Posted on November 9, 2017
I was able to practise my dry brush blending with this portrait of a beautiful girl called Violet. This portrait commission was a staging post for me in developing my understanding of the grisaille technique. I’m now much more comfortable marrying techniques of glazing with my earlier familiar method of building up solid planes of colour. I took a lot of care over the blending and modelling of the glazed areas, and I hope that they also have a painterly quality. My goal isn’t to create a facsimile or exact copy of the photographic reference, but using that reference as a starting point I am first and foremost concerned with creating a painting using oil paint. Oil paint has its own qualities and follows its own transformation as the painting progresses. The delight of an oil painting is how this empty picture plane can somehow come to harbour all these rich layers of paint and medium, which swim around on this surface, again somehow crystallising into a likeness of a person.
Dry brushing an oil painting gives more of a ‘soft focus’ effect, but personally I don’t want to overdo the blending as (in my work) the paint gets a sort of sickly quality, especially if done in areas with more painterly underpainting. Its like more of a stain than a glaze and glazing needs a little backbone, some substance! This painting was done a while ago when I was still in the early stages of portrait painting but looking at it again I feel that I was able to create the kind of effect I am now trying to capture and that I lost somewhere along my journey into oil painting. Parts of it I would now rework but sometimes less seemingly accomplished work has a more desirable quality. I am still trying to find the space between the finished, polished oil painting and the accidental – I read somewhere about the ‘completeness of ‘incompleteness’, sounds good but I don’t know what it means. It might mean something though.
I’m still trying to find a way of using brushwork. I love the sensation of pushing paint around with a hog brush and literally feeling the paint slip around on the picture plane. More than that, paint shudders when you turn the brush this way and that, it ripples and folds and dances on the surface. The wet brush flips and turns as it goes, collecting the paint, hoarding it, spreading and stretching it, round and round, a beautiful moment during each glaze where just wet enough, the surface has a thin layer of oil paint I push and pull around, feeling it fold and eddy under the brush like butter.
I think generally very fine blending is done with sable brushes but I only use these for extremely fine details, like the line of an eyelid, as somehow when I do it the paint loses its painterly qualities. It would work if all of my brush mark-making was done in the same way but a lot of what I do leaves a painterly effect. I need to be shown how to do this by someone who knows. But I don’t want to be too fussy about the blending, again probably because my instinct is to let the paint ‘blend’ in the eye of the viewer. I’m not after a perfect finish. There’s more of a sense of the alchemy of painting and the transformative qualities of paint when it’s a bit rougher and more painterly.
The art historian Richard Elkins wrote a brilliant book titled Painting is Alchemy and he writes about how painting isn’t an exact science, but more akin to alchemy. The specific qualities that individual artists look for in paint can never be written down and aren’t formulaic. It’s transformative
Posted on July 24, 2017
Here is a recent portrait commission using the grisaille method, where the colour glazes overlap and create an optical effect as the light passes through each layer. This one has around 6-8 layers of oil glaze over the grey underpainting. As I have mentioned before, I use M. Graham’s walnut alkyd medium, which dries quickly enough and doesn’t give me a headache. I was constantly repainting and working into the drawing as I went, and the main problem in the end is the risk of over-working it, so at this stage I decided to call it a day.
The portrait has a rather serious quality that I like. There was a lot of revising and correcting, but the head looks as if it could be carved out of marble. As a sculptor by training I definitely enjoyed painting this head with its beautiful symmetry. It’s one of those things but I would rework it if I could get it back now, but actually I couldn’t because it lives in its own time and I correct it in further paintings. Each painting is part of a long chain of work that link one to the other, and each painting has its own quality, for better or worse. Actually I would have loved to carve a portrait sculpture based on this portrait.
There was a lot of correcting while painting the glazes, because the grisaille was probably not complete at the time of the first glaze. But as Philip Guston said, painting should have a moral aspect, and somehow all the effort spent in painting a picture or portrait is stored as a kind of moral force. The opposite would be something like doing it with a photoshop app and a click of a button. This is absolutely true and you can always sense this in a painting, and in the most subtle way all the effort, all the revisions and alterations, all the agony and effort, and joy, show in the final painting. Philip Guston was a true hero of art.
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 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 6, 2017
I’ve put the first colour glaze put on this portrait in 2 stressful hours! A few more glazes needed and I’ll add them over the coming days. I use M. Graham’s Walnut Alkyd medium which dries overnight – or to be extra sure within 48 hours. I enjoyed painting his ear and chuffed with the result! It felt good to achieve some economy of handling with the paint, and not get bogged down in it. #ear #chuffed #figurativeart #contemporaryart #portraitpainting #portrait #grisaille #underpainting #oilpainting #oiloncanvas #realism #art #painting #glaze #devonartistnetwork #devonopenstudios #devon
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)