonpaperWatercolor-basedpaintings,pastelsanddrawingsarefragileandvulnerableto

surfacedamage.Mostofthesepicturesareframedunderglassandare

surroundedbyawindowmount,ormat–awide“frame”ofthickcard.The

mountservestwopurposes:first,itactsasabufferbetweenthepictureandthe

glass,allowingairtocirculate.Ifthepaperisincontactwiththeglass,

condensationmaybuildupandeventuallydampstainsandspotsofmildew–

knownas“foxing”–maystainthesurfaceofthepaper.Inthecaseofdrawings,

themountalsopreventstheglassfromcrushingthesurfacepigmentand

compressingthepaper’stexture.

Theotherfunctionofamountistoprovideanaestheticallypleasingborder

aroundthepictureandaclean,finishedlook.Italsoprovidesakindofbreathing

space–asympatheticsurroundingthatseparatestheimageitselffromthehard

edgeoftheframe.Thewindowapertureiscutwithabevellededge,which

avoidssharpshadowsfailingontheimageandcreatesarecesswhichleadsthe

eyeintothepicture.

Thewidthandcolorofthemountwillexertaconsiderableinfluenceonthe

impactofapicture,soitisimportanttomakeacarefulchoice.Worksonpaper,

forexample,aretraditionallysurroundedbyawidemountandanarrowframe,

anarrangementwhichenhancesthedelicacyofanimage.However,sinceevery

artworkisdifferent,thesame“rules”donotalwaysapply,andthusitpaystocut

stripsofcardandexperimentwithdifferentmountwidthsandcolorsuntila

particulardrawingorpaintingseemstositcomfortablyinitssurroundings.

MountingboardMadefromthickboardfacedwithbondedpaper,mountingboardisavailableinarangeofcolors,somewithsubtledecorativefinishesandtextures.Youcaneitherbuysheetsofmountingboardandcutyourownwindowmounts,orhaveitdoneprofessionally.Cheapermountboardsaremadeofunrefinedwoodpulp,whichcontainsacidsthatcanbeharmfultoworksonpaper.Exceptfortemporaryframing,alwayschooseconservationboard,whichisacid-freeandwon’tyelloworfadewithtime.

DoublemountsAdoublemounthasa“stepped”effectwhichgivesanaddedtouchofopulencetothepicture.Theinnerandoutermountscanbeofthesamecolor,orcomplementaryorcontrastingcolorscanbeused.Sometimestheinnermountisgildedordecoratedwhiletheoutermountisleftplain.

Integralpaintedframe(P.Quested)

Closeframing(B.Yale)

Spacers

Whereyoufeelamountisinappropriatetothetypeofpicturebeingframed,keeptheglassandpicturesurfaceseparatedbyinsertingspacersbetweenthefrontrebateoftheframeandtheglass.Spacersarenarrowstripsofwood(orconservationboard,inthecaseofworksonpaper).

WidthofmountThemarginsofthemountmustbeinpleasingproportiontotheimage.

Generally,asmallimagelooksmoreimpressivewithawidemount,whichgives

itaddedweightandimportance.Forexample,foranimagemeasuring30.5×

22.5cm(12×9in),marginsof10–12.5cm(4–5in)aresuitable.Alargepainting

withboldshapesandcolors,ontheotherhand,looksbetterwithanarrow

mount.

Itisusualforthebaseofthemounttobeslightlydeeperthantheremaining

sides–between6mm(1/4in)and18mm(

3/4in)isenoughinmostcases,

dependingonthesizeofthepicture.Thisistopreventavisualillusioninwhich

anequalbottommarginappearsnarrowerthantheotherthree,andtheimage

appearstobedroppingoutoftheframe.

SelectingacolorGenerallyspeaking,acreamorneutral-coloredmountisthemostsympathetic

choiceforwatercolorsanddrawings,orperhapsonewhichsubtlyechoesoneof

thedominantcolorsintheimage.Themountmaybeembellishedwithnarrow

washlinesdrawnaroundtheinneredge,eitheringoldorinacolorthat

complementsthecolorsofthemountandthework.

Althoughinsomecasesarichlycoloredmountmightbeappropriate,itscolor

shouldneveroverpowertheimage.If,forexample,themountisofalighterkey

thanthelightesttoneinthepicture,ordeeperthanthedarkestareas,youwill

tendtoseethemountbeforethepicture.

FramingoilpaintingsOilpaintingsaremorerobustandlesspronetodamagethanworksonpaper,so

theydonotneedtobeframedbehindglass.Indeed,theyarebetterleftunglazed,

toavoiddistractingreflectionsandtoallowthetextureofthepaintsurfacetobe

morereadilyappreciated.

Framingacrylicpaintings

Withacrylicpaintings,youhavethechoiceofframingasforanoilpaintingora

Withacrylicpaintings,youhavethechoiceofframingasforanoilpaintingora

watercolor,dependingonthesizeofthepaintingandthetechniqueemployed.

Forexample,aplain,narrowframemaybeappropriateforabold,abstract

painting,butatraditionalwatercolorframewithwidemountmightsuita

delicatepaintingthatinvolveswashtechniques.

FrameinsertsJustasworksonpapermaybeenhancedbyawindowmount,moresubstantial

mediumsnotunderglassmaybesetoffbyaframeinsert,or“slip.”Thisisathin

framemolding,eithergilded,painted,orcoveredwithcloth,whichprovidesa

separationbetweentheouterframeandthepicturesurface.Mostframingshops

sellarangeofready-madeframeinserts,oryoucanmakethemyourself.

Framewithinsert(S.Jennings)

Flatframewithinnerslip(J.ElliottBates)

Narrowframewithwidemount(Print)

Insetcanvaswithboxframe(G.Rowlett)

IdealdepthsToconserveandprotectyourwork,themoldingshouldideallybeatleast28mm(11/8in)deepforastretchedcanvas(top)and10mm(3/8in)deepforaworkonpaper(above).Itisalsoimportanttochooseamoldingthathasarebatedeepenoughtoaccommodatethethicknessofthework,plusglassandbackingboards,iftheyarerequired.

FramemoldingsThechoiceofframemoldingisasimportantasthechoiceofmount,andthe

twoshouldideallybechosentogether.Awell-chosenmoldingcangiveevena

mediocrepaintingafeelingofpurposeandauthority,whereasaninappropriate

onecanactuallyruinagoodpicture.

Whenchoosingamolding,itisvitalthatyouconsideritswidth,colorand

designinrelationtothepictureitself.Lookformoldingsthatcomplement

ratherthandominateyourpictures.Asageneralrule,simplemoldingsare

usuallybestfordelicateworksonpaper;moreornateonesarebetterforoilsand

acrylics.Highlyelaboratemoldingstendtodistractthevieweranddraw

attentionawayfromthepicture.

Widthofmolding

Ifyourpicturecontainssmall,delicateareasorissurroundedbyawidemount,

thenchooseanarrowframe.Ifthepictureislargeanditcontainsstrongcolors

andshapes,itwilllookmoreimposingwithawideframeandnomount,ora

verynarrowone.

ColoranddesignThecolorofthemoldingshouldharmonizebothwiththecolorsinthepainting

andwiththemount.Generally,aframewithacolorofasimilarorslightly

darkertonetotheoveralltoneofthepaintingworksbest.Thecharacterofthe

pictureitselfshouldbethetouchstoneofthedesignyouchoose–whetherthe

imageandcolorscantake,forexample,aheavy,architravemoldingorasimple,

flatone.

GlazingapictureThereareseveralkindsofglass:standard“float”glass,non-reflectiveandUV-resistant.Checkexactlywhatyourframeroffers,sincethecheapernon-reflectiveglasshasanunattractivemattsurface.Topoftherangeismuseumglass,whichisbothnon-reflectiveandUV-resistant.

TypesofmoldingFramingshopshaveabewilderingarrayofframemoldingsondisplay.Thedesigns,however,fallintoafewbasiccategories.Fromlefttorightbelow:reverse-spoonmolding;half-roundmolding;spoonmolding;boxmolding;reverse-slopemolding;flatmolding.

SEEALSOPROTECTINGARTWORK348VARNISHINGPAINTINGS350

Chapter10

GALLERYOFART

Whenchoosingsubjectstopaint,mostartiststurntotheclassicthemesofstilllife,landscape,interiors,

wildlife,portraitureandfigurepainting.Thereare,ofcourse,manyvariationsonthesethemes.Stilllife

alonecanencompassanythingfromasingleobjecttoacomplexgroupoffruitandflowers.Townscapes,

seascapes,skystudiesandgardensaremerelydifferentformsoflandscapepainting.Andwhenartists

constructpicturespurelyfromimagination,anyoralloftheclassicthemescouldbecombinedinasingle

picture.Thefollowingpagesfeatureagalleryofpaintingstohelpyouchooseasubjectandtoinspire

you.

CHOOSINGASUBJECT

InterpretingsubjectsRangingfromaquintessentiallandscapetoastrikingnudestudy,thisselection

ofpicturesillustrateshowahandfulofartistsdrewinspirationfromtheclassic

paintingthemes.Thepotentialforindividualinterpretationisfurther

exemplifiedbyatable-topstilllife,anintimatedomesticscene,aviewacrossa

sun-dappledgarden,andastylisticrepresentationofanartist’snightmare.

