Painting School the Complete Course

The Complete Course

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simple course. Painting is all

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of the information you need, as well

as the lessons

and

produce work

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projects that will enable

be proud

to

of.

See the world and everything does, then translate

you

way an artist images onto paper or canvas in

it

the

with color. People often imagine that painters create

from memory or imagination, but most direct observation of objects,

Not only

will

on

rely

people, and places.

you soon pay careful attention

to

your

subjects themselves, but also the spaces in the pic-

ture

around them.

Develop and refine your own have a foundation evoke

in

the basics.

mood and atmosphere?

ings go

style

now

that

you

Do you want

to

Expressionist paint-

beyond appearances, using technique and

composition to achieve catch your eve?

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Painting School The Complete Course Ian Simpson

•

*

.

A QUANTUM BOOK This book was produced by

Quantum Publishing Ltd 6 Blundell Street

London N7

INTR< )I>ik:thjn How to use this book

9BH

987654321

6

Library of Congress Cataloging-in-Publication Data Available 10

FOUNDATION COURSE

QUMNPC Published in 2001 by Sterling Publishing Company, Inc

387 Park Avenue South, New York, N.Y. 10016 Originally packaged for the US and Great Britain by Quarto Publishing under the title The Complete Painting Course ©1993 Quarto Publishing pic Distributed in Canada by Sterling Publishing c/o Canadian Manda Group, One Atlantic Avenue, Suite 1 05 Toronto, Ontario, Canada

M6K 3E7

All rights reserved

pic,

LESSON ONE Looking and painting

1

INFORMATION FEATUHi; Introducing oils and acrylics

16

LESSON TWO Extending the color

20

Printed in Singapore by Star Standard Industries Pte Ltd

Sterling

ISBN 0-8069-4427-7

INFORM AT ION

F*

E AT R E I

T

Color and tone

24

LESSON THREE From theory to practice

30

LESSON EOITR 34

Painting a self-portrait

INFORMATION FEATURE The rules of perspective

40

LESSON FIVE 44

Inside/outside

IN Ft )RM ATI t >PM

FEAT

Introducing water-colors

I

fRE 48

Contents 1

----»>

I

\ -.IX

IV.It>KMVIIi>V. Working from drawings

II

\l

I

Kl

52

Expressive color

56

Painting the figure

I

I

110

-^^«»\ -ON.il

N

I

Reduction to essentials

l"NI»>UMVII»>V.

II

\ll Kl I

The I

|

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proportions of the

H

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body and face 60

I

t

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.

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V

I

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I

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A statement in detail I

I

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114

I

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-,-,«>

it

I

.

I

I

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118

I

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N

I

62

People and places

Working to a theme i

IM OHM M U>\

II

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ii

i

^

Painting and structure

VII Kl 66

Introducing pastels

\ \i^i

-.-.«>

122

-

«

>

^

I

\\

I

V.

I

126 V

Painting through drawing i

i

-.-.«>

\ \

x.

i

I

Working from photographs

I

-,-,«> tN

i

— — »^ «

Work ingon

I

\\

I

70 Fantasy,

i

1

N

I

V

ONE

memory, and dreams

134

\

ii

I

I

74

location

^ •-

<

>

^

I

\\

I

X.IN

l\\

Abstracting from nature

LESSON ELEVEN Learning from the past

78

138

HEMES ,VIV'i>

I

I

--!-.«> V.

I

W I.M ^

Pure abstraction

STYLE INFORMATION

l

:?»s

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I

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I

i

se

<

>

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i

i

i

<

i

i

94

n

i

98

Painting a likeness

I

I

i>-x

I

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>

I

Mil

I

The figure in context

LESSON

Fll

158

Painting with acrylics

162

I

I

I

K

I

/nterv/ew.-John Sprakes

168

144

Painting with watercolor and

gouache

172

/nterv/ew.-John Lidzey

178

Painting with pastels

182

Interview: Patrick Cullen

188

mixed media

192

Interview: Rosalind Cuthbert

198

Collage

202

Interview: Barbara Rae

206

Monoprints

210

Interview: Kay Gallwey

214

K

218

N <

.

<

1

>---- V

V

102 I

lll^.

Expressionist approaches

150

Interview: Naomi Alexander

84

Painting an impression i

<

oils

142

Painting with

Composition

I

\li

Painting with

|X.|,»|\

encouraging

to read the chapter straighi

back and step-by-step

bo*

to explore ih«' three-

dimensionaJ world in a systematic way, i"

make your own

it

aims to

paintings.

PART ONE The in

firsl

pari of the hunk, i^a

which you read througb and then put down. It is a kind oi 1- ii"i ;iii

k

Tn

to

1

hi

'

nk

ordinarj

Mi 11 t

1

I

Foundation

(

lourse

Painting from which you will learn how to see

and how

to use color to describe the

things you see. Il contains eleven lessons. Each

HOW TO USE THIS BOOK

world

follow the guidance given,

keeping the texl open h\ your side as you work.

as an artisl

This

through and then go

the selective waj thai an artisl sees.

ben, h\ show ingyou

enable you

speaking to you. With most chapters it will be besl

It

n gives you specific instructions

it as you read it as your teacher

HOW

a project

lia>

foryou tocarrj out, with its own clearl)

stated aims so thai \ijrc:Tioi\j

critique

is

provided in the form of a

number of

questions lor you to ask yourself about vour work.

answers

\ur 1

his

is

need

will tell

be reassured that you are making

progress. In addition to the

main project each

lesson has suggestions for alternative related projects.

These are to give you more practice

because

it is

progress.

the proportions of the figure.

you how well you have done.

very important, since with any course you

to

and information on, for example, perspective and

—

through practice that vou will make

Or you can replace the main project with

one of the alternatives if

you wish — so allowing

PART TWO The second part of this book is structured in a similar way to the first part with Lessons and Information Features. The twelve lessons in this part introduce you to the main approaches to painting.

personal vision of the world and your own style of interpreting it.

you more freedom to choose your own subjects. At strategic places

between the projects there are

Information Features giving you technical help

PART TWO:

OTHER EXAMPLES

LESSONS

In

addition to the "key"

painting, each lesson includes

the

work of contemporary

artists

working

in a

or subject-area.

similar style

These will help you to develop a

Each lesson

u

master or important modern

The lessons

in

Part

Two

explore the majorthemesand styles

In

painting. Each

artist

by an old

demonstrating

a particular approach to painting and, in

OTHER ARTISTS TO STUDY

SUGGESTED PROJECTS

Selected details of the "key" paintings provide valuable

Each lesson provides brief

suggestions for projects,

descriptive biographies of

enabling you to try out for

DETAILS

insight into the artist's

methods.

working

Each lesson concludes with

other artists whose work you

yourself the approach that

may

forms the subject of the lesson.

like

to study for further

ideas and inspiration.

