Posted on December 12, 2019
I can’t take too much credit for the composition of this one which was originally photographed on the Cornish coast, one of my favourite places! I like the dribble of seawater coming off the net on the left. Its a good dribble. This was another painting that I began in acrylics and finished in oil paint, and its a method I am going to return to. My dilemma is that there is nothing more pleasurable than pushing oil paint around a painting surface and acrylics lack this quality as they dry so quickly. I learned how to paint using oil paints and still feel acrylics are not the most natural method for me. They are dry before you know it and I have always found this difficult to manage. But then building them up slowly in layers has other advantages. When I was younger I wanted to draw like Giacometti and used biros and gouache paint to build up meshes of lines and daubs, and that is echoed in how I have been glazing acrylic paint when I use it. Because I don’t want to commit too much as the paint won’t let me manipulate it before it dries, I use thin layers of acrylic to slowly render the form.
I have mentioned I find this similar to carving. Inverted carving, as it is adding and not taking away. But each line or glaze of paint serves to refine and tighten the drawing, but unlike carving the mistakes add to the whole effect and in the end strengthen the drawing. When I carve stone every ‘mark’ with the chisel has to count. Every cut moves the sculpture closer to completion.
Posted on July 30, 2017
When I began investigating Old Master techniques I had some brilliant instruction from James Scrase, a portrait painter who was trained by Pietro Annigoni (see his fantastic self portrait). He learned every traditional painting skill from Annigoni, including fresco painting, and he taught me to use Burnt Umber as a wash to draw the portrait first, and then build up layers of slightly opaque ‘half-pastes’ using colour and a little white. Also I was taught to add white with small amounts of blue and then glaze over it with flesh tones. This was one of my first attempts, of my cousin Jack. Of late I have been focussing on a strict grisaille underpainting but looking at this I think I prefer the slightly more fluid quality burnt umber can achieve with thinner washes.
Posted on November 10, 2016
3rd glaze done. Still a few more needed #underpainting #grisaille #portrait #portraitpainting #oiloncanvas #art #painting #fineart #devon #glaze #contemporaryart #contemporaryrealism #oilpainting
Posted on November 8, 2016
Before and after #rosycheeks #babyboy #stars #oilpainting #portraitart #portraitpainting #grisaille #underpainting #glazing
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