Presentedonthefollowingpagesisagalleryofpicturesthatreflectthe

popularsubjectstowhichartistsreturnagainandagain.Thesepictureshave

beenselectedtoshowaswideavarietyofpaintingstylesaspossible.But

whateveryoudecidetopaint,letitbeyourownchoiceandbesuretogiveyour

personalstylefullrein.

ChrisPerryClockworkDogsAcryliconhardboard56×81cm(22×32in)

RayBalkwill

VineyardsnearAlbaPastelonpaper53×35.5cm(21×14in)

TimothyEastonRoofRidgewithRosesOiloncanvas20×35.5cm(8×14in)

AnukNaumannSunflowersandLemonsMixedmediaonpaper35.5×53cm(14×21in)

ValerieWiffenSaxophonistOiloncanvas40.5×30cm(16×12in)

JohnLidzeyAWomanDressingattheDellWatercoloronpaper50.5×35.5cm(20×14in)

PAINTINGSTILLLIFES

StilllifePaintingsomeinanimateobjects,eithersinglyorinarrangedgroups,hasobvious

appeal–it’ssoeasytocontrol.Youcanselectandcomposetheobjectsatyour

leisure,pickabackgroundthatsetsoffthestilllifetoadvantage,choosethe

directionandformoflightingthatgivesyoutherequiredmoodand,perhaps

moreimportantly,youcantakeupandlaydownyourbrushesatyour

convenience.

FromasinglefruittoakitchendresserStill-lifepaintingofferssuchavarietyofpossibilities.Someartistsenjoymakingcarefulanddetailedstudiesofsimpleobjects,andwillgaintremendoussatisfactionfrompreciselyrenderingtheskinofafruit.Forothers,theexhilarationcomesfrompaintingmorecomplexarrangementsoftheirfavoriteflowersandcolorfulprops.Formostpainters,theobjectistomaketheirstill-lifepaintingslookasnaturalaspossible,butaformalarrangementofpropscanlendaquitedifferent,almostsurreal,atmospheretoapainting.

RonaldJestyJustaLemonWatercoloronpaper18×13cm(7×5in)

ColinWilleyRedPepperOiloncanvas13×15cm(5×6in)

PeterKelly

TheRedVaseOiloncanvas43×33cm(17×13in)

AnnieWilliamsTheCrocusJugWatercoloronpaper38×42cm(15×161/2in)

JennieDunnSunflowersTooOiloncanvas61×66cm(24×26in)

JohnMitchellStudioWindowWatercoloronpaper33×25cm(13×10in)

DavidMartinStillLifewithGloxiniaOiloncanvas101.5×76cm(40×30in)

PAINTINGINTERIORS

RoomsandinteriorsThroughouthistory,artistshavepaintedtheirfamiliarsurroundings,often

providinguswithintimatesnapshotsthatrevealthedetailsoftheirpersonal

lives.Butifyouarepreparedtostepintothewiderworld,therearealsoexciting

possibilitiesforpaintinginpublicspaces,suchaspubs,restaurants,railway

stationsandhistoricalbuildings.

InsideoutsidePaintingasmallcornerofyourownroomisakintopaintingastilllife–youchoosetheviewpoint,rearrangethefurnituretosuityourcompositionand,ifyoudon’talreadyownsuitablepropstoenrichthescene,youcanbuy,borroworeveninventthem.Youcanalsoadjustorsupplementambientlightingtothrowshadowsexactlywhereyouwantthem.

Whenyousetupyoureaseltotakeinawiderviewofaninterior,daylightalmostinvariablyplaysapart.Strong,evendiffused,lightfromawindowcantransformascene,creatingboldshadowsorshaftsoflightandbringingtheroomtolifewithsparklinghighlightsandintriguingreflections.

Inmanyinstances,anartistwilluseawindowtoframetheviewbeyond,creating,inasinglepicture,aback-litstilllife,aninteriorandalandscape.

AnukNaumann

AMackerelforSupperMixedmediaonpaper25×25cm(10×10in)

DebraManifoldTheLadyChapel,GlastonburyAbbeyAcryliconboard53×76cm(21×30in)

AnnieWilliams

TheKitchenWatercoloronpaper58.5×45.5cm(23×18in)

TimothyEastonSummerFlowersatDuskOiloncanvas58×40.5cm(23×16in)

GeraldGreenInteriorWatercoloronpaper35×25cm(131/2×10in)

PeterKelly

Table–ChâteauChampdeBatailleOiloncanvas30.5×53.5cm(12×21in)

BUILDINGSANDTOWNSCAPES

UrbanlandscapesTheurbanlandscapeisafascinatingsubjectformanypainters.Somebeginners

findthedisciplinesofperspectivealittledaunting,buttheopportunitiesfor

includingarichvarietyofcolor,textureandcopiousdetailmaketownscapesand

individualbuildingsirresistiblesubjects.

TimothyEastonNoonShadowsOiloncanvas76×71cm(30×28in)

BrianLancasterTheWatchtowerWatercoloronpaper34×52cm(131/2×201/2in)

AnukNaumannSeawall,StIvesMixedmediaonpaper30.5×30.5cm(12×12in)

ShirleyTrevenaHousebytheForestMixedmediaonpaper27.5×39.5cm(101/2×151/2in)BuildingsmakeadifferenceLookaroundyou,andyoucanhardlyfailtoseebuildingsthatcouldmakeinterestingadditionstoyourpaintings.Somemerelynestleintoaconventionallandscape,providingapleasingcontrasttonaturalformsandcolors.Inotherlocations,however,thebuildingsmightconstitutethefocalpointofapainting,withindustrialcomplexesorstreetscenesthatarefulloflifeandbustle.Whetheryouchoosetodocumentyourowntownorvillageorbringhomesketchbookremindersofaholidayabroad,therearecountlessopportunitiesforpaintingbuildingsandtownscapes.

GeraldGreen

IndustrialPlantWatercoloronpaper35×53cm(131/2×21in)

PeterGrahamLaBellePromenade,Villefranche-sur-MerOiloncanvas66×65.5cm(26×251/2in)

DavidCurtisCityCrowds–PiccadillyWatercoloronpaper57×77.5cm(221/2×301/2in)

PAINTINGLANDSCAPES

LandscapesTheclassicopenlandscapehasabroadappeal.Itnotonlyprovidestheunique

experienceofworkingdirectlyfromnature,butitalsoofferschallenging

opportunitiesforcapturingalmostlimitlessnuancesoflightandatmosphere.

Themoreintimate“close”landscapeischaracterizedbycomparativelydetailed,

sometimescolorfulimagery,epitomizedbyaformalgardenordensewoodland.

TimothyEaston

BuddleiaandLavenderFieldOiloncanvas25.5×30.5cm(10×12in)

JohnMitchellSgurranFheadainMixedmediaonpaper57×41cm(221/2×16in)

ColinWilleyRecedingCloudsOilonboard20×25.5cm(8×10in)

DebraManifold

CorneroftheWoodsPastelonsandpaper51×63.5cm(20×25in)ThenaturallandscapeLandscapeisagenrethataccommodatesanystyleandtreatment,fromthesemi-abstracttohighlyfinishedrealism.Artistsseemabletorelaxinfrontofalandscape,re-creatingtheeasy-flowinglines,shapesandtexturesofnature.Furthermore,thereisn’tasinglemediumthatdoesnotlenditselftolandscapepainting,althoughsomeareperhapsmoresuitedtostudiopaintingthantoworkingenpleinair.

JohnBlockleyMoorlandRoadWatercoloronpaper30.5×46cm(12×18in)

AnthonyAtkinsonWinteratHorkesleyOiloncanvas101.5×76cm(40×30in)

DavidMartinAftertheHarvest,CuparOiloncanvas91.5×91.5cm(36×36in)

SimplelandscapesItisnotnecessarytosearchfor“picturesque”landscapesubjects;someofthe

mostmemorablepaintingsaresimple,everydayscenes.Beginwiththeplaces

youknowbest,andtrytouncoverthosethingsthatawakenanemotional

responseinyou.Whenyouspotsomethingthatgetstheadrenalinegoing,paint

itthereandthenifyoucan,oratleastmakeasketchofit.Don’tpassitby,

thinkingtheremightbegreenerpasturesaroundthecorner.Thatfirstmoment

ofseeingisuniqueandcannotalwaysberecapturedwhenyoureturntothe

subjectatalatertime.

AnnabelGaultInverlussaBayIIOiloncanvas102×153cm(40×61in)RedfernGallery,London

PAINTINGWATER

WaterandseascapesTherearefewlandscapeartistswhohavenotatsometimebeendrawntopaint

seascapesandotherscenesfeaturingwater.Whetheratranquillakeorbreaking

waves,wateralwaysaddsdramatoapicture.Infact,theseaandnauticalsubjects

canbesocompellingthatsomeartistsmakemarinepaintingtheirlife’swork.

PeterKellySunlightandRainontheGrandCanalOiloncanvas28×38cm(11×15in)

AnthonyAtkinsonBendintheRivernearLanghamOiloncanvas63.5×76cm(25×30in)

ChrisPerry

FullMoonWestPierPastelonpaper30×42cm(113/4×161/2in)

TimothyEastonNettle,WillowherbandLilyPadsOiloncanvas25×35.5cm(10×14in)BeautifulobsessionIfyouaresoinclined,paintingwatercaneasilybecomeanobsession.Fromthereflectionsandplayoflightacrossagardenpondtothehypnoticmotionofthesea,withitselusivetexturesofsprayandfoam,thereissomuchforyoutopaint.Wateralsoprovidestheperfectfoilforotherelementsinthelandscape,betheymountainsorbuildingsthataremirroredinaflatsurface,orwatersideplantsandtreesscreenedagainstabackdropofshimmeringcolor.