THE KEY PAINTINGS

r

features a key picture

Since there are several choices,

you can choose one that particularly appeals to

you or

do more than one.

one

features a "key" painting by an old master or important

modern

artist.

FURTHER INFORMATION The cross-reference

panel

points you toward further

nformation on the topic under discussion.

THE TEXT The text explains the aims and ideas of the artist and his/her

influence

on

painting today.

PART THREE: TECHNIQUES AND

THE TEXT

DEMONSTRATIONS

OTHEREXAMPLES

THE PROJECT

Clearly written text helps you

Technical information and step-

Finished paintings by

A proiect is set for each ol the

INTERVIEWS

to get the best out of your

by-step demonstrations for

contemporary

chosen medium

each of the painting media

the visual

some of the options open to

expand on the information

techniques

you

given

by explaining

in

Part

artists

media, encouraging you to

back up

experiment with

demonstrations of

it

One

BIOGRAPHIES A bnef biography of the amst

FURTHER INFORMATION

accompanies each of the

The cross-reference

interviews

points you toward further

panel

information on the topic under discussion

QUESTION AND

ANSWER EXAMPLES OF WORK

The

Themte~. e*s

and-answer form, are

are illustrated

^m®&

with at least four examples of the

artist's

work

Q^r^._

— ---

S=r-

%••»!« »^t.

known media,

contemporary paintings showing ho* the past has

acrylics,

influenced the present 1 he Information Features

approaches

more advice on, for example, using color expressively; and this section of the book starts with a major feature on composition

monoprintl iliai

[lie third

oi

the

!

k

demonstrating bow

artists work toda)

they use a variety "I painting media 10 decide

It

providing insights into each n=.-zr=

artist's

general approach

-

Xf

watercolors,

also explores to collage,

oils, pastels,

and

more experimental

mixed media, and

his part of

each topic starts*

working methods and

me book is structured so

itb

technical

io a projecl

enabling you to try for yourseli a i Using well-

them on a white cloth or some

paint, the artist draws in

brightly colored paper. Trv

the outlines of the

the tabletop, put

them so that they

TIME

to place

2-3 hours

make an

interesting

pattern, with to

some nearer

vou than others and

different intervals of space

thinned black acrylic

objects. Notice the high

viewpoint, which allows

the spaces between them to be perceived as definite

shapes, and the angle of

between them. One of the

the table, which provides

things you will be

opposing diagonal

discovering through this

the background.

project

is

that a

still life

needs a variety of shapes,

both positive and negative.

A LIMITED PALETTE The

project has a further

and equally important aim. which

is

to discover

the range of colors that can

lines in

EE WORKING SIGHT SIZE Drawing and painting accurately

Henri Maoaae l

(, ">-*

ait.

made

»

thr greatest

«>ih-.i|

colorista in

186°-

ili«- ln>i.'i-\

,.t

eaxh

several

I

Small alterations

)

—

are

much easier if

is

you work the same

now made to the

you

see, that

is,

sub|ect

oudines of the spoon and

confines of your paper or

fits

within the

board.

modified with white

difficult

paint. Acrylic paint dries

down

very rapidly, especially

be

develops, the positive

when thinned with water,

Working

shapes will begin to stand

as here, so corrections

mean you have

"ill like

are easy to

restricted i" iIu-m-

three colon \~ the

|»lii»

same

ml

painting

CUtOUtS, SO tO

them appearing prominenl paint them

preveni too

with one single

made from

make at any

lii>.)».-

iln-

one

N"ii

on

\"ti •

NX

oeed

i"

quim

—

all \"ti

a

does not

to choose

paper

a

size to suit.

a viewfinder

camera, and simply

the image

"I

as

fits,

you do

when taking a photograph.

ilimk

If

you want to see the

objects larger, for example, just

iseas]

\>>u

move

in

closer.

have

can, prop

\ur (Minimi: .lu.n .mil

sight size

in acrylic

Inn \mi fed

done

11

your mind, and can

recipe for failure.

adjust your position until

looks beat, and trj ^-\li

mixture

.1

so that your

drawing, and the black

the edges of the plate are

pamtings which were

size as

.1

rluvk

up

few yards tin- n-Mill

A A mixture of the •

)

thr iree colors

is

used

artist

has linked the

objects by arranging a

to block in the negative

series of "bridges"

shapes, leaving the objects white. Although

between them. In any still life, however simple, the

unpainted, they are

relationship of the

clearly recognizable,

and

negative and positive,

colored shapes

an important factor.

pleasing. Notice

16-19

various shapes, both

the balance of white and is

p»~irr

4

" coTTTTTmoTw

Introducing

oils

and

acrj lies

14-29

is

how the

93

(

<

iolorand tone

omposinga

Mill

lifi

1

1

«

>* nxii>/v

«

>rxi

«

<

»i

it

13

T The objects are tJ now painted in a ["

lighter

mixture of the

three colors.

4 A The

The paint is

used absolutely flat, with

no attempt to describe form this is not the

—

purpose of the exercise.

painting of the

negative shapes is

now complete. The shadows cast by the objects have allowed the artist to

introduce tonal

contrasts, and there are also slight variations of

tone and color in the foreground.

6? The

high

viewpoint has

provided a strong pattern

element, and the colors, although restricted, are nicely varied.

AZinovy Shersher

from one area of the picture

Daisies in Vase

to another. Painting with a

Acrylic on canvas

limited palette helps

SELF-CRITIQUE

A small range of colors has

do this, since you

• Has the limited

been used here, but the

to use the same colors

produced

palette

effect

a colorful

is

very powerful, with

the blues of the flowers

painting?

singing out against the

more

• Did you manage to

neutral colors. Notice

how

restrain yourself from

the artist has repeated the

same blue on the top of the

painting the objects?

vase, and

• Are there

interesting

variations of color

in

the

shapes?

mixed

other colors

in

it in

with

the

background and foreground. all

In

any painting,

the different elements

• Even though you

should be related, so that

concentrated on the spaces,

the picture hangs together

do the

positive shapes look

convincing?

as a

whole, and one of the

ways of creating this kind of unity

is

by repeating colors

throughout.

