While I’ve been working on a new big painting, 1×1 metres, studio cat Rascal has been sleeping on the storage heater. He’s a rather vocal cat who generally has a lot to say about what I’m doing (about everything, really), so it’s been blissfully quiet. The painting is inspired by the way the river in Uig turns and disappears, with the banks patterned by trees and shadows, where I was sketching again last week.
I’d done a few thumbnails sketches and pondered it quite a bit before I started sketching the composition on the composition. I tweaked it a bit with pencil, then took a pen to mark my final choice. (Added advantage: it also shows up in a photo! Added disadvantage: shows through transparent layers.)
Next up, lots of texture paste. I’m using Golden’s Light Molding Paste, which I like because it doesn’t shrink too much when it’s dried, it gives a more absorbent working surface and, as the name suggests, doesn’t add significant weight to the painting.
First colour on once the paste had dried, Prussian blue. My plan was to be painting dark to light for the first few rounds with this painting. Where it is in the top photo is where I stopped to wait for it to dry completely before resuming. Still a long way to go, but I’m pleased with the sense of the water flowing past rocks in the stream. It’s perhaps a bit too turbulent a flow, but that could be calmed down with some glazing. Tomorrow’s job is to decide whether to or not.
Coming back from Gardenstown, there was a stretch (between Fochabers and Cullen, I think; certainly before Elgin) where I felt like I’d driven into one of Klimt’s forest paintings.
Not that a plain pine plantation can’t be inspiring too; this was taken yesterday along the path from Aros, Portree.
From there I went into the woodland at Uig, and sketched alongside the river. It’s the location that inspired my “Summer Glow” painting. My fingers are now itching to paint this autumnal tree with the dark reflected trees.
“The Greeks don?t start from the outline, they start from the centres, from the cores. …
“This question ? Millet draws like that too ? more than anyone else ? is perhaps the root of all figure painting ? is extremely closely related to modelling by drawing directly with a brush ? conceived totally differently from Bouguereau and others, who lack interior modelling, are flat compared with G?ricault and Delacroix, and who don?t go beyond the paint.”
Day five of Alan McGowan‘s ?Life Drawing into Life Painting? workshop saw us start with four five-minute poses, followed by three 10-minute poses, an hour pose, and the long afternoon pose. We were free to choose which medium/technique we wanted to use and what we worked on. I put acrylic onto A2 cartridge paper to use with graphite, solvent and titanium white, something I really enjoyed when we tried it on the first day.
I did all four of the five-minute poses on one sheet; it eliminates the need to change paper and as I suspected model Michael shifted from one pose to the next without a break. Tricky part is composition, as you’ve no idea what the poses may be.
It’s amazing how much longer 10 minutes feel at the end of week’s focused life painting than at the beginning.
After these, an hour-long pose with a break after 30 minutes. I wanted to move away from the desaturated colours I’d been using in the long afternoon pose. Parts work for me, others not, but I was left feeling that with more time I would indeed have resolved more.
In the afternoon, I wanted to try another, again with more saturated colours, rather than continuing my long-pose painting from the previous afternoons. Not that I consider it finished, but I felt I could learn more by painting something else, trying things that painting wasn’t. Alan resolved the eye (middle photo), showing me (again) how to carve out the sense of the deep socket the eye sits in, the planes around the eye, nose and chin. Ever so helpful being able to watch it develop stroke by stroke, colour by colour. Another valuable thing he reminded me about was the light on the two anatomical landmarks on the arm, which help a lot in the sense of form changing direction in space. The joy of life painting: it’s all in front of you, it’s merely (!) looking and decisive placing of a brushstroke.
Notes to myself:
? Colour and tonal changes on planes.
? Eye sits deep in socket.
? Watch distance to farside brow.
? Drips can be problematic if running from face. Especially watch out for drip from end of nose.
? Instead of trying to paint thin tonal change on nose, paint broad and then cut back in with background.
? With a relatively dark ground, if left exposed it’ll read as an edge.
Day four of Alan McGowan‘s ?Life Drawing into Life Painting? workshop saw us start with two 10-minute charcoal drawings, followed by a 20-minute one, then onto some colour theory and a painting with a palette to which magenta and cyan were added, followed by the long post in the afternoon again.
I added magenta and cyan to my palette for the long pose, for purples in shadows, as contrast to the yellow light. But overall stayed with mostly desaturated colours. It’d be great to have another week to work this pose again, with the same colours on my palette but used more saturated.
Notes to myself:
? Highlights in reflected (indirect) light will never be as high in tone as highlights in direct light. The difference is crucial for getting sense of body turning in space.
? Range of colours produced by limited palette. When adding additional colours, consider what it’ll produce when mixed with what already using, whether it’s close to colours you’ve already got or opening new areas. E.g. with palette palette of muted primaries: burnt sienna (?red?), golden ochre (?yellow?), and Payne?s grey (“blue”) adding magenta introduces purples and cyan increases greens.
? With highly saturated colours, such as Matisse used, tone of the colour is still fundamental.
? Use the background to focus on negative space around the body and between sections, to carve in more accurate shapes.
? Check tone of background and put it in relatively early so it doesn’t distract the eye. (Look at “background” beneath stool above.)