DonaldMcIntyreGreenSeaAcryliconboard30.5×41cm(12×16in)

AnukNaumann

RoughSeaMixedmediaonpaper40.5×40.5cm(16×16in)

BrianLancasterTimesofChangeWatercoloronpaper25×34cm(10×131/2in)

RonaldJestyHandfastPointWatercoloronpaper45.5×45.5cm(18×18in)

EXPRESSINGCOLOR

UnderstandingcolorColorissuchapersonalandsubjectiveareathatitisperhapsinappropriateto

discussitintermsofrulesandtheories.Nevertheless,topaintwell,itis

importantforanartisttohavesomeunderstandingofhowcolorsbehaveand

howtheyrelatetoeachother.Knowinghowcolorsaffectoneanotherwhen

mixedtogetherorappliedsidebyside;howtheychangeunderdifferentkindsof

lighting;whytheyfadeandhowtheycanbeusedtore-createform,shape,

perspectiveandmood;understandingtheopticaleffectsofcertaincolor

combinationsandtheirpsychologicalimpact–alltheseareimportantifyouare

tosucceedinmakingcolordowhatyouwantittodo.

SallyStrandKnittingPastelonpaper57.5×76cm(23×301/2in)

PAINTINGFIGURES

ThehumanformThereisacontinuedfascinationwiththehumanformamongartists,despitethe

adventofphotography,andthetraditionsofportraitandfigurepaintingareas

strongtodayastheyeverwere.Thereissometruthintheoldadagethat“ifyou

canpaintpeoplewell,thenyoucanpaintanything.”However,itisnotessential

toknowaboutanatomyinordertopaintordrawthehumanformsuccessfully.

Moreimportantareaninquiringeyeandawillingnesstokeeppractising,evenif

yourfirstattemptsarenotsuccessful.

ArthurMadersonVerlayneRecliningOiloncanvas80×110cm(32×44in)

Figuresandportraits

Figurepaintingandportraituremustbeamongtheoldestartistictraditions.

Therearefewsubjectsthatholdasmuchintrigueforartistsasthehumanform,

andfewerstillthatoffersuchawealthofsubtletyandvariety.

PaintingindividualsandgroupsYouwillnodoubtwanttotackleanudestudyorclothedfigure,eitheratalocallife-paintingclassorinyourownstudio.Butitisalsoworthgoingoutintothestreet,orintocafésandbarswhereyoucansketchinterestinggroupsoffiguresandindividuals.Theworkplaceandsportsclubsofferopportunitiesforobservingpeopleengagedinmoreactivepursuits.

TimothyEastonDowntotheSeaOiloncanvas30.5×35.5cm(12×14in)

DebraManifoldLunchtimeattheCaféRougeAcryliconboard76×48cm(30×19in)

TimothyEastonReturningtheBlades,HenleyOiloncanvas30.5×25cm(12×10in)

ChrisPerryTinaPastelonpaper84×61cm(33×24in)

JohnLidzeyAnnaPlayingtheCelloWatercoloronpaper66×45.5cm(26×18in)

RonaldJestyRednudeWatercoloronpaper40.5×51cm(16×20in)

SharonFinmarkTheMirrorPastelonpaper132×120cm(52×48in)

PAINTINGFIGURESANDANIMALS

PortraitsInthefaceofsomestrongcompetitionfromthecamera,paintingsofcolleagues,

familyandfriendsconstituteauniquepersonalrecord.Althoughwetendto

thinkofaportraitasbeingahead-and-shoulderslikenessofthesitter,thereis

muchtobesaidforsteppingbacktotakeinthefullfigure.Thismayallowyou

toincludeaglimpseofthesitter’shome,andperhapsincorporatetheirpetsor

partner.Anddon’tforgettheself-portrait–atime-honoredgenrethatenables

youtoworkatyourownspeedandatyourconvenience.

DavidCobleyGirlwithWetHairOiloncanvas51×51cm(20×20in)

KenPaineTheFlowerSellerPastelonboard71×53cm(28×21in)

AlastairAdamsMrandMrsG.PostonandCatsAcryliconMDFboard101.5×101.5cm(40×40in)

DavidCobley

Doubt–Self-portraitOiloncanvas168×168cm(66×66in)

WildlifepaintingIttakesaspecialtalent,andnotalittlededication,ifwearetocapturethe

uniquequalitiesofanimalsandbirdsintheirnaturalsurroundings.Butthereis

muchtobegainedfrompaintingthedelightfuldiversityofwildlifeandother

animals–includingthosethatareliterallyonyourdoorstep,intheformof

domesticanimalsandpets.

AnimalsandbirdsIfyouarelookingfortheidealquiescentmodel,whatcouldbemoreperfectthantheaveragedomesticcat,whoisusuallytobefoundsprawledlazilysomewhereinthehouseoroutdoorsintheshade?Birdsandothernaturalhistorysubjectsareoftenperceivedasthepreserveofthespecialist,requiringagreatdealofscientificaccuracyanddetail.However,ifyouenjoyworkingoutdoorsandhaveanaffinitywithnature,don’tbeputoffbytheapparentdifficultiesofincludingwildlifeinyourpaintings.

TimothyEaston

StripedJugwithSpringFlowersOiloncanvas40.5×35.5cm(16×14in)

DavidMartinGullonaBirdTableOiloncanvas101.5×76cm(40×30in)

PeterPartingtonMarshHarrierSurprisingCootWatercoloronpaper56×66cm(22×26in)

PAINTINGFROMIMAGINATION

ImaginativepaintingPaintingpicturesfromyourimaginationcanbeveryliberating.Towhatextent

youallowfantasytotakeoverwilldictatethedegreeofyourinventiveness.Some

artistsputtogetherimagesandreferencesfromdisparatesources,creating

imaginativecompositionsthatareperfectlybelievablebutthatexistonlyintheir

heads.Otherartiststaketheprocessmuchfurther,puttingdowntheirmore

fancifulthoughts,dreamsandsurrealvisionsontopaperandcanvas.

CuttinglooseFollowyourownmuse,andletyourideasandthoughtsbubbletothesurface.Trydevelopingthefirstideathatcomestomindandseewhereittakesyou.Youmaydiscoverthatit’snotafirstideaatall,butalong-lostmemoryofsomepastexperience,orasubconsciousthoughtthathasbeenlurkingintherecessesofyourmind,waitingforanopportunitytoarticulateitself.

GigolAtlerX-rayHallucinationOiloncanvas25.5×30.5cm(10×12in)SurrealismandabstractionConjurewithrealitytocreateimagesthatgobeyondconventionalrepresentation.Goonestepfurtherandinventabstractimagesthatarebasedonyourownexperiencesandobservations,creatingpaintingsofpurecolorandpattern.

JohnEhrlichRibbonAcrylicandgouacheonpaper42×29cm(161/2×111/2in)

DavidCobley

MrStevenBerkoffOiloncanvas122×101.5cm(48×40in)

SimonJenningsRedandBlackNo.1Oiloncanvas20×25cm(8×10in)

EXPRESSINGLIGHTSimplicityandlightAvaseofdaffodilsonasunnywindowsillistransformedbythelightbehindit,shiningthroughthetranslucentpetals;itisasiftheywerelitfromwithin.

KenHowardSpringLight,MouseholeOiloncanvas60×50cm(24×20in)Watercolormaybefreelylaidoverothercolorstoprovideapainterlyeffect.Youcanusepaintinvariousdilutions,allowingittoblendwithandcovertheunderlyingapplications.

JohnLidzeyCelloPracticeWatercoloronpaper31×19cm(12×71/2in)

REFERENCEThisreferencesectioncontainsinvaluableinformationandisdesignedtobackupthecoreofthebook.

Healthandsafetyarefeatured,togetherwithadviceonhowtoreadapainttube.Intheextensive

glossarytherearedetailedexplanationsofallthespecializedwordsandtermsthatareused,together

withterminologythatyoumayencounterinfurtherreading.Youcanusethedirectoryofartsuppliersto

sourcetheartists’materialsthatyouneed.Inadditiontomanufacturers’addresses,websitesandemail

contactsaregiveninmostcases.

HEALTHANDSAFETYManufacturersofartmaterialspayagreatdealofattentiontocurrentsafety

legislation;mostmanufacturers’cataloguesprovidereasonablydetailed

informationonsafety,toxicityandthelike,andtheproductsthemselvesare

generallyclearlylabelled(seebelow).

HealthhazardsSafetylegislationdiffersfromcountrytocountry,andthereisnosingle

internationalclassificationforallartmaterials,whichbasicallymeansthata

substancethatisregardedashazardoustohealthmaybewithdrawnor

substitutedinonecountrybutnotanother,dependingonthelegislation.

Someofthemostdeterminedoppositiontochangesinthecompositionof

painthascomefromartistswhofearthatmodernsubstitutescannotgivethem

thesameresultsastraditional(butpossiblymorehazardous)pigments,suchas

cadmiums,leadchromesorcobalts.