you to

are forced

altentative projects tin*

iicuaiiM- »hai>»--

Vs a result

the objects look wrong

you

may then find thai

you are not sure why but in an

.Unit to correct vou keep on painting and repainting. \>

canvas,

is

fn

>m ihe

move

wet color into anothei

painter this can

lime

ami

painting surface, mixing -

painting

removed

in thai the)

il" mil l

1

unpleasant!) textured

paper from the kitchen ;i

mi

\

II

I1.1I

wei colors one on

same thing using wax

PAINTING SURFACES FOR ACRYLICS

into 81 niiew

*

t

J

"T^

#nT(«)f M'\«[0iB

150-157

Painting w

160-162

Painting with acrj

158-161

1

iih

«

>il->

verj

satisfying, Inn until then

lice

you ma) find thai modif) ing wel colors

»l IIXII>/V

1

l'ci-

I4>IVI

«

:«

»1

ill-

*

interview

17

ivi

18

FOR i^i/vi ioivi

i

i:ailjre

t V STRETCHING A CANVAS Slot the wooden

14

stretchers together,

4

4 Put in staples or tacks every 3 ins (8

cm) from the center to

checking that the corners

the first corner. Repeat

are properly square by

the process on the other

measuring the diagonals,

side

which should be equal.

short sides.

and then the two

come in different shapes as well as sizes, the three

2-4 Cut the canvas to size,

allowing a

5

4 Miter the corners

main ones being rounds,

neatly by folding one

Hat.

and

filberts.

margin of 2-3 ins (5-6 cm) all the way round for

edge over the other, then

Unfortunately, the only

staple or tack the corners

way vou can

stapling (use tacks if you

diagonally to fix both

which ones you

have no staple gun).

edges in position.

through practice, but filberts,

find out like best

is

which are a

compromise between rounds and

34

6

Fold the canvas

over onto the

stretcher and, starting

;

\

.

in

is

are

probably the most

corner wedges into

versatile, so

position so that the fabric

reverse side of the

flats,

4 Tap the wooden

tight.

If it

becomes

the middle of one of the

loose later on, simply tap

long sides, staple or tack

the wedges

in place.

firmly.

in

more

it is

suggested

that you start with these.

You two

will also soft

want

at least

brushes — more

vou use acrylic

if

in the

watercolor mode. Ideally, these should be sable, but sable brushes are very

stretchers

and stored

without taking up space. However,

cheap, and

is

untreated

much

it is

not

therefore not

if

you accept the

fact that the painting will

not

last

into

it

— the

and

it

oil will

seep

expensive, and both oils

and

acrylics

can spoil them

rapidly, so start with

one of

the synthetic sables or a

will

and synthetic

recommended for early

eventually disintegrate.

sable

experiments. There are

You could try oil on paper

mixture, in sizes 4 and

several different kinds of

for

painting board with a

projects: the

simulated canvas texture,

the paper will cause the

4 These long-handled

paint to dry almost as

brushes are the kind

quickly as acrylic,

normally used for both oil

or you can

buy oil

sketching paper which useful because

is

6. It

some of the early absorbency oi

painting and acrylic

you can cut

in

the

BRUSHES FOR OILS AND

"oil

can also paint on ordinary

ACRYLICS

right:

drawing paper or

You can use the same brushes for oil and acrylic.

mongoose (soft) round; 3

You

round; 5 mongoose fiat.

it to

\\

any size you

like. You

atercolor paper. Ideally.

these should be

primed

befon- use sjmpjj apply a

will

brushes

need in

a variety of sizes

coat of acrylic primer but

— you could

you can use them

Nos.

2.

bristle

o and

start 8.

with

Brushes

mode." From left to I

bristle filbert; 2

bristle fiat; 4 bristle

Mongoose brushes are harder-wearing than sables.

^ynrrm •< Acrylic

gesso

an

is

turpentine or paint

excellent all-purpose

primer

for

both

removej

acrylic

and oil-painting surfaces.

water,

in I-

knoa n ase hunt thinned with

is

dries fast so

minimum number ol brushes and add when

you use

it

the earl> stages you

not have to

l*'-l 10 -(.lit Willi ill.'

moreen

turpentine, like

diluent it

I

wan

it

will

In-

-how n heir

|ialrtlr

suitable for acrylics

•

1 1 1

ami

in

on top

like

it

I

is

lif

w

no

w

In

something very

acn

lie

shows a

ill

need

projects ill

aftei

hl-

I

\

i

mi

i-

il

-\

ill

a

artists

stem

BO thai the)

- In- couliili'iil ol

finding a colora ithout

the one you

ha\ ing i" search for h

work up tograduall) experimenting with

anil -ink in

ran alwa\

for the initial ii

order Most

logical

evolve thin o* n

largei

smaller range \lwa\-

colors

In lav uiii wiiii colors

parentheses

the ml nut"-

palette

name is

in

selection "I colors than

viridian green in act)

long

.illri

i-

oils

example, there

hut there

I

•<

the colors

before putting other colors

needed

I

sometimes var) foi

an given

suggested starter

a

Inese an' light

tr>

I.

inl miii In 'in

imlark

here are other

substances w hich an' used

MEDIUMSAND

in the

DILUENTS

and these are called

Bodioil paints and

mediums For oil paint, commonest medium i-

acrylics can

In-

need

undiluted, but naualrj ->in«-

Mam

thinning

am-t-

i-

linseed

required

tunlil

it

up mere

oil,

"I

painting

halt

ai all.

in a hall

mixture You

not have i" usee

Inn you

saving the thidkesi paint

malleable Several

-'

-

-

\

i^li<

mediums are .in- that

The only mediums you need

initially

are

so quick!)

Hun

Cadmium

crimson

red

5~

c?5

v.

Si

Raw umber

Viridian

(Phthalocyanine

lng

about special mediums on

oil.

page

1 i

is Cobalt

Ultramarine

blue

A The colors shown here are Winsor and Newton

colors vary only slightly

they refer to the equivalent acrylic colors

using a different line,

line.

Although the names of oil

acrylic colors are

IiM'sJiW

more

if

you are

check the color by the

JWM.iiU-WiB

150-157 Painting with oils

,

II

160-162 Painting with

acrylics

band on the tube. 158-161

«

*

from one manufacturer

idiosyncratic, so

the Liquittx

^jq

Ivory black

to another, those of

in

g-

(Mars black)

colors, and where names appear in brackets

oil

*x

c—

more

turpentine and linseed

I'

Alizarin

£2 c/jCJ

green)

iv\ iousone, bul departs from

mixed

relatively large range. In this case the

range of basic

colors

limited, bin ihi> time there

is still

at all.

