Posted on August 1, 2017
Tommy- underpainting in progress. Underpainting is a technique used since the renaissance. It usually refers to a monochrome foundation or base layer, and layers of paint are applied on top. This one is a grisaille or grey, but there are various different kinds, and not always of the monochromatic variety. Titian used coloured underpainting. The idea is that it supports further layers of paint, as a foundation supports a house. For me it is purely a pragmatic solution where I can be confident that the drawing is correct and can continue applying further colour layers without having to backtrack and amend the drawing as I go. If I’m painting a portrait to commission I like to work as efficiently as possible, and in the past I have found myself in tricky situations where I have had to keep going over the drawing because its not right, and this can be very time consuming. As I have said elsewhere, you can throw a lot of good painting after bad if the drawing isn’t right first.
The other type of underpainting I have used is called ‘verdaccio’, which is a green version, and usually made by mixing black, yellow and white although I think a nice version would be with Michael Harding’s Sap Green and Titanium White only. I never used black as my art teacher at school was a hardcore impressionist with a love of purple who could not abide it. Honestly it took me 20 or more years to get over that – just couldn’t use the stuff.
Anyway there were a lot of impressionists or those painting at the same time who loved a good bit of black, think Manet and Degas. But we were taught to mix optical blacks with reds and greens or browns an blues and these are very beautiful, and deeper than your average black in a tube. When I learned how to mix oil paint for skin tones from Louis Smith using reds and greens, that struck a chord with my earlier learning and its stayed with me as the basis of all the glazes I’ve found the most useful when painting portraits.
In every portrait painting I paint using the grisaille method, I use the same mix of Alizarin Crimson, Cadmium Red and Sap Green to start off (has to be a warm Sap Green – Michael Harding does a beautiful but cooler version which is different to the one I need). I have a Winton Sap Green that is good for now. Maybe a little Raw Umber as well.. All the other glazes I mix hover around this mix on the palette, depending on the person I am painting of course.
Posted on July 21, 2017
The most intense ‘drawing’ experience I have had is when I am carving directly into marble. This piece was done from photos with some simple measurements I took with a set of callipers as a guide (not easy with a baby – generally done while she was asleep!) With marble carving any wrong move would ruin the whole thing and a months work, making it pretty stressful but a great discipline. Because of that pressure I think I improved my ‘looking’. For me drawing is about making a mark, and then checking it, and checking again, and deeply looking at the subject. I even feel that the depth of the looking etches the subjectivity of the artist on the media they are working, be it drawing, painting or sculpture. I don’t know what that subjectivity is but its an emotion, and its possible to embody that emotion in a work of art. Making a sculpture in the round is like doing hundreds of drawings simultaneously. Without drawing, or when the drawing is lacking, the painting’s ruined.
In my experience CUTTING CORNERS with drawing is the biggest waste of time and I have probably wasted YEARS of my life throwing good after bad in paintings, going over and over attempting corrections when all the effort could have been saved with earlier checks. Its the ultimate false economy..
‘Drawing includes three and a half quarters of the content of painting… Drawing contains everything, except the hue’. (Jean-Auguste-Dominique Ingres) from Art Quotes
Posted on May 31, 2017
One of the most important things that has happened to me in all the years I have been portrait painting was going on a course run by Louis Smith in 2014, learning about glazing. Looking at his website I thought this would be about glazing as I understood it where you have a very thin translucent layer of paint and you go over a grey underpainting, or dead layer, like Caravaggio or Ingres. We learned to glaze over an underpainting, but the glazes felt more like ‘half-pastes’ as they were not entirely transparent. Even so it transformed the way I approached colour mixing for portrait paintings, and I learned amazing colour combinations of reds and greens which are now the foundation of my approach to painting a face. I’ll write about them in another blog post. I found out about Louis Smith from Jonathan Jones, the Guardian newspaper art critic.
On the course, which was over a weekend, we used a monochrome print from another portrait and went step by step through the process of building up areas of colour, slowly refining and blending each.