Manufacturers,however,putavastamountoftime,moneyandresearchinto

findingalternativematerialsthatapproximatetheoriginalascloselyaspossible,

inordertocomplywithevermore-stringentlaws.

Intheend,thedecisionofwhattouseandhowtouseitmustbemadeby

eachindividualartist,andthebestwaytoworksafelyistobewellinformed

aboutthematerialsyouareusing.Readthecatalogues,checkthelabelling,and

don’tbeafraidtocontactthemanufacturersifyouareconcernedabouta

product’ssafetyorquality.

Aboveall,youshouldalwaysfollowthemanufacturer’sinstructionswhere

printed.Makingartismanythings–creative,fun,inspiring,frustrating–butit

neednotbehazardoustoyourhealth.

HighlyflammableProductsbearingthisinternationallabelhaveaflashpointofbelow21°C.Thecontainersshouldbekeptclosedwhennotinuse,andshouldnotbeleftnearsourcesofheatorignition.Donotbreathethevapororspray,andkeeptheproductawayfromchildren.

Harmful/irritantThisinternationallabelisusedtomarkproductsthatareclassifiedaseitherharmfulorirritant;eachclassificationhasitsownparticularwarnings.Inbothcases,donotbreathethevapor,andkeeptheproductawayfromchildren.Avoidcontactwithskinandeyes,andwashthoroughlyafteruse.

InterpretinglabelsThesearethehazardlabelsyouarelikelytoseeonartproducts.Familiaritywiththeirmeaningswillenableyoutoevaluatestandardsandpossiblehazardoususeataglance,andtouseandstorematerialswithminimumrisk.

Healthlabel(HL)ThisAmericanlabel,fromtheArtandCraftMaterialsInstitute(ACMI),meansthattheproducthasbeenreviewedbyanindependenttoxicologistundertheauspicesoftheAmericanSocietyforTestingandMaterials(ASTM).

CPAnAmericanlabel,againfromtheACMI.“CP”standsforCertifiedProduct,inwhichthecontentsarenon-toxic,evenifingested,andwhichmeetorexceedspecificqualitystandards.

APAnotherAmericanlabelfromtheACMI.“AP”meansApprovedProduct,onewherethecontentsarenon-toxic,evenifingested.

READINGAPAINTTUBEItiswellworthknowingthecharacteristics–permanence,lightfastness,

transparency,andsoon–ofthepaintsyouuse.Althoughtheremayappearto

beabewilderingamountofcodedinformationonastandardtubeofpaint,

thisisactuallyquitesimpletodecipher,andtheabilityto“read”atubewill

helpyoutochoosetherightpaint.Thetubeshownbelowisacomposite,but

alltheinformationonitcanbefoundondifferenttubes;eachmanufacturer’s

cataloguewillprovidefurtherdetailsparticulartoitsbrands.

CodesandsymbolsInadditionaltotheabove,someproductscarryothercodedinformationtoindicatetransparency,mixingpotential,safetyinformation,andsoon.Themanufacturer’scataloguegivesdetails.

GLOSSARYOFTERMSInadditiontothemanyeverydaywordsusedtodescribeartmaterialsand

techniques,thereareequallyasmanythatareunique.Mostofthespecialized

wordsandtermsusedinthisbookareexplainedhere,plussomeotherswhich

youwillcomeacrossinfurtherreading.

AAcrylicpaintAnypaintcontainingacrylicresin,derivedfromman-madeacrylic

orpropenoic(derivedfrompetroleum)acid.

AlkydresinAsyntheticresinusedinpaintsandmediums.

Allaprima(Italianfor“atthefirst”)Techniqueinwhichthefinalsurfaceofa

paintingiscompletedinonesitting,withoutanyunderpainting.Alsoknownas

aupremiercoup.

ASTMTheAmericanSocietyforTestingandMaterials.Aninternationally

recognized,independentstandardforcertainpaintqualities,adoptedbymost

manufacturers.

BBalanceInaworkofart,theoveralldistributionofformsandcolortoproducea

harmoniouswhole.

BinderAliquidmediummixedwithpowderedpigmenttoformapaint.

BistreAbrown,transparentpigmentmadebyboilingbeech-treesoot.

BleedingInanartwork,theeffectofadarkcolorseepingthroughalightercolor

tothesurface.Usuallyassociatedwithgouachepaint.

BlendingSmoothingtheedgesoftwocolorstogethersothattheyhavea

smoothgradationwheretheymeet.

BloomAdull,progressivelyopaque,whiteeffectcausedonvarnishedsurfacesby

beingkeptindampconditions.

BodycolorOpaquepaint,suchasgouache,whichhasthecoveringpowerto

BodycolorOpaquepaint,suchasgouache,whichhasthecoveringpowerto

obliterateunderlyingcolor.“Body”alsoreferstoapigment’sdensity.

BrushworkThecharacteristicwayinwhicheachartistbrushespaintontoa

support,oftenregardedasa“signature”;alsousedtohelpattributepaintingstoa

particularartist.

CCaseinAmilk-protein-basedbindermixedwithpigmenttomakepaint;most

oftenassociatedwithtempera.

Chiaroscuro(Italianfor“clear-obscure”)Particularlyassociatedwithoil

painting,thistermisusedtodescribetheeffectoflightandshadeinapainting

ordrawing,especiallywherestrongtonalcontrastsareused.

CissingTheeffectcausedwhenawaterbasedpainteitherdoesnotwetthe

supportenoughtoadhereeffectively,orisrepelledbythesurface.Alsoknownas

crawlingorcreeping.

CocklingWrinklingorpuckeringinpapersupports,causedbyapplyingwashes

ontoeitheraflimsyorinadequatelystretchedandpreparedsurface.

CompositionThisisthearrangementofelementsbyanartistinapaintingor

drawing.

Contre-jour(Frenchfor“againstthedaylight”)Apaintingordrawingwherethe

lightsourceisbehindthesubject.

CopalAhard,aromaticresinusedinmakingvarnishesandpaintingmediums.

CrosshatchingMorethanonesetofcloseparallellinesthatcrisscrosseachother

atangles,tomodelandindicatetone.(Seealsohatching.)

DDammarAresinfromconifertrees,usedinmakingoilmediumsandvarnishes.

DeadcolorAtermforcolorsthatareusedinunderpainting.

DiluentsLiquids,suchasturpentine,todiluteoilpaint;thediluentfor

waterbasedmediaiswater.

DistemperAblendofglue,chalkandwaterbasedpaint,usedmostlyformurals

DistemperAblendofglue,chalkandwaterbasedpaint,usedmostlyformurals

andposters,butalsosometimesforfine-artpainting.

EEarthcolorsThesecolors,theumbers,siennasandochres,areregardedasthe

moststablenaturalpigments.

EncausticAnancienttechniqueofmixingpigmentswithhotwaxasabinder.

FFatUsedtodescribepaintswhichhaveahighoilcontent.(Seealsolean.)

FillerInpainting,theinertpigmentaddedtopainttoincreaseitsbulk,also

calledextender;orthematterusedtofillopenporesorholesinasupportor

ground.

FilmAthincoatingorlayerofpaint,ink,etc.

FixativeAsolution,usuallyofshellacandalcohol,sprayedontodrawings,

particularlycharcoal,chalkandsoftpastels,topreventthemsmudgingor

crumblingoffthesupport.

FormatTheproportionsandsizeofasupport.

Fresco(Italianfor“fresh”)Awall-coveringtechniquewhichinvolvespainting

withwaterbasedpaintsontofreshlyappliedwetplaster.Alsoknownasbuon

fresco.

FugitivecolorsPigmentordyecolorsthatfadewhenexposedtolight.(Seealso

lightfastandpermanence.)

GGenreAcategoryortypeofpainting,classifiedbyitssubjectmatter–stilllife,

landscape,portrait,etc.Thetermisalsoappliedtoscenesdepictingdomesticlife.

GessoAmixture,usuallycomposedofwhitingandgluesize,usedasaprimer

forrigidoil-paintingsupports.

GlazeInpainting,atransparentorsemi-transparentcolorlaidoveranother,

differentcolortomodifyorintensifyit.

GrainSeetooth.

GrisailleAmonochromepaintinginshadesofgray,oragrayunderpainting.

GroundAspeciallypreparedpaintingsurface.

GumarabicAgum,extractedfromcertainAcaciatrees,usedinsolutionasa

mediumforwatercolorpaints.

HHatchingAtechniqueofmodelling,indicatingtoneandsuggestinglightand

shadeindrawingortemperapainting,usingcloselysetparallellines.(Seealso

crosshatching.)HueThenameofacolor–blue,red,yellow,etc.–irrespectiveof

itstoneorintensity.(SeealsoReadingapainttube,page387.)

IImpastoAtechniqueofapplyingpaintthicklybybrush,paintingknifeorhand

tocreateatexturedsurface.Alsothetermfortheresultsofthistechnique.(See

index.)ImprimaturaAprimarycoatofdilutedcolor,usuallyawash,usedto

tonedownortintawhitecanvasorothersupportbeforepainting.

IntensityThepurityandbrightnessofacolor.Alsocalledsaturationorchroma.

KKeyUsedtodescribetheprevailingtoneofapainting:apredominantlylight

paintingissaidtohaveahighkey,apredominantlydarkonealowkey.In

modernmuralpainting,thekeyistheresultofscratchingandpreparingawall

surfacereadyforthefinallayerofplaster.