Instead, the picture

predetermined

of colors

set

no

is

is

up from

built

inst

(

irking with colored

a

paper is both enjoyable and

agonize

you can

which

is

•

>ver

see.

which color mixture best represents what

and

not

do not have to

so

bound

you are

free to

t<

)

will

\\

hat you have to do

is

to

of the colored papers to use to "translate"

the chosen subject For example,

if

life

has a particularly prominent dark object such

group

as, say,

an eggplant, you would use the darkest paper you have it is

the correct

brown flat

ihou.se

life

a selection of still-

objects with plenty of

variety.

A fruit and

colors torn from

vegetable group consisting

magazines and so on. You

of a cut cabbage, cut

need a good range of

uncut peppers, with

and

and a half-peeled orange, will give

Balancing shapes and

will

term

perhaps some tomatoes

some

interesting

color). Collect

the paper

contrasts of shape

before you set

up your

and bring in

group rather than selecting objects

and trying to

and

size

a pattern

element, which you can exploit using the cut paper.

Designing the picture

First steps in collage

•

WHAT YOU WILL MEED A selection of colored papers, not more than six

color. II

(

an aspect of

your still

for the eggplant, regardless of whether

THE SUBJECT

wrapping paper (not

lightness or darkness of a

colors

choose which

if

which describes the

enable you to discover a great deal about the process of picturemaking.

defeat the

values, or tones (the

b\ the constraints of naturalistic

make conscious decisions as you work, which

some extent

purpose of the exercise.

PROJECT and darkness of colors

representation. And instructive because you will have

lot

would

THE AIMS OF THE Analyzing the lightness

make a picture

to

like,

hand

paper, old envelopes,

— those provided by

native. Enjoyable because you

vou

their colors in

they look. You can use

patterned), plain

colored paper. \\

it

of such materials to

because paints are not to be

possibility of color mixing,

used

to

paper, because this

selection of

hut most people have a

make a

basic colors were used, but the) were

match

You can buy a

colored papers

in a number of ways. For the last project, only three

it

THE PROJECT

you work thoughtfully you

may even achieve a Scissors

surprising likeness of the objects, but

important

is

what

that you will have gained

is

more

an

understanding of the process of translation which

Large sheet of drawing is

23

>

paper Paper glue

Ik A

drawing is made

first,

to ensure the

correct placing of the first colors.

2-* A rough outline of the pitcher has been

drawn, with the blue paper held over the drawing.

The shape is

now cut out.

i

«

Arrange these ona table 90 that

li\

can

\>>ii

ttn-tti

l>x>k

do*

it

on

— the patterns made

the objects «

ill

thru

I*'

rake care with

strongei

tlt.it

the

background

the vegetables

match can

t«'

k\ a nh the

(

in

.1

<

II

a shape

11

w rong

that look-

satisfactory to cut several of

make an outline

tr tint

» nh

>»i

ascloseh a- possible

have -tuck ilnw

suck the shape

at tin- stage,

Sometimes

III

act

the other colors You

-|

nut have

R 111^

\\ ill

w hull you can

>l

In-

1

between the objects are not

i

"in- ol

«'i

thisascloseh as you

colors

the arrangement, making -lire

the

)

here

on one

the paper to

ma)

side,

!>t

stage of a painting; further refinements can

you liml the best

arrangement

is

in

I

be

made later by sticking

smaller pieces over the

In

ml

large ones.

the

the

besides being the

largest area, so this

is

chosen as the starting point.

By coincidence, the

blue paper in

is

fairly similar

color to the pitcher

itserf,

but the other paper

colors do not

match the

objects, so the artist will

choose those that relate

most closely

in

tone.

The

.

I

blue of the

pitcher has been

repeated for the shadows

below the vegetables, and a mid-toned beige-

brown

is

selected for the

green pepper and the

Io

*

J

iT-

24-29

T (

iTi ( .

f

1

t

j

\ • r .

i

olorand tone

lower areas of the

tomatoes.

93 202-20$

i

(

omposinge

-nil life

ollage

FOI riVDATION c:om«

21

IWO

OINJ

22

6 Anow been added

Highlights have

to

7f

Although the

colors are not "true

the collage is a

A The finished collage is

the pitcher and

to

vegetables, and curved

perfectly convincing

now masked in different

representation of the still

ways to decide on the best design. Sometimes

strips of lighter

and

life,"

group. Color is only

darker paper describe

life

the cut cabbage. Because

you will find that a picture

the base paper is colored,

one way of describing objects shapes and

small pieces of white can

tones are equally

that the objects are not

be used for the

important in painting.

all

areas.

lightest

—

looks better cropped, so

grouped in the center. You might even find that the central section

makes a satisfactory composition on its own.

SELF-CRITIQUE • Did you have difficulty identifying tones?

• Are you

pleased with

your translation of the colors?

• Are the cutout paper shapes convincing representations of the objects?

«—

a

m

_

alternative pirojeccs •^

Olwen

Tarrant

central to painting.

VesJa

exact!) firstly

Oil

it

exists in three

in

the face, while .11

givingaconvmcing impression of

nl

colors in

it

than an) number ol tubes

however carefulh mixed can reproduce.

flesh, are

task of the artist

is

sublets that can form

dimensions and a

basis for collage,

more tones

picture inonhj two, and secondh there are

The colors

There are many other

Ybu can never copy the real world

[Tie

the paper you use.

major

to find equivalents for what

originally is

and you

can also vary the colors of

paint,

l

light

a

If

you

worked with

seen.

a

browns

equivalents rather than

selection of neutral

precise descriptions of

and grays and found the

observed color,

skillfully

"keyed up" to repeat the vivid colors in the dress.

COLLAGE AND DESIGN lu' I'M aim l the exercise I

1

l>\

1

looking hard at

i" Inn! these

equivalents

me colors and estimating ho*

artistic ideas.

it

the

isverj

become so involved in the pure mechanics of mixing and applying color thai the overall design ol

thai

\

i

»n

lost

VI ter

ni

add up

instead of cutting them, so that

you have

between and

a contrast

sharp, clean edges

softer,

more ragged

ones.

hours ol work

\u

maj

to an) thing

(

lollage,

juxtaposing glossy magazine

chair or

sheets and matte drawing

• A group of children's toys

paper 1

1

n

•

Find

could try paper with

— texture has a

surprising effect

quality of the color

w hich

couch

• Some brightly colored books and magazines

on the because

gloss surfaces reflect

have painted one pan verj nicely, Imm the

picture does

to tear

different textures,

Or you

cbs) in

becomes

is

SUGGESTED SUBJECTS • A house plant or flower • A group of cushions on a

range of bright ones instead.

light

When you are painting in

conventional way, with paints and brushes,

picture

variation

some of the paper shapes

picture looked dull, try a is

or dark they are, but it also introduces other, more

advanced,

than matte ones.