Posted on May 27, 2017
For this portrait as usual I used a canvas on board, and cropped it slightly to fit the subject. I started with a grisaille underpainting using Raw Umber and Titanium White and a little medium. I’m hovering between a straightforward Ivory Black and White underpainting, and other versions, mainly Raw or Burnt Umber and White. Burnt umber has a little more warmth. I’ve looked around online and you can see people painting with blacks which are made up of reds mixed with greens, e.g. Alizarin Crimson and Viridan Green, or again different blues and browns. At school I was taught by my militant impressionist teacher Mr. Baines that using black was sinful and one should only EVER mix blacks optically, and his chosen mix was Burnt Sienna and Cobalt Blue. You can mix a nice black from these two, but I went off Burnt Sienna a while ago (I’m sure I’ll come back to it – at the moment it just has a bit too much character, like someone talking very loudly at a party, so you can here them wherever you’re standing!). I think you can achieve a deeper black mixed from Burnt Umber and Ultramarine or Cobalt Blue.
Having said all that, in the name of efficiency I have stripped back all of my processes to avoid unnecessary headaches so I generally I use Ivory Black and Titanium White! I have also learned from Louis Smith that a little Alizarin Crimson mixed in with Ivory Black gives it more depth, so I also do this on occasion.
The thing is that I can achieve this depth at a later stage by glazing darker colours over the underpainting so again the Alizarin Crimson gets ditched when I want to simplify the process. I’m possibly lazy, but if you are working on something over a few sessions and have to mix the colours each time inconsistencies can creep in and so thats just another layer of process that can be removed.
You can see an example of the depth achieved through glazing in the image below where the grisaille is actually quite bland in comparison. Dark glazes in and around the eyes give huge depth (generally I won’t use black at this stage and mainly use Alizarin and Sap Green or Cadmium Red and Viridian, or blues or browns or whatever..). This is the first glaze and already it has transformed the tonal range of the portrait.
Posted on March 3, 2017
Portrait of Bea. After feeling around what might work for the background I settled on this regal blue, and I gave the painting a few glazes of Michael Harding’s Ultramarine, which is both warm and sharp, and has a depth while also firmly hovering on the picture plane. Ultramarine blue was discovered around 1820. Before that the only available version of this blue was the extremely expensive Lapis Lazuli, from Afghanistan. Duccio and a whole lot of 14th century artists would have loved to use it to save some cash #oiloncanvas #oilpainting #portrait #portraitpainting #art #contemporaryart #figurativeart #bandana
Posted on March 1, 2017
For this piece I made a clay model which was in turn worked up from photos, and then using the clay model as a reference I carved directly into the marble. I didn’t use a pointing machine or anything, but I do use callipers to measure distances between say eyes to bottom of nose, width of mouth etc. I hew off large areas first, for example the width of the head down to the shoulders can all come off at right angles, then the distance between the projection of the nose and the rest of the face, then down to the cheeks. You can see an example of this in the photo below of another portrait sculpture where the tip of the nose is still square. This is a method I picked up when working as a stone mason in the Wells Cathedral yard, where I worked while taking a year out of art school. #art #devonartistnetwork #carraramarble #carrara #stonecarving #sculpture #portrait #portraitart #portraitsculpture #elbowgrease
Posted on February 28, 2017
I’ this portrait for promotional material for Devon open studios in September 2017 #portrait #portraitpainting #contemporaryrealism #art #oilpainting #devonartistnetwork #devonopenstudios (at Kenton, Devon)
Posted on November 24, 2016
First glaze done. Took about 90 minutes. I’ll adjust the colours and drawing as I go on #portrait #art #painting #oilpainting #glaze #grisaille #underpainting #contemporaryart #realism
Posted on April 21, 2013
Alice’ carved in Carrara Marble. 20x25x20cm. The sculpture is created from photos – One master photo, and then others to guide the 3D form. When someone smiles the cheeks get pulled up, they then narrow the eyes, the ears get pulled a bit, the neck creases.. All these things need to be pulled together at the same time to create the piece. Working in stone always makes me think of a Nichiren Buddhist quote: ‘It is like the case of a fishing net: though the net is composed of innumerable small meshes,when one pulls on the main cord of the net, thereare no meshes that do not move. Or it is like a garment: though the garment is composed of countless tiny threads, when one pulls on a corner of the garment, there are no threads that are not drawn along.’ The 2 milk teeth were fun to carve, but I need to get some really small chisels to carve inside the mouth