LLandscapeformatApaintingordrawingwiderthanitistall.(Seealsoportrait

format.)

LayfigureAjointedwoodenmanikinwhichcanideallybemovedintoalmost

anyposeorattitude,forstudyingproportionsandangles,andforarranging

clothinganddrapery.Layhandsandhorsesarealsoavailable.(Seealsopage150.)

LeachingTheprocessofdrawingoutexcessliquidthroughaporoussubstance.

LeanUsedasanadjectivetodescribepaintthinnedwithaspiritsuchas

turpentineorwhite(mineral)spirit,andwhichthereforehasalowoilcontent.

(Seealsofat.)LightfastTermappliedtopigmentsthatresistfadingwhen

exposedtosunlight.(Seealsofugitive.)LocalcolorTheactualcolorofanobject

orsurface,unaffectedbyshadowcoloring,lightqualityorotherfactors;for

instance,thelocalcolorofacarrotisalwaysorange,evenwithavioletshadow

fallingacrossit.

Loom-stateCanvasthathasnotbeenprimed,sizedorotherwiseprepared

beforehandforpainting.

MMediumThistermhastwodistinctmeaningswhichareasfollows:thefirstis

theliquidinwhichpigmentsaresuspended,forinstance,linseedoilforoil

painting,andacrylicresinforacrylicpaints(thepluralhereismediums).

However,amediumisalsothematerialchosenbytheartistforworking–paint,

ink,pencil,pastel,etc.(thepluralinthisinstanceismedia).

MixedmediaIndrawingandpainting,thisreferstotheuseofdifferentmedia

inthesamepicture–forinstance,ink,watercolorwashandwaxcrayon–orona

combinationofsupports–forinstance,newspaperandcardboard.

MixedmethodTheprocessofusingoilglazesontopofatempera

underpainting.

MuralAlsosometimesreferredtoaswallpainting,thisworddescribesany

paintingmadedirectlyontoawall.(Seealsofrescoandsecco.)

0OpacityThecoveringorhidingabilityofapigmenttoobliterateanunderlying

color.Opacityvariesfromonepigmenttoanother.

PPaletteAswellasdescribingthevariousformsofholdersandsurfacesfor

mixingpaintcolors,palettealsoreferstotheartist’schoiceandblendsofcolors

whenpainting.

PatinaOriginallythegreenbrownencrustationonbronze,thisnowincludesthe

naturaleffectsofageorexposureonasurface,suchasold,yellowingvarnishon

anoilpainting.

Pentimento(Italianfor“repented”)Inanoilpainting,thisiswhenevidenceof

Pentimento(Italianfor“repented”)Inanoilpainting,thisiswhenevidenceof

previouspaintingshowsthroughthefinishedworkwhenthesurfacepaint

becomestransparent.Thewordalsoreferstounerasedattemptstofixalineor

contourinadrawingorpainting.

PermanenceReferstoapigment’sresistancetofadingonexposuretosunlight.

(Seealsofugitiveandlightfast.)PigmentsThecoloringagentsthatareusedinall

paintinganddrawingmedia,traditionallymanufacturedfromnaturalsourcesbut

nowincludingman-madesubstances.Thewordisalsousedtodescribethe

powderedordryformsoftheagents.

PlasticityInatwo-dimensionaldrawingorpainting,plasticitydescribesfigures,

objectsorspacewithastronglythree-dimensionalappearance,oftenachievedby

modellingwithgreatcontrastsoftone.

Pleinair(Frenchfor“openair”)Atermdescribingpaintingsthataredone

outside,directlyfromthesubject.

PortraitformatApaintingordrawingtallerthanitiswide.(Seealsolandscape

format.)

PrimerAppliedtoalayerofsizeordirectlytoasupport,thisactsasabarrier

betweenpaintandsupport,andprovidesasurfacesuitableforreceivingpaint

andmediums.

ProportionTherelationshipofoneparttothewholeortootherparts.Thiscan

referto,forinstance,therelationofeachcomponentofthehumanfiguretothe

figureitself,ortothepaintingasawhole.

PVAPolyvinylacetate,aman-maderesinusedasapaintmediumandin

varnish.

RRecessionInart,thisdescribestheeffectofmakingobjectsappeartorecede

intothedistancebytheuseofaerialperspectiveandcolor.

ReductionTheresultofmixingcolorwithwhite.

SSanguineAred-brownchalk.

SaturationTheintensityandbrillianceofacolor.

ScumbleThetechniqueofdraggingoneormorelayersofdryish,opaquepaint

overabottomlayerthatpartiallyshowsthroughtheoverlyingones.

Secco(Italianfor“dry”)Atechniqueofwall-paintingontodryplaster,orlime

plasterthatisdampenedshortlybeforepaintisapplied.

Sfumato(Italianfor“shadedoff”)Gradual,almostimperceptibletransitionsof

color,fromlighttodark.

Sgraffito(Italianfor“scratchedoff”)Atechniqueofscoringintoalayerofcolor

withasharpinstrument,torevealeitherthegroundcolororalayerofcolor

beneath.

ShadeTermforacolordarkenedwithblack.

ShapedcanvasAnynon-rectangularpicture.

ShellacAyellowresinformedfromsecretionsofthelacinsect,usedinmaking

varnish.

SilverpointAdrawingmethodalmostentirelysupersededbythegraphite

pencil.Apieceofmetal,usuallysilverwire,wasusedtodrawonaground

preparedwithChinesewhite,sometimeswithpigmentaddedtotheground.

Therewasnopossibilityoferasure.Alsocalledmetalpoint.

SinopiaAred-brownchalkusedforthepreliminarymarking-outoffrescoes;

alsothepreliminarydrawingitself.

SizeAweakgluesolutionusedformakinggessoanddistemper,forstiffening

paper,andformakingcanvasimperviousbeforeapplyinglayersofprimeroroil

paint.

SizecolorAcombinationofhotgluesizeandpigments.

SketchAroughdrawingorapreliminarydraftofacomposition,whichisnot

necessarilytobeworkedupsubsequently.Sketchesareoftenusedasameansof

improvinganartist’sobservationandtechnique.

SquaringupAmethodfortransferringanimagetoalargerorsmallerformat.

Theoriginalversioniscoveredwithagridofhorizontalandverticallines,and

eachnumberedsquareisthencopiedontoitscounterpartonalargerorsmaller

setofsquaresonadifferentsupport.Alsoknownasgriddingup.

StudyAdetaileddrawingorpaintingmadeofoneormorepartsofafinal

composition,butnotofthewhole.

SupportAsurfaceusedforpaintingordrawing:canvas,board,paper,etc.

TTemperingInpainting,mixingpigmentswithtemperatoproduceahue.

ThixotropicStifffluidswhichbecomeliquefiedwhenstirred,shakenor

brushed.

TintTermforacolorlightenedwithwhite.Also,inamixtureofcolors,thetint

isthedominantcolor.

TintingstrengthThepowerofapigmenttoinfluencemixturesofcolors.

ToneTherelativedarknessorlightnessofacolor,withoutreferencetoitslocal

color.

ToothThetexture,rangingfromcoarsetofine,ofcanvasorwood.

TractionInoilsthisisthemovementofonelayerofpaintoveranother.

TractionfissureThisusuallyoccurswhentheprinciplesofpainting“fat-over-

lean”inoilshavenotbeenapplied,leadingtocrackingofthetoplayerorlayers

ofpaintorvarnish.

TragacanthAgum,whichisextractedfromcertainAstragalusplants,usedasa

bindingagentinwatercolorpaintsandpastels.

TransparencyThestateofallowinglighttopassthrough,andoffilteringlight.

Trompel’oeil(Frenchfor“deceivetheeye”)Apainting,usuallyastilllifewith

extreme,naturalisticdetails,whichaimsatpersuadingtheviewerthatheorshe

islookingatactualobjects,ratherthanarepresentationofthem.

UUnderpaintingThetraditionalstageinoilpaintingofusingamonochromeor

deadcolorasabaseforcomposition,overalltoneandsubsequentcolorglazes.

Alsoknownaslayingin.

VValueAnalternativewordfor“tone,”“value”isusedmainlyintheUnited

States.Theterm“tonalvalue”referstotherelativedegreeoflightnessor

darknessofanycolor,onascaleofgraysrunningfromblacktowhite.

Veduta(Italianfor“view”)Anaccuraterepresentationofanurbanlandscape.

VehicleAmediumthatcarriespigmentsinsuspensionandmakesitpossibleto

applythemtoasurface;sometimescalledthebase.Thewordalsodescribesa

combinationofmediumandbinder.

VeniceturpentineAnoleoresin–thesemi-solidmixtureofaresinandan

essentialoil–derivedfromthelarchandusedprimarilyinmakingmediumsand

diluentsforoilpainting.

VerdaccioAnoldtermforgreenunderpainting.

VolumeThespacethatatwo-dimensionalobjectorfigurefillsinapainting.

WWashAthin,usuallybroadlyappliedlayeroftransparentorheavilydilutedpaint

orink.

WettingagentAliquid–oxgallorasyntheticequivalent–addedtowatercolor

painttohelpittakeevenlyandsmoothlyonasupport.

WhitingGroundandwashedchalkwhichisusedinmakinggessoand

whitewash.