Another

arranged "untidily"

more

is

the term for making a picture from bits of paper or cloth, or in fact almost anything forces you to think

about design, or composition, from the outset, because eai (

< Oliver Bevan Hanging

is

importani branch

be explained and

On

the book, and

Oil on canvas

This

hbitol material has to be cut to a specific shape.

lollage is an

illustrated

if you

l

more

painting,

\\

hich

fully in Part

\\ ill

rhreeoi

enjoy this project you maj find

\u

want toexperimenl with more ambitious ways ol

an even

more sinking

working*

iili

collage.

example of the way color can be used nonnaturalistically

but

still

provide a powerful description of place and

atmosphere

Olwen

A Peter Graham

Tarrant

Street Market in Paris

Tulips on the Landing

Oil

Oil on canvas

Pattern

is

element

ahvays a strong

in this artist's

and although painting

it

this

is

an

work.

and

uses color

his palette

highly personal.

Here

is

bright

almost as

1

~

'

its

4

m MfTTNWtTrl

16-19

liiinidiK in'-

IIO-II3

1

150-157

Painting with

ml and acn

lie*

oranges, reds, blues, and

collage-like feeling, with the

cutouts

literally,

oil

has a slightly

tulips treated

Graham seldom

mauves are played against each other.

J

off

jtpressive color

flat

"il-

23

l*iVl,Vi iOIVI

IVIi

FEATURE ^e

^ lst two lessons y° u were asked to use a limited range of colors. In the subsequent lessons, however, you will be working without these constraints, so before moving on to them, look at this special feature on color. The information it contains will save you a good deal of time later on as well as avoiding frustration.

^OlOt" 3.nd tOflG

(

^ ()I

yellows that cannot be

subject In

obtained by making

treatises (in

fact, entire

have been w

ritten

theon Most

artists don'l

kind of depth

Inn

it

would he absurd

—

without knowing

and one secondary: effect,

can, of course, leant a great

example, red

by patient but

it

lifetime to

trial

don

so

<

wisely take advantage of

-ubject.

i

>rk

rules out finding your own

— you

certainly will, since artists

make

no two

use it in quite the

same wav it

+ green

Cadmium yellow Cadmium yellow

— but

it

O



le- w

in

three colors. For

and are the colors which

work and others

t.

GREEN GROUP

colors are those which

why

understand

Cadmium yellow

Complementary

and

could take a

certain juxtapositions of

color

Cadmium red

makes brown.

observation and



Tertiary colors are

anything about the

deal

Cadmium red

red

makes orange.

to

pretend that you can he an artisl

+ blue makes purple: blue + yellow makes green; red + yellow i.e.

some do, simply because it

other colors.

mixtures ol two primaries,

in tln^

— though

the) arc fascinated by

of

ORANGE GROUP

PRIMARIES

Secondary colors are the colors made from

the subject of color

go into the subject

mixtures

MIXING PRIMARIES TO MAKE SECONDARIES

and

particular reds, blues,

iolorcan be a

hew ilderingh complex

MIXING SECONDARIES WITH BLACK AND WHITE

violet.

Tone

orvalue

refers to

the lightness or darkness of a color.

Hue is the property of a color that enables

does

identified as. for

easier to learn the

PURPLE GROUP

GREEN GROUP

ORANGE GROUP

red. yellow,

it

75%

75%

50%

50%

25%

25%

15%

15%

to be

example,

or blue.

basic ground rules.

Intensity also termed

COLOR TERMS

describes the brightness of

saturation or

chroma

There are various words

and

phrase-,

you are bound

to come across whenever

coloi

i-

discussed, even in

the pages ol will

t

hi^

book, so

be useful to begin

l>\

defining them.

Primary colors are

Three primary colors, it

plus black and white, can

make a wide range of other colors, both vivid

the

and subtle.

+ black

+ white

+ black

+ white

+ black

4-

white

acoJoi

MIXING PRIMARIES

Hwoor morecolors

could be identified

terms ol hue a^

Most people have been

in

red,

inn-

l«n

inlil id. ii

n

is

ill.

(

ulni iliiui

u there

iti

\

such

assumes .1

thing us

and

urn pure nil yellow

possible in

mix even color from the

blue Inn these pure colors

because one u more

three pi imaries. Inn in

tin not cxisl in

brilliant

than iheothei

practice iln^

is

simph

pigments

m>t

ll

al

1

he

I

II|I|HI-|||- \U|I

1

1

u

pure

admium

\v

here

1

a

one ob^ ious

is

eakni" Ml In HIliIi

1

1

make

red.

Alizarin crimson

s and brow ns W hat 1^ 1I1. 11

1

make

w

theoretically

Alizarin crimson

in

1

sharper yellow than

and vellow make

blue and

11

at

ill

also be able to

primal

.1

acceptable green the

.hi

ti i\\

1

with a slighl

a red

vou add two tui

If

strong deai orange and the blue

lias

hi

you w

arj

|

1--

all/.

ine

have nut

lIu'N

purple so the

need I

iilii.itu.it

ami

llqrs

extra

cadmium

red

red .mil yellow

ORANGE GROUP

ulni

1

made

are nearest to

liuli

itle.il

I

PRIMARIES

1

weaknesses ol the

liter

yellow .nut

MIXING PRIMARIES TO MAKE SECONDARIES

\V ill

quit kl\ see tin strengths

the

11-1 -

vou look

II

.mil

Mill look quite different

.11

ill.

crimson do

inn have i

orange

a true

\ii

yel

purple, bul

made

lemon

Alizarin crimson

I

Cobalt blue

MIXING SECONDARIES WITH BLACK AND WHITE PURPLE GROUP

GREENGROUP

ORANGEGROUP

A Purple can't be mixed with complete success.

75<

The mixture on the left is alizarin

crimson and

ultramarine, the best you 50° o

can achieve with a two-

50° o

primary mix. For certain subjects you should

consider buying a ready

25%

25°o

-^

mixed color such as

These charts show

dioxazine purple (right).

mixtures of the second

15%

~ black

— white

~

black

+ white

-

white

group of primaries plus black and white. Further

further information

colors are produced by

16-19

intermixing the two >

groups.

FOI rNDATION

ai

30-33

Ui

Introducing oils and 1

\

lies

From

C :*>l lit

ili'«

11

\

i" prai

tii

e

25

:>*

26

FORMATION FEATURE < With the exception of the

brown in the center,

the tertiary colors are

all

quite vivid because they

have been mixed with the colors next to them.

More neutral colors are achieved by mixing colors

more widely separated on the wheel (see opposite page).