? Use 50:50 mix of zinc:titanium white for a white with properties of both (transparent:opaque) akin to properties of lead white.
? Consider and cross check overall shape of figure, e.g. triangle from head to hands to feet.
Day three of of Alan McGowan?s ?Life Drawing into Life Painting? workshop saw us start with three 10-minute charcoal drawings, then onto limited palette painting with oils and an afternoon-long session.
Next up was painting with oil, using a limited palette of muted primaries: burnt sienna (“red”), golden ochre (“yellow”), and Payne’s grey (“blue”). Alan emphasized doing the initial drawing (with brush) in neutral colours, so that it didn’t overwhelm subsequent blocked in colour. Part of this painting was getting familiar with working with oils: getting consistency right (not too thick too early and not too thin), mixing even colours (no stray, unmixed bits), planning ahead for working wet on wet. Given my landscape painting involves fluid paint, encouraging paint to run, and I often work with only a single colour at a time (to eliminate the problem of acrylic drying on a palette), I found myself hesitating and second guessing. By the time the model took a break, I was still stuck in “muted colours” and the only light in the painting was the cloth against the chair. But I felt I’d learnt a lot by identifying some things I do habitually in my studio painting that I might do differently (on occasion, if not always).
With model Michael back in the pose, it was time to explore the possibilities of these colours, mixed clean rather than muted. At one point Alan demonstrated on the eyes/nose/chin what he meant by laying in the darks first, then cutting in with lights over this; I preserved this bit of painting, other than adding the light blue highlight as suggested, extending the nose a little and adding a bit of Michael’s beard, telling myself it was because there was more than enough else to be done within the time. Final change was to narrow the width of the head by adding background colour.
After lunch we started with oils on the long-pose painting, for which we’d done the initial drawing using acrylic yesterday. It doesn’t particularly look like it, but lot of time spent thinking “warm/cool” with the colour mixing. Looking at painting during model’s last break, I realized the angle of the shin didn’t relate to the bent knee; work-in-progress photos reveal how long I’d missed seeing it. Ended with realizing the forehead needed to be bigger, shifting the eyes/nose/chin down, so I put in darks ready for continuing tomorrow afternoon. Overall, a tremendously rewarding and satisfying day.
Notes to myself:
• Think planes, changes in direction. Use for brushstrokes.
• It’s not a coloured-in drawing; apply deliberate brushstrokes where colour/tone occurs, working across whole composition all the time.
• Judge which surface is flat and which has the change of direction; shadow is on this. It may be the part in front e.g. bent leg against a torso.
• Put down darkest tones before light. Exaggerate/overemphasise somewhat, then carve into this with light. Reads far better than dark over light.
• Using a muted primary palette means you’re already part of the way there with skintones, gives a faster in to painting, rather than having to mute-down primaries.
• Include width of head vs width of torso in cross-checks.
• At end of painting session that will continue, leave it somewhere specific so know what you’ll start with next time.
• All parts of the painting must be contributing, even if not yet resolved.
My beach finds this morning included another sea marble and a handful of actual marbles that have been tossed about in the sea. It lead to me walking around today with variations on this headline bouncing around my brain: “If you think you’ve lost your marbles (through life painting}, I’ve found them.”
Second day of Alan McGowan?s ?Life Drawing into Life Painting? workshop saw us start with three charcoal drawings, both as warm-ups and to increase the number of drawings we do overall during the week.
Next up, tonal painting with acrylics. My attempt went from “dubious but with a sense of light” to “decidedly dubious and now also dull” (my words, not the tutor’s!). I put this attempt into the “trying too hard” category, where I get so desperate for things not go wrong further that of course things do.
Then onto a colour acrylic painting. Colour…I can do colour, can’t I…?! Yes, but can I do composition, proportions, tone, considered mark making, warm and cool, colour and a living, breathing model…?
And finally the initial drawing in acrylics for an oil painting to be done over the next three afternoons. Idea is that if you end up in a murky oil-paint mess, you can scrape back to this acrylic start. The more I look at this photo, the more I see how his legs/arms need adjusting.
Notes to myself:
Remember head and neck sit within the bowl of the shoulders, it’s not a lollipop stuck on top. Check position and check again! Think of dotted line joining the two shoulders, and what facial feature this goes through. For instance, bottom of chin or nose, or the mouth. Check relationship to spine and vertical relationships (with pelvis/feet) to check position.
Follow the progression: composition, gesture (armature), add the destinations (head, feet, elbows/hands) in probable positions, find the road between the destinations (focus on mass not outline), cross-check the map (check relations between body parts), adjust and repeat, and only when this is sound start looking at tone.
Add eyes, nose, and planes around eyes early on for a sense of scale overall.
Be deliberate, decisive, find and loose edges with considered looking.
Four considerations not two, especially with orange light on model from heater: warm highlights, warm shadows, cool highlights, cool shadows.
Most of the painting will be midtone.
Eliminate the unwanted light of the paper fairly early one, all the way to the edges; it distracts the eye.
Traditionally a dark background would be done with glazed layers not thick paint, which is reserved for light tones.
Turner’s known for his landscapes, not his figures.