YYellowingThiseffectonoilpaintingsisusuallycausedbyoneofthreereasons:

excessiveuseoflinseed-oilmediuminthepaint;applyinganyofthevarnishes

thatarepronetoyellowingwithage;or–mostoftenofall–anaccumulationof

dirtthatembedsitselfintothesurfaceofthevarnish.

ART-MATERIALSSUPPLIERSForreasonsofspace,thismanualcannotlistallthemanufacturersand

distributorsofartists’materialsworldwide,buttheprincipalcontactsin

Europe,NorthAmericaandtheUnitedKingdomareincludedhere.Ifyouare

unabletopurchaseaparticularartmaterial,themanufacturersand

distributorslistedbelowwillbeabletoputyouintouchwithyournearest

supplier,andwillbepleasedtosendyoucatalogues,informationandadvice

ontheirproducts.

Berol(graphite,charcoal,coloredandwatersolublepencils;marker,fountainand

fibertippens;drawingsupportsandaccessories)BerolLtd

BerolHouse,OldmedowRoad,

King’sLynn,NorfolkPE304JR

www.berol.co.uk

BerolCorporation

105WestParkDrive,

POBox2248

Brentwood,TN37024–2248

www.berol.com

Bird&DavisCanvases(paintingsupports)

Bird&Davis

45HolmesRoad,KentishTown,

LondonNW53AN

Tel:02074853797

www.birdanddavis.co.uk

Canson(watercoloranddrawingpapers;mountingboards)ArjoWigginsFinePapersPty

LtdFinePapersHouse,POBox88,

LimeTreeWay,Chineham,

Basingstoke,HantsRG248BA

Tel:01256728728

Fax:01256728889

www.arjowiggins.com

ArjoWigginsSAS

Headquarters

117QuaiduPrésidentRoosevelt,92442Issy-les-Moulineaux,France

ArjoWigginsUSAInc

2187AtlanticStreet,Suite603,Stamford,CT06902

Tel:2036746700

Carand’Ache(graphite,colored,watersolubleandpastelpencils;markerandfibertippens;

drawingaccessories)JakarInternationalLtd

HillsideHouse,2–6FriernPark,LondonN129BX

Tel:02084456376

Fax:02084452714

Email:info@jakar.co.uk

www.jakar.co.uk

Carand’AcheSA

Headquarters

19CheminduForon,POBox332,CH–1226Thônex-Genève,

Switzerland

www.carandache.ch

Carand’AcheofSwitzerland

38–5243rdStreet,11101LongIslandCity,NewYork

Tel:7184827500

Fax:7184826700

www.CdAofS@aol.com

ChromaColour(Chromacolorsandaccessories;moistpalettes)ChromaColourInternational

Unit5,PiltonEstate,Pitlake,Croydon,SurreyCR03RA

Tel:02086881991

Fax:02086881441

sales@chromacolour.co.uk

www.chromacolour.co.uk

ChromaColourInternational

HeadOffice,1410–28StreetNE,Calgary,AlbertaT2A7W6,CanadaTel:403

2505880

Email:info@chromacolour.com

www.chromacolour.com

ArtsDesire

5604NorthEast,StJohn’sRoad,Vancouver,Washington98661

Email:artsdesire@bevelar.com

www.bevelar.com

Daler-Rowney(oil,acrylic,gouacheandwatercolorpaints,brushes,supportsandaccessories;

pastels;drawingsupports;framingandmountingequipment;studioequipment)

Daler-RowneyLtd

POBox10,Bracknell,BerkshireRG128ST

Tel:01344461000

Fax;01344486511

www.daler-rowney.co.uk

Daler-RowneyUSA

2CorporateDrive,

Cranbury,NJ08512–9584

Tel:6096555252

Fax:6096555852

www.daler-rowney.com

Daler-RowneyEurope

RuedesTechnologies4,B–1340

Ottignies,Belgium

Tel:010452545

Faber-Castell(graphite,colored,watersoluble,charcoalandcontépencils;charcoalsticks;

graphitesticks;markerandfibertippens;pastels,technicalpens;drawing

accessories)WestDesignProductsLtd

Unit1A,PartFarmRoad,Folkestone,KentCT195EH

Tel:01303247110

Fax:01303247111

Email:sales@westdesign.cix.co.uk

www.faber-castell.com

A.W.Faber-CastellUSAInc

9450AllenDrive,

Cleveland,OH44125

Tel:2166434660

Fax:2166434664

FalkinerFinePapers(paintinganddrawingsupports,specialistpapers)FalkinerFinePapersLtd

76SouthamptonRow,

LondonWCIB7AR

Tel:02078311151

Fax:02074301248

Gerand(brushes)

GerandBrushes

GerandHouse,41AlricAvenue,LondonNW108RA

Tel:02075159355

Grumbacher(oil,water-friendlyoil,acrylicandwatercolorpaints,brushesandaccessories;

pastels)M.GrumbacherInc

100NorthStreet,

Bloomsbury,NJ08804

Koh-i-noorRapidograph

1815MeyersideDrive,Mississauga,OntarioL5T1G3,Canada

Inscribe(watercolorandChinesepaintsandbrushes;paintingaccessories;pastels;marker

andfibertippens;coloredandwatersolublepencils;drawingaccessories;studio

equipment)InscribeLtd

51WoolmerWay,

WoolmerIndustrialEstate,Bordon,HampshireGU359QE

Tel:01420475747

Khadi(Asianpaintinganddrawingpapers)KhadiPapers

Unit3,ChilgroveFarm,Chilgrove,Chichester,W.SussexPOI89HU

Tel:01243535314

www.khadi.com

Lefranc&Bourgeois(oil,gouacheandwatercolorpaintsandaccessories;pastels;contécrayonsand

pencils;graphite,colored,watersolubleandcharcoalpencils;charcoaland

compressed-charcoalsticks;drawingaccessories)

Lefranc&Bourgeois5RueRenéPanhard,21Nord72021

LeMans,Cedex2,France

Tel:0243838300

Fax:0243838309

www.lefranc-bourgeois.com

Liquitex(acrylicandoilpaintsandaccessories)ColArt

WhitefriarsAvenue,Wealdstone,HarrowHA35RH

Tel:02084274343

Fax:02088637177

www.Liquitex.com

Maimeri(oil,acrylic,watercolor&gouachepaints,brushesandaccessories;oilssupports;

studioequipment)MaimeriSpA

ViaGianniMaimeri1,20060

Mediglia,Milano,Italy

Tel:0290698229

Fax:0290698999

www.maimeri.it

Martin/F.Weber(oil,acrylicandwatercolorpaints,brushesandaccessories;charcoal;oilpastels;

studioequipment)Martin/F.WeberCo.

2727SouthamptonRoad,

Philadelphia,PA19154–1293

Tel:2156775600

Fax:2156773336

Email:info@weberart.com

www.weberart.com

Pebeo(oil,acrylicandgouachepaints,brushesandaccessories;watercoloranddrawing

paper;drawinginks;studioequipment)PebeoSA

ParcD’ActivitesdeGemenos305,AvenueduPic-de-Bertagne,CedexF–

13881,Gemenos,France

Tel:33(4)42320808

Email:info@pebeo.com

www.pebeo.com

PebeoofAmericaInc

Route78AirportRoad,POBox717,Swanton,VT05488

Email:info@pebeo.net

Pentel(watercolorpaint;pastels;technical,markerandfibertippens;graphitepencils)

Pentel(Stationery)Ltd

HuntsRise,SouthMarstonParkSwindon,WiltshireSN34TW

Tel:01793823333

Fax:01793823366

www.pentel.com

PentelofAmericaLtdCorporateHeadquarters

2805ColumbiaStreet,Torrance,CA90509

Tel:3103203831

PentelGmbH

Ladermannbogen143,

2000Hamburg63,Germany

EuroPentelSA

43RueFrancoisdeTroy,

94360BrysurMarne,France

PentelStationeryofCanadaLtd140–5900No.2Road,Richmond,British

ColumbiaV7C4R9,CanadaPentel(Australia)PtyLtd

Unit4/7–9OrionRoad,LaneCove,NSW2066,Australia

ProArte(brushes)

ProArteLtd

ParkMill,BroughamStreet,Skipton,NorthYorksBD232JN

Tel:01756791313

Fax:01756791212

Email:admin@proarte.co.uk

www.proarte.co.uk

Raphael&Berge(brushes)

MaxSauerSA

2RueLamarek,BP204,

22002Saint-Brieuc,France

www.max-sauer.com

RexelDerwent(graphite,watersoluble,pastel,charcoal,coloredandcontépencils;drawing

supports;accessories)Acco-RexelLtd

GatehouseRoad,Aylesbury,BucksHP193DT

Tel:01296397444

www.acco.co.uk

Rotring(technical,fountainandartpens;drawinginks;pencils)RotringUK

430StrathconaRoadWembley

MiddlesexHA98QP

Tel:02089082577

Fax:02089084476

Koh-i-noorRapidographInc

100NorthStreet,POBox68,

Bloomsbury,NJ08804-0068

www.koh-i-noor.com

StCuthbert’s(watercolorsupports)