PRIMARY COLORS 1

Alizarin crimson

2 Cadmium red 6 Cadmium yellow 7

Lemon yellow

11

Cobalt blue

12

Ultramarine

SECONDARY COLORS 4 Orange (cadmium red

+ cadmium yellow) 9 Green

yellow 14

(cadmium

+ ultramarine)

Purple (alizarin

crimson

+ ultramarine)

TERTIARY COLORS 3 Orange + cadmium red 5 Orange + cadmium yellow

10

+ lemon yellow Green + cobalt blue

13

Purple + ultramarine

15

Purple

8 Green

+ alizarin

crimson 16

A mixture of all six primaries

\

ellow

THE COLOR WHEEL

and cobalt blue

achieve a clear, -.harp green.

The

lesson of this

(

is

lolor

wheels come in a

variety of forms.

Some

pigments are not pure,

with yellow

One thing you will

find that

in

them. You'll

you often have to

don't

match the colors of

notice immediately

light,

and behave quite

dramatic difference in tone

add a

between the colors shown

achieve a really successful

The sheet

is

the

little

white to

that thestrongesl

-how pure colors based on

differently.

-econdan colors are made

those of the spectrum, but

shown here has been done

here

these are not helpful in the

with acrylic paints, using

has been used, yet the

sometimes be lightened by

context of painting. As you

primary colors to produce

purples and blues are very

adding yellow alone.

have discovered from the

both secondary and

dark compared to the

pre\ ion- chains, artist's

tertiary ones.

yellows and any colors

l>\

mixing those" colors

which have a

slight bias

toward each other.

7

— no white or black

purple, while green can

-

MATCHING COLOR TO TONE

WARM AND COLD COLORS Something eke you is thai

notice the

heel

\\

groups,

veuowi c

tonal values. Notice that

inio two

yellow

to-called ».imi

— the reds and

i«)|i>p.

ones,

>lu-

—

always lighter

is

than the other colors.

.mil the cold

braes and greens

It*-

Identifying these

important because

in

is

LIGHT AND DARK

ven

COLORS

painting

the warm colon

an- inclined to

come

to recede

1

bis is a

iting spa*

>'

it

waj

judge the il

I

11

ol

1

1

1

than

dark

aguiiiM

more

1 1

enish-orbnuah-graj

I

notice l»>« the orange

contrasts

almost )um|>- toward you

have

i-

M thai because alnutsi all and cold Mthoughthe

colors have varan

left

warm colors are general!)

kimw

bald to be the nil-.

w

differenl versions ol the

HARMONIOUS AND COMPLEMENTARY

primary colors on the

COLORS

ami yellow 'green, color

wheel, and you will see

Something else you w

temperature, as n

that

oranges, allows, and

am

UlUUUieS dial Contain these,

mdh at

red-brown

is

called

i-

relative

I

ook

each bass

at

1 1

1«

warm and

in

green can sparkle

thecolorwheel

the colors next

cold version

brighter, \ large area ol

t

is

see

ill

and dark

dial

MIXTURES < As we have seen, the

together

most vivid secondary

of discord, or clash.

colors are those

made by

is. il

would

you used them in a

painting the)

up an) kind

hoi set

directl) opposite

hose

I

one

another are quite different,

which have a bias

however. Thea

towards each other, and

green, yellow

thus are close together

— ml —

and

\

i<

red and

a

green on the shaded

nut the color in die

and blue and orangi

are

1

extend

die

mtained

idel)

11

iuches

complementer)

how

intensit)

mixed « n

ith

is

wheels

like

primaries produces the

central role in painting are

lightness or darkness ol a

liHt^uT

upa

color

useful

foil in

an otherwise

bright color scheme.

use « hen

ili)irararai Introducing oils and acr)

l>/VI

an

nl

education, and

16-19

makes both appear

FOl

the ones show n

Important pan student

1

using

Mark or white

on these pages

or

which as you ahead) know, simp!) means

juxtaposed the) bw

li\

Making color charts and

colon. 1 he) also plaj

neutral colors can be a

hich besl

mi the pre* ious

Mixing complementary

These

v,

this chart

chroma

effect.

il

You could

ol gra)

called the complementer)

opposite

i

particular

tin-

on the color wheel.

.1

five equal

between

pages

next thing you will

11-

is

ith

tf

of the secondaries

;

show

color ol die object Tlii-

w nil

0pposite each one

matches

used such effects

iw 11

is

scale,

and

tertian color

claiming thai ever) -had,

gnn

has been placed the

lir-r

shade

\\

charts

the top, black al

ai

-

1 •

side

I'll

steps nl gra)

1

find

primary, secondary, or

same

need to learn aboul color

ilet,

1

way.1 he Impressionists

11I

mixing two primaries

and

"I

1

the

n a- a

them

the addition ol

sideofa red objeel brings

one

another are harmonious,

COMPLEMENTARY

l>\

make

ma)

ones show n here

he linn

given an extra

small touches little

thai

l»-

1

il

.

in

(

1-

because

0! lighl

in ijiinl in

II

like the

or

lighl

painting and you

not,

is

ual role in

\

bowew, arwaj - a- simple

vessious

eve

in learn to

identif) tones,

sing color

lilors

do not look the

The second

factor

is

the

by juxtaposing different

texture of the paint A Hal

hues, or colors with

area of color looks

differeni tonal values. This

differeni

seem-, fairly ol>\ ious,

there are three other

bm

from one

in

which the brushstrokes are \isible.

and

if

the paint

is

m

___

VA'r.

.

manufacturer reproduce

urn

i"

s

colors can

make

red

nl,.

I\

theory, hut

i

nil, h artist

I

the wa\ you

(

1 1 1

particularh notable

around h

pi

dm

th\

5cm 2cm lur a -.

.11

and w

in height

w 1

1 1

Stare at

ide. 1

conds

1

1

idth

Lines about A

ami wnli

1

1 1 1 1 1 1 1

I

ben

1

l<

ii

in

haul

nl thirt) ><

>

U

doa

theempt) bottom

n

half

of the paper and \u will see a distinct green cross

This detail from a

I

painting by Paul Signac

is

•^

-'••'

his curious

phenomenon

A Staring hard at a color

(l863-l935)showsa

one of the reasons wh) thecomplementar) ol a

mosaic-like application of

color appean

eyes, or transferring your

small blocks of color.

shadow

Signac was a follower of

Inun

Seurat, but he applied

a

the Pointillist principles

image becomes apparent

less rigidly.

in jn-i the

\\

in its

hen vou limk

a light-Struck

shadowed

ana

.

and then shutting your

It^VT IMI

gaze to a blank, neutral In

one, theaftei

area of color

106-109

1

110-113

1

(•)

J!

i?:\« [•]

»1

xpressionist approaches

will

1

produce an after-image

xpressive color

of the color's

'

'3tfft«

«

same wa\

complementary.

