DEMONSTRATION
Polperro
In this demonstration I show how I normally develop a painting, starting with the initial foundation work in collage
▲ STAGE ONE
I build a collage by tearing pieces of paper to establish a sense of the basic design for the painting. The dark shape on the left was the first indication of the foreground sea wall. Similarly, the brown rectangular piece of paper centre-left created a foundation texture for another section of the harbour wall. Additionally, the newspaper at the top hinted at fishermen’s cottages, while some wrinkled tissue paper below suggested where the water will be. As well as thinking about the subject matter in literal terms, I also consider ways in which various shapes interrelate and begin to create interest and balance within the design. For instance, notice that I placed some tissue paper shapes at the top to balance those in the foreground. Equally, I was thinking of the textures and how these might be used later on
▲ STAGE TWO
I sometimes develop the collage further, before starting to apply the two main colours that I have chosen for the subject. I decided to use an earth brown and black for this painting, working as usual with acrylic inks and applying them with a soft-haired 2in (5cm) varnishing brush. The collage must be dry before starting on this stage; I then wet the paper by spraying it with water before applying the inks
▲ STAGE THREE
With the entire painting surface covered in some way, either with collage or colour, I began to think more particularly about textures. For those areas in which a rich textural quality would be useful, I applied Liquitex titanium white quite freely with card. I was aiming to create a sense of unity by repeating the texture in different areas, although avoiding the passages of the initial black or earthy brown that would relate to specific parts of the subject matter. As well as adding texture, the white acrylic imparts a luminosity to the painting later on, when coloured glazes made from diluted acrylic inks are applied over it
▲ STAGE FOUR
After a fresh look at the location drawing and, where appropriate, exploiting the divisions, marks and surface effects that were part of the painting, I started to resolve the essential elements. I defined the main house, using white acrylic paint; with black acrylic ink applied with the edge of a piece of card I put in some window shapes. The challenge was to balance areas that give meaning and definition with those that were left as textural, abstract qualities
▲ STAGE FIVE
I drew with a dip pen and some black or brown acrylic ink to add any further outlines and details that I thought were necessary
▼ FINISHED PAINTING
Polperro, mixed media, 16321½in (40.5354.5cm).
I enlivened the image with one bright blue boat to create a vibrant focus in the midst of an otherwise fairly sombre scene