StCuthbert’sPaperMill

Wells,SomersetBA5IAG

Tel:01749672015

Fax:01749678844

www.inveresk.co.uk

Schminke(oil,watercolorandgouachepaints;pastels)C.Roberson&Co

1AHerculesStreet,LondonN76AT

Tel:02072720567

www.robco.co.uk

H.Schminke&CoGmbH

Otto-Hahn-Straße2,D–40699

Erkrath,Germany

Tel:021125090

www.schminke.com

Sennelier(oilandwatercolorpaintsandbrushes;pastels;inks)Tollit&HarveyLtd

LyonWay,Greenford,

MiddlesexUB6OBN

Sennelier

RueduMoulinàCaillouxOrlySenia408,94567RungisCedex,France

www.sennelier.fr

Talens(oil,acrylicandgouachepaints,brushes,accessories)RoyalTalensBV

HeadOffice,POBox4,7300AAApeldoorn,TheNetherlands

Tel:(55)5274700

Email:info@talens.com

www.talens.com

TwoRivers(watercolorsupports)

TwoRiversPaperCo

PittMill,Roadwater,Watchet,SomersetTA23OQS

Tel:01984641028

Unison(softpastels)

Unison

Thorneyburn,Tarset,Hexham,

NorthumberlandNE48INA

Tel:01434240457

Winsor&Newton(oil,acrylic,gouacheandwatercolorpaints,brushes,materialsandequipment)

Winsor&Newton

WhitefriarsAvenueWealdstone,HarrowHA35RH

Tel:02084274343

www.winsornewton.com

Email:uktechhelp@winsornewton.com

Winsor&NewtonUS

ColArtAmericasInc,POBox1396,Piscataway,NJ08855-1396

Tel:7325620770

TheYorkshireCharcoalCompany(beechcharcoal)