>i nxii>/v

i€>rv

142-143 The

«

:«

>i

it

picture surface

29

A

30

OIVI

I.I

IIICI

I

I

From theory to practice THE PROJECT

you have studied the pre\ ious pages

— and particularly you have have the ideas foryourseli — you I

out -nine

ill

Y>u

tried

il

I

how

is

follow

a gulf between theory and

ingprojed

is

you will be doing is choosing another group of still-life object- to paint

and mixing colors which describe

THE AIMS OF THE

them as closelv as possible. Color charts, valuable hough they are. are not directly related to anything t

seen.

\\

hen von are laced with

reality

von have a dual

task: firstly that of identifying each color in your mind

and secondly that of mixing paint

to translate

PROJECT Relating color to tone

helps to half close your

images, diffuses the color,

it.

An apple and

and allows you

a

tones

or a table would be ideal.

you begin

there

If

contrast between the plate

avoid using pure black:

and the tabletop you

there are nature,

(hat even the deepest

its

will also cast

plates.

some of

—

>

—

explanation about the present emphasis on

There is a good reason

for

it.

a captive subject;

Still life, it

figure will, nor

suit

each

all. it

artist's

gives

as

its

does not become is it

It

restless

certain

shadow will he nowhere

provide more variety.

dark tones, through the

PAINTING IN TONE

lightest

The project has two

probably not be pure

vour

own pace without outside interference. The mechanics and

manipulating colors, cannot easily be learned when a hurry, so

it

makes sense to begin 33

separate stages: in the

first

white

white, raw umber

— paying particular

way the and shadow describes

attention to the light

mixtures of black and

the form of the objects.

and

in the

second

vou match the colors to

PUTTING ON THE COLOR

both the tonal

II

underpainting and the

first

objects.

This was the

of the eighteenth-

vou have completed the

you

stage successfully

should have a convincing

standard painting method

and

three-dimensional representation of the

5-6 hours

Decide which

still

nineteenth-century

life.

academic painters, who

most dominant color in

built their paintings

>

will

values, painting entirely in

•

TIME

— which

you establish the tonal

white,

ochre, viridian, black,

requirements, and most important of

in

cadmium red, alizarin cadmium yellow, yellow

can be chosen and arranged to

of painting, such as analyzing, mixing,

•

COLORS YOU WILL NEED

crimson, ultramarine,

subject to the ever-

at

Mixing colors

Oils or acrylics: white,

name

you the chance to work quietly and

you are working

it is

near black. Work from the

color onto the fruit to

(see below left)

still life.

changing light conditions that the landscape painter has to contend with.

and

middle ones and up to the

as they justifiably Any readers wh< are wondering might when subjects such as landscape and figures will appear in this course are owed some words of

and move as a

real blacks in

paper beneath the

Observing reflected light

is

no

should put some colored

PAINTING STILL LIFE

implies,

to paint, begin

with the darkest tones, but

insufficient

is

judge the

to

more easily. When

pear (or orange) on a plate

Modeling form

accurately.

it

area and analyze the colors

This

it

—

readily

eyes, which simplifies the

to concentrate

within

designed to help von bridge.^ hat

our eve registers color

on a small

is

practice, which the

surprisingly difficult, since

much more

exercise, because the idea

thej behave. But in painting, as in eveiythingelse,

there

I

need an

elaborate group for this

will

learned something aboul colors and tones and

will not

on an

is

the

mix up the

the group,

best

elaborate tonal

approximation vou can,

underpainting. usually in

and place a brushstroke on

brown, adding the color

the picture surface.

only

at

the final stages.

will

You can make a

probably find

attempt color

preliminary pencil

is

You

this

first

not right: the

may be darker or than your tonal

drawing to establish the

lighter

main shapes

underpainting. or

it

be the wrong kind

of green

you can

start

if

you

like,

or

painting

immediately. Look hard at

oryellow. that

the subject, trving to see

or too cool.

in

terms

ot

tone rather

than color. This

is

it

II

case, try again.

hound

lo

is,

this

may

too is

warm

the

You are

make more

mistakes as you work but thl «-«»!>r

your advantage

iimi

in

are satisfied

the -nil

«

continue with

whethet

|>.uiiiiii^.

tin- real

l

taking care t"

match the colon to the tones, and asking yourseU

the

ill

lil>'

itself, .1-

\

||

emerge

ui.iv

I

i

>ll |||,

I-

I. |l

likeness

head

I is

will

not appear to sit

established,

and the head

already looks solid and realistic.

Notice the

convincingly on the

variety of colors on the

shoulders. Small

face and neck,

adjustments are the line

made to

made by the

tendon of the neck.

from

w nether you need

am j

r>\

can see that

nil

touch ni

just a

highlight on nose

l

cheekbone

face

make

to

Sometimes

ins.

isii

oi

life,

ma) need

\\ ill

give

he

i

perhaps vou

darken

to

;i

yellows and reds through

shadow or change n*

blues and deep purples,

Dun

color,

working jusl

tg

sakeol

for the

for part of the ear.

can see an) modifications i

hat w

then

ill

f

i

•

If-

it

but

you

with a dark crimson used

il

the painting

make them; an ists

often wui k

and rework

fot

Long periods before the) ;uv

3>- He

is

careful to

^;

1

1

1

-

1

n

-»

I

IHIa«ili «iiit*]«iiNi«[tiia 24-29 and tone 1

i

§'

ili ii

relate the colors of

the background to those

16-19

of the face (see the area

on the

left)

so that the

Introducing oils and acrylics

IS0-I57 Painting with oils

painting has an overall unity of color.

60-61

1

In

proportions

ol th<

bod) and face

35

36

6-4 As you can see from this detail, and the finished painting

%

below, further definition

has

now been given to the and some blue-grays

face,

introduced to both face

and

hair,

echoing the

colors of the shirt. Bold, free

brushwork has been

used throughout the picture.

1 I

A This artist is painting herself

exactly

life

size.

Although

2 A Having made

a

brush drawing with

well-thinned blue paint,

our reflected image is

she blocks in the main

much smaller than the reality, we enlarge it

colors,

unconsciously, and "scale

up" when looking at ourselves in the mirror.

still

using oil paint

diluted with turpentine.

