My Art in the Mak­ing

St. Remy, France

International Artist - - 10 Steps To Paint Like An Impressionist: Part 5 -

STAGE 1 Even though this stage is mostly about draw­ing, this par­tic­u­lar scene is sat­u­rated with a strong yel­low ochre colour theme, so I’ll be mak­ing sure that my sky colour will com­ple­ment the yel­lows. STAGE 2 The shad­ows play a huge part in the ex­e­cu­tion of a paint­ing; I need to make sure that I’m tak­ing this into con­sid­er­a­tion. Colour is such a pow­er­ful tool in my paint­ing, I’m sure that I won’t leave any stone un­turned. STAGE 3 Now that the sky is in place, I can get a true and ac­cu­rate read­ing on the over­all colour tem­per­a­ture. I’m al­ways think­ing I’ll go one value darker and one value warmer.

STAGE 4 Fi­nal Stage St. Remy, France, oil, 12 x 9" (30 x 23 cm)

This stage will in­volve fine-tun­ing and look­ing for vari­a­tion in colour and tone. I’m now plac­ing my full at­ten­tion on the sen­si­tiv­ity to light and sug­ges­tive marks and dis­tri­bu­tion of colour.

To me the se­cret code to a paint­ing is the paint sur­face, which is left be­hind by the artist’s hand; it’s also a way of telling the com­pe­tency of the artist. We could have great tonal val­ues, sub­ject mat­ter and use of colour, but this could all be un­done if we have repet­i­tive marks or poor ap­pli­ca­tion of our paint. If I have con­fi­dent brush­strokes and flu­ent pal­ette knife marks, these marks can be used to push the visual nar­ra­tive one step higher. I like to think of my paint­ing as the world’s thinnest sculp­ture. The other thing to con­sider is my board sur­face; I mostly pre­fer to work on a hand pre­pared ges­soed hard­board. The fact that I make my own boards to paint on, I can be­gin the process of build­ing up my sculpted sur­face. An im­por­tant thing to con­sider is the many dif­fer­ent ob­jects that I will en­counter in my paint­ing day. Let’s say, I’m paint­ing a smooth, pol­ished brass pot, the colour and value may be sim­i­lar to an­other shape in the paint­ing, but I need to take the ob­ject’s sur­face into con­sid­er­a­tion. This type of sce­nario is when I’ll em­ploy a soft bris­tle brush, like a mon­goose or syn­thetic brush. A soft bris­tle brush will re­move un­wanted marks, if we com­pared that shape with fo­liage on a tree, I’ll be us­ing my hog hair brush in this sit­u­a­tion, to build up tex­ture. The best ad­vice I can give to any artist, is to an­a­lyse each shape and ob­ject, and then for­mu­late an ap­proach to be able ex­e­cute your paint­ing.

Portofino Morn­ing, Italy, oil, 10 x 12" (25 x 30 cm) This scene is mostly in a hor­i­zon­tal and ver­ti­cal plane. I felt that it was im­por­tant to re­duce brush marks and visual in­ter­est to the wall of the mid-dis­tance build­ing, this was to en­sure that this shape will re­cede.

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