YorkshireCharcoalCo

BromptonMoorHouse,Sawdon,

ScarboroughN.YorksYO139EB

Tel:01723864957

INDEX

Aacrylics15,19,21,22,26,27,28,66,70,110–121,128,130,134

brushes120

Chromacolor116–117

collage208

fluorescentcolors115

glazing206

impasto208

iridescentcolors115

knives120

liquids113

mediums118–119

mixedmedia208

moistpalette121,283

paints110–115,130,164

palettes121,283

primer20,21,25

sketchingpaper21

spattering205

staining206

supports113

techniques202–209

texturaleffects208–209

varnishing351

washes204

alcohol103

alignment151

alkydmediums76,172

alkydpaints66,70,131,164

alkydprimer20,24

allaprima168–169

animals332–335,379

artists

Adams,Alastair338–341,378

Ambrus,Victor53,140

Andrew,Nick204

Anstice,Penny187

Apps,Paul207

Atherton,Barry118

Atkinson,Anthony367,370

Atler,Gigol60,149,206,380

Balkwill,Ray286–289,358

Batchelor,Valerie230

Bell,Richard58,59,139,155

Blockley,John186,198,367

Brabazon,HerculesB.191

Buonarotti,Michelangelo164

Camp,Jane201

Carruthers,Rosemary105

Cawkwell,Sarah47,139

Chamberlain,Trevor29,191,195,218,231

Clarke,Terence111,113

Coates,Tom19,138,140,141,164,223

Cobley,David378,381

Confavreux,Jill208

Cottingham,Grenville225

Cotton,Alan129

Cripps,Edwin117

Crittenden,James35,49

Cuming,Fred25,177

Curtis,David365

Day,David144,145,146,148,155,246–249,280

Day,Jacqueline144

Dealtry,William191

Denahy,John175

Donaldson,Sarah39,43,138

Dunn,Jennie250–253,361

Easton,Timothy125,258–261,358,363,364,366,370,376,379

Ehrlich,John381

Finmark,Sharon323,377

Freer,Roy73,229

Fry,Anthony217

Gaa,Christa228

Gallwey,Kay39

Gault,Annabel168,178,230,368–369

Girvan,Geraldine107

Graham,Peter215,365

Green,Anthony233

Green,Gerald363,365

Griffin,David290–295

Hales,Gordon59

Hammond,Roy186

Harris,Leslie57

Haughton,Desmond227

Hemingway,Andrew35

Hockney,David42

Hosie,Nicola158,159

Houston,Ian173

Howard,Ken23,90,125,162–163,169,218,324–329,347,382

Hyam,Michael38,231

Hyams,Nick307–311

Hydes,Alan165

Jackson,Albert148,156,157

Jackson,David130,296–297

Jackson,Pauline41

Jennings,Ella240–241

Jennings,Simon50,51,152,153,155,156,280,282–285,351,353,381

Jesty,Ronald187,360,371,377

Katchen,Carole35

Kauffer,EdwardMcKnight106

Keir,Sally201

Kelly,Peter360,363,370

Knight,Sophie175,186,226

Lancaster,Brian364,371

Lawrence,Tory175

Lidzey,John91,197,274–279,359,377,383

Macmiadhachain,Pádraig15

Maderson,Arthur169,173,178,216,221,375

Manifold,Debra209,262–265,362,366,376

Martin,David361,367,379

Martin,John107,229,345

Martin,Judy35

Maryles,Simie224

McIntyre,Donald209,371

McKibbin,Alex90

McKivragan,Terry216

Miró,Joan82

Mitchell,John361,366

Monks,John171

Musker,Alison232

Muybridge,Eadweard143

Mynett,David131

Mynott,Derek179

Naumann,Anuk359,362,364,371

New,Keith205

Nicholson,William76

Ohsten,Kay125,298–301

Paine,Ken314–317,378

Partington,Peter332–335,379

Perry,Chris358,370,377

Popkin,ElsieDinsmore229

Procktor,Patrick189,195

Quested,Penny105,352

Raynes,John53

RembrandtvanRijn227

Rizvi,Jacqueline27,90

Roberts,Keith75

Rooney,DennisMathew21

Roper,Keith225

Rosoman,Leonard202–203

Rowlett,George167,173,353

Russell,Naomi38,39

Schwarz,Hans198

Scott,Hil58

Sheaks,Barclay207

Simmonds,Jackie49,270–273

Smith,Richard179

Stiff,Michael45

Strand,Sally232,372–373

Suff,David45

Sullivan,EdmundJ.58

Thompson,André157

Tilling,Robert183,195,303

Tindle,David109

Toulouse-Lautrec,Henride19

Trevena,Shirley193,197,254–257,364

Turner,J.M.W.166,180–181

Turner,Jacquie115,119

Vermeer,Jan219

Wales,Sue116

Wiffen,Valerie41,125,147,312–313,318–321,359

Willey,Colin266–269,360,366

Williams,Annie361,363

Willis,Lucy232

Wood,Anna45,155

Worth,Leslie223

Yale,Brian207,352

Yardley,John304–305

Young,Rosemary47,141

asymmetry229

atmosphericperspective280,292

Bbackruns196

bamboopens54

beeswaxmedium77

binders

oils74

birds332,333,379

blending178–179

blooms196

boards18–20,113

canvas20,113

cardboard19

chipboard18

cradling18

drawing61

hardboard18,19,70

marouflaging20

masonite70

medium-density

fiberboard(MDF)18,61

mount19

plywood18

priming20,25

sizing23

storing344

watercolor19,32

bristlebrushes78

Bristolpaper38

brushes

acrylics120

brights78,81

bristle78

Chinese59,319

cleaning83,98,120,193

combination97

decorator’s78,81

drawing59

drying98

eggtempera109

extended82

fanblenders81

filberts79,81

fitch78

flats78,80,99

goathair97

gouache107

hogbristle78

household78,81

impasto172

maintaining83

mop98

oils78–83

oriental99

oxhair97

reshaping83

riggers81,98

rounds79,80,98

sable59,78,80,96,99,109

shapes80–83,98–99

sizes80,99

soft59,80

spotter98

squirrelhair97

storing83,98

synthetic79,97,109,120

wash98

watercolor96–99,107

wipes83

buildings364–365

Ccameraobscura336

canvas14–17,70,113

boards20

burlap15

cotton14

linen14

priming24

ready-primed15

sizing22,23

storing344

stretching16–17,259

syntheticfibers15

textures15

weights14

cardboard19

cartridgepaper38

charcoal46–47,125

compressed46

fixing47

paper34

pencils46

sticks46

storing344

chiaroscuro227

Chinesebrushes59,319

Chineseink56

Chinesewhite93,130

Chromacolor26,116–117

cold-pressedpaper29

collage208,240–241

color211–227

brokencolor222

charts87

clean67,189,220,222

complementary215,221,226

contrast226–227

cool216,222,227

earth27

expression224,373

ground27

harmony225

hue215,225

intensity215

interpreting240–241

migration104

mixing43,67,93,113,220–223

modifying221

opaque92,93

pigments212–213

primary214

relationships215

saturated227

secondary214

semi-transparent93

splitcomplementaries226

superimposed189

tertiary214

tone215

transparent90,91,92

warm216,222,227

wheel214,216

coloredpencils42–43

water-soluble44–45,131,152

comparativetones219

complementarycolors215,221

composition228–229

contécrayons52–53

coolcolors216,222,227

copying126

counterchange219,230

cradling18

craftknives61

crosshatching41,43,50,57

crow-quillpens54

Ddammarvarnish77,350

depth216

digitalcameras336

diluents66,70

oilpastels50

oils75

dippens54

dippers86

drawing137–159

accessories61

aids150–151

boards61,135

brushes59,125

charcoal125

figures140–149

inks56–59

media36–61

papers38–39

pen-and-ink19,39,54–55

pencils40–45,125

pens54–55,58

preserving61,348,349

protectingdrawings349

drybrush178,196,238

Eearthcolors27,65,164

easels132,134,135,346–347

egg-oilemulsion26

eggtempera19,26,108–109,164

emulsionpaint25

erasers41,61

Ffat-over-lean164,166–167,267

feet330–331

fiber-tippens60

figures304–331,374–378

composingaportrait307

drawing140–149

handsandfeet330–331

paintingaface306–313

paintinginthestudio324–329

filleradaptors55

fitchbrushes78

fixative47,48,61,349

flakewhite66,164

flatwashes184

flocculation194

focalpoint230–232

foreshortening150,303

form236

formats233

fountainpens55

frames294,352–355

Ggardens270–273

gelmedium118,239

gelatinesize102

gesso26

board109

making26

panels19,24

glazemedium77,239

glazing77,170–171,206,222

glycerine103

goathairbrushes97

gouache19,28,38,104–107,116,130,319

brushes107

supports107

techniques200–201

gradedwashes185

granulation194,195

graphitepencils40

graphitesticks40

gridding-up337

grounds

color27

oil-based164

opaque27

toned27,283

transparent27

gumarabic102

Hhands330–331

hardboard18,19,70

hatching41,43,50,57

healthandsafety386

highlights190,237

diffused192

horizonline302

hot-pressedpaper29

hue215,225

Iimpasto172–173,175,201,208

Indianpaper38

inks28,39,56–59,116,156

Chinese56

Japanese56

non-waterproofcolored56

oriental56

soluble56

waterproofcolored56

interiors262–265,362–363

JJapaneseink56

Japanesepaper38

K

knifepainting174–175

knives

craft61

painting86,120,174,175

palette67,86,120,174

penknives61

Llandscapes27,274–281,366–369

changing290–295

distant299

onlocation282–285

urban364–365

layfigures150

leadpencils40

liftingout103,190

light216,225,260,264,382–383

boxes336

effectontone219

paintingagainstthelight266–269

reflected237

andshade237

lineandwash58

linearmarks41

linework57

linseedoil24,74,76,77,108,118,167

liquidacrylics113,130

Mmahlstick86,259

mappingpens54

markerpens60

marouflagingboard20

maskingfluid102,192,193,276

maskingout192

masonite18

medium-densityfiberboard(MDF)18,61

mediums

beeswax77

flowimprover119

gel118,239

gelthickener116

glaze77,239

glazing77,170

gloss118

matt118

oils76–77

retardingmedium119

texturepaste119

turpentine77

metalpens54

mixingcolors43,67,93,113,220–223

mixingmedia158–159,208

mixingoils67

models306,324

mountboard19,352

mounts352–355

mulling68

Nnibs54,55

non-waterproofcoloredinks56

Ooils19,27,51,129,130

accessories86

alkyd66

allaprima168–169

artists’colors64,129

binders74,166

blending178–179

brushes78–83

combiningpaints64

constituents64

darkening65

diluents50

drybrush178

dryingspeeds65,166,168

fat-over-lean164,166–167

glazing170–171,222

impasto172–173,175

knifepainting174–175

linseed24,74,76,77,108,118,167

making68–69

mediums76–77,118

mixingcolors67

opticalmixing170

paints64–69,130,164,167

palettes84–85

paper21

pastels50–51,349

pigmentstrength65

poppy66,74,167

primer24

reusing67

safflower66,74

scumbling176–177

sinkingpaint166,167

sizing22–23

sticks70–71,131,351

students’colors64,129

supports14–20

techniques162–179

tintingstrength65

tonking172

tubes65,70,387

underpainting74,109,164–165

varnishing350,351

water-friendly66

opaquecolors92,93

opaquegrounds27

opticalcolormixing43,170,221

orientalbrushes99

orientalinks56

outdoor-working128,131,134–135,282–285

equipment102,346

sketching152,156,274,287

oxgall102

oxhairbrushes97

Ppainting

knives86,120,172

media62–121

paints

acrylics110–115,130,164

alkyds66,131,164

eggtempera108,164

experimentingwith238–239

gouache104–106,130,319

making68–69

oils64–69,130,164

quality129

readingatube387

watercolor87–95,130

water-friendlyoil66,131

paletteknives67,86,120

palettes

oils84–85

stay-wet134,283

watercolor100–101

panels18–20

canvas20,109

cutting18

gesso19

preparing18

sizing23

wood18

paper

acidcontent31

acrylicsketching21

Bristol38

cartridge38

charcoal34,47

cockling183

cold-pressed29,192

color39

cottonrag31

hot-pressed29

Indian38

Ingres34

Japanese38

making38

Mi-teintes34

oil-painting21

oil-sketching21

pastel19

rough29

sand-grain34

sizes28

sizing31,32

storing344

stretching19,33

stumps61

texture39

tinted32,34

toned107

toothed43

tracing336

transfer336

watercolor21,28–33,34,182,183,188,189

weight31,39

woodpulp31

pastels48–49,131,270–273

blending49,51

board19

hard48

oil50–51

paper19,28,270

pencils48

scumbling49

soft48,270

supports34–35

penandink19,39,54–55,156

pencils28,40–45,156

charcoal46

colored42–43

graphite40

lead40

pastel48

sharpening61

storing344

water-solublecolored44–45,131

penknives61

pens

bamboo54

crow-quill54

dip54

drawing58

fiber-tip60,156

fountainpens54

mapping54

marker60

metal54

nibs54,55

quill54

reed54

reservoir54

sketching55

technical55

permanentwhite130

perspective302

atmospheric280,292,303

photocopying337

photographs306

pigments

choosing213

Chromacolor117

granulation194

lightfastness212

mixing93

oil68,73,74

opaque92

staining92

tintingstrength92

transparent92

watercolor92–93

plywood18

pochade134

poppyoil66,74,167

portraits306–323

poses322–323

primarycolors214

primer

acrylic20,21,25

alkyd20,24

egg-oilemulsion26

emulsionpaint25

gesso26

making26

oil24

priming21,24–25

proportions151,304–305

rule-of-thumb322

protectingartwork348–349

Qquillpens54

Rrabbit-skinglue22,23

reedpens54

reservoirpens54

resources126–127

roughpaper29

ruleofthirds231

Ssablebrushes59,78,96

saffloweroil66,74

salt199

sandpaper61,103

scanners336

scrapingtools103

scratchingout192

scumbling49,176–177,262

secondarycolors214

sgraffito51,61

shading41

shape236

sizing

boards23

oils22–23

panels23

paper21,31

sketchbooks38,135,152,154,156

sketching42,137–159

incolor152,157

easel346

figures140

inink156

outdoors152,156,274,282,287

pens55

skies224,275

andweather286–289

snow288

softbrushes59,78

solubleinks56

spattering57,205

sponges103,199

squirrelhairbrushes97

staining206

still-lifepainting126,236–261,360–361

stippling57

storage132,344,348

stretcherbars16

stretchingcanvas16–17,259

stretchingpaper19,33

studio128,294,343–355

figurepainting324–329

lighting132,345

organizing132–133,344–345

portable135

storage344,348

supports13–35,107,109,113

syntheticbrushes79,97

Ttechnicalpens55

techniques160–233

acrylics202–209

gouache200–201

oils162–179

watercolor180–199

tertiarycolors214

texturepaste159,239

texturedeffects103,194–199,242–245

threedimensions236–237

titaniumwhite66

tone215,219,236

comparativetones219

gradation41

andmood218

tonalcontrast227

tonalkey218

tonalvalues219

tonedgrounds27,283

tonking172

torchons61

townscapes298–301,364–365

tracing336

transparentcolor,90–91,92

transparentgrounds27

transportingpaintings348

trees277,280–281

turpentine50,51,67,75,76,77,118,199,350

Uunderpainting74,109,164–165

Vvanishingpoint302

varnishing77,118,350–351

viewfinder302

Wwarmcolors216,222,227

washtechniques182–183

water296–297,370–371

water-friendlyoilpaints66,131

water-solublecoloredpencils44–45,131,152

watercolor19,38,58,116,128,130,134

accessories102–103

artists’quality89

backruns196

blooms196

board19,32

brushes96–99,107

drybrush196

flatwashes184

flocculation194

gradedwashes185

granulation194,195

highlights190,192

liftingout103,190

lineandwash58

maskingout192

paints87–95

palettes94–95,100–101

pansandhalfpans88

paper21,28–33,34,38,182,183,188,189

salt199

scratchingout192

sponges199

students’quality89

techniques180–199

textures194–199

tubes88

washtechniques182–183

waxresist51,158,199

wet-in-wet93,188

wet-on-dry93,189

whiteareas190

waterproofcoloredinks56

waxresist51,158,199

weatherconditions286–289,290–295

wedges16

wet-in-wet93,188

wet-on-dry93,189

whitespirit50,51,75,76,77,118,351

wildlifepainting332,379

Yyellowing350

Zzincwhite66,68

SIMONJENNINGShasbeenavisitinglecturerattheRoyalCollegeofArtinLondon.InadditiontohisprofessionalexperienceofdesignandgraphicartinNewYork,Chicago,andLondon,Simonhasconceived,designed,andproducednumerousartanddesignbooks,includingTHEARTIST’SMANUAL,THENEWARTIST’SMANUAL,ARTCLASS,andARTIST’SCOLORMANUAL(allfromChronicleBooks).