So having discovered my phone has a slow-motion option on its videos, I’ve been playing with it a bit. This short clip shows how I splatter paint, a technique I use a lot for my sheep and seascape paintings.
It’s a “happy accident” technique you learn to control through practice. The consistency of the paint is crucial, and that you learn through trial-and-error.
The quality of the video isn’t brilliant because it was done late afternoon in low winter light. And imagine my phone balance precariously on my tripod, held by various bulldogclips. Perhaps I ought to set a Patreon goal that relates to better video equipment?
This time of year, between the position of the sun in the sky and the long daylight hours, there’s lots of light bouncing off the sea in the afternoon as the sun heads to the horizon. Little wonder then I’ve found myself reaching for iridescent pearl not only for my current silver birch painting but also my Minch seascape paintings-in-progress. It conveys the silvery glare beautifully and works both in the top layer and lower layers. A little can be quite determined to show through layers! Depending on the light falling on the painting, and your viewing position, you may see lots of it or you may see nothing at all.
Q: “Loved your flower painting; what size and type brush did you use for the petals? –M.W.”
A: It’s a large, flat, coarse, hog hair one that’s about two inches wide. They’re sometimes called a varnishing brush.
Here’s a short video clip to give you an idea of what I’m doing. Working wet-on-wet, remember is to wipe the brush regularly so you can pick up and apply ‘clean colour’. Remember too that whether the brushstroke is into the yellow or coming out of it influences how mixed the white becomes. Don’t second guess yourself but keep going. Mistakes can be rectified and overpainted later. She who hesitates is lost and all that.