An­ton Dold­ers

International Artist - - Art Challenge -

My In­spi­ra­tion

I use mul­ti­tudes of lines, dots and strokes to por­tray any­thing I recog­nise as beau­ti­ful. I hail from an area of Liver­pool called Sefton, which is both ru­ral and coastal and has in­spired me to draw and paint land and wa­ter­scapes from an early age. Liver­pool is also rich in bril­liant ar­chi­tec­ture; no­tably Ge­or­gian and clas­si­cal, which has also in­flu­enced my work.

My pas­sions in­clude lo­cat­ing beau­ti­ful scenes to por­tray and jour­neys in­volved; es­pe­cially by foot over rugged ter­rain. I love the act of view­ing and I am awe-stricken by en­coun­ters with ex­panse, de­tail and light. Art will keep me ven­tur­ing out­doors where many of my pre­lim­i­nary and com­po­si­tional draw­ings are cre­ated. Mix­ing many colours from very few also brings me im­mense joy.

My De­sign Strat­egy

In prepa­ra­tion for a paint­ing, I pre­fer to com­plete on-site com­po­si­tional line draw­ings as they as­sist with de­cid­ing whether to pro­ceed to the paint­ing stage and pro­vide insight into what to in­clude or what to add to the paint­ing. Weather con­di­tions must be favourable if prepara­tory draw­ings are to be prac­tised. I wrap up if the tem­per­a­ture is cold and at­tempt to find shel­ter if rain­ing but gen­er­ally only draw out­doors from May to Oc­to­ber nowa­days.

Re­cently, I have been paint­ing on wooden boards. I found pas­tel pen­cils to be ef­fec­tive for draw­ing out as they pro­vide soft lines quickly. It is use­ful to choose a colour that blends well with the over­all tone of the pic­ture when paint­ing oc­curs, for ex­am­ple the trees against a win­try sky are bet­ter drawn in grey pas­tel pen­cil and if the sky is dusky, I use warmer colours such as red ochre. Paint­ing takes place in my stu­dio. Pho­to­graphs are used for colour ref­er­ence.

My Work­ing Process

My pre­lim­i­nary draw­ings are usu­ally in car­bon or pas­tel pen­cil: I use one on pa­per and the other on board. I have used var­i­ous me­dia since child­hood but dis­cov­ered the gritty na­ture of acrylic is suit­able for por­tray­ing earthy opac­ity in tree trunks, land­masses and stone. Its flu­id­ity can also pro­vide de­cent rep­re­sen­ta­tion of dis­tance and haze.

Acrylic can, with some labour be used to por­tray tiny de­tail and def­i­ni­tion. The ap­pear­ance of this vis­ual minu­tia is not as fast as with oil but re­peated lay­er­ing on primed wood usu­ally works and the re­sult­ing fine tonal gra­di­ent can be ef­fec­tive.

Con­tact De­tails


Mey­er­side, UK, Riv­ing­ton View, acrylic, 48 x 64 cm (19 x 25")

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