4^

produces a crisp

line,

she

This blue shadow

she

is

always a

SELF-CRITIQUE

and-shoulders portrait

• Does the head look

may appear somewhat

and convincing?

dull

is

similar to the color of the shirt

is

that a head-

which

work on the

begins to hair.

There OTdanger

Using the side of a

filbert brush,

wearing,

and static, but a lively

sense of movement has

• Do the colors look

been created here by the

realistic?

another use of repeated

swirling brushstrokes

colors to unify the

used for the

painting.

by the thin paint

hair,

echoed

• Are the

the

between

in

background. The style of painting

is

light

and dark

very different

self-portrait,

• Are the proportions of

but there

are similarities

both

transitions

tones too sharp?

from that of the previous t*'

solid

artists

in

the face right'

that

have used a

limited palette and

FURTHER HELP

vigorous brushwork.

you were not

If

satisfied

with the portrait, the

chances are that you have not

fully

understood the

proportions of the face and head. For example,

beginners often place the

eyes too high,

underestimating the size of the top of the head. Pages

\

9

information on proportions

ff

and the placing of features

which you might at

When you work •

sta up, I standing

difficult

it

can be

A A rag is now used ) to move around the

to look

still-wet paint in the

to keep your

hand steady enough to

background.

define details accurately,

Backgrounds are always important, however

so the artist rests her

on a mahlstick. These useful painting

like

before trying another

self-portrait.

r™ *

some

60-61 provide

ItTTTilU T

sketchily they are

wrist

aids

24-29

treated, and need to be

can be bought, but are

given consideration

easy to make, simply by

throughout the painting

wrapping torn pieces of

process. You can see the

rag around the end of a

effect of this "rag

piece of bamboo or dowel

painting"

rod.

painting (right).

in

16-19

^ (OfMTT*foT«

1

blorand tone

(

Introducing oils and

.

acn lies

150-157

Painting with oils

the finished

60-61

1

In-

IiihK

I

«

>t

NDVIION

€

«

»1

It

proportions

and

fai

"1

ili<

-

<

37

38

I.I

OTN1

I

4*1

It

M George Rowlett Self Portrait in

Orange

John Lidzey

The Artist at Work

Jersey

Watercolor

Oil Self-portraiture, like

still life

In this

painting the artist has

painting, can be an excellent

used himself as the central

vehicle for experimenting

"object"

with color, composition,

effects of light

and technique. Here the artist

has combined bold

in

order to explore in

an interior.

However, even with no visible features,

he

is

brushwork and very thick

recognizable as a specific

paint with a striking

person; characteristic

posture and general shape

contrast of colors to

produce

a painting

full

drama and movement.

of

can be as revealing as the details of features.

Tu i«j You could, of course, limitless

paint

numbers of self-

portraits

other

artists

j

*-j

*: ]

different, try lighting

your

a different

direction or arrange a

background of

self-

portraits throughout his

(see page 98), and

:

head from

Rembrandt

(1606-69) painted

[

life

many

a different

color or tone. Vary the

composition by including

have done

the entire mirror

numerous paintings of

paintings and

themselves. So that

making the head

additional self-portraits are

picture area.

in

in

some

others fill

the total

< Nick Lang Self Portrait at Easel Oil

The

inclusion of the corner

of an easel and other items in a self-portrait

not only

states the profession of the "sitter"

but also provides

a

wider choice of compositional elements.

The

artist

has used these

very cleverly

in this lively

painting, slightly distorting

the perspective of the

room

to include part of the ceiling

and window.

Laura

May Morrison Twin

Self Portrait with

Sister Oil

The two

faces have

been

cleverly juxtaposed to

create a picture with a

strong pattern element. Yet the faces are far from being flat;

the forms are delicately

60-61

modeled with carefully blended colors and tones.

102-105

172-177

The proportions oi Im«I\ and face In-

the

figure in context

Painting with watercolor

and gouache

150-157

Paintinc w

FOUNDATION COUK

nil oils

39

IIVFOR]%fAXIOI^

The

FEATURE The

well kl owi1

u

Phrase getting thin £s in rules of '. perspective ; j . perspective^ means deciding what is important and what is not and in painting the meaning is not substantially different Linear perspective, to give it its full title, means judging what is large and what is not: it is a system for establishing the scale of objects at different positions in space. It all hinges on one basic and seemingly self-contradictory rule, which is that all receding parallel lines meet a vanishing point on the horizon. .

j

This is, of course, a geometrical impossibility

—

parallel lines are

defined as those which

never can meet eveit is

-ft'

— hut our

them doing SO, and

the visual world that

concerns the

artist.

It is

interesting that

perspective

is

quite a

recent diseoverv in the

long history of art:

were formulated

laws

its

in the

Renaissance, a period

when

artists

were

increasingly relying on the

THE VANISHING POINT

THE HORIZON

evidence of first-hand

The

If

observation.

understand once you know what the word horizon,

landscape (above left) the

often used rather loosely,

the middle, as will any

On the face of pespective may seem it.

like

—

— a dry and

geometry

academic subject that has little to

do with

-elf-

has everything to do with

it.

is

easy to

means in the context of perspective.

It

the horizon

low (left), and you are

vou stand up, vour eye

laws enables you to

level is

automatically

raised,

and

illusion of the three-

sit

that

i-

in it

think thai

important

all

People often

it

is

only

to painters of

although perspective -how-,

its

ob> iousl)

face

lowers

down again. All

lines that recede

is

two sets of converging

if

vou

from vou.

parallels,

both sloping

down to the horizon. The high horizon provided by

for example the roofs of

a view from an upstairs

buildings or the sides of a

window (above right)

meet

vanishing point

eye ii

corner-on there will be

parallel

at

level. If you

causes the converging

a

W on

line that represents

most

in this Geld,

it

Straight road,

architectural subjects, but

When your viewpoint is looking at something

because understanding

dimensional world and

directly in front of you.

the actual

create a convincing

its

horizon will be roughly in

own eyes. If

is

level of your

your subject is aflat

receding verticals

has a simple

but very specific meaning:

expression. But indirectly it

basic rule

a

vour

are looking

down from the top of a hill

crucial to all branches of

the line- will -lope

painting.

becau-e the horizon

upward is

parallels to slope

upward.

DIMINISHING SIZE ^ The spaces between

mi

\

small indeed w

those at

tin'

1. 11

objects

become smaller

reading as

as they

recede from you.

small vertical lines

diminishing 1-

one

impoi

places on the line

his

I

is

differenl

same horizon

called two

[mint perspective.

and

remind yoursell

1

1,

DIMINISHING SIZE II

together

that

ilil lit

41

42

«>« ivi/vi

rv

ioixi

i:/vi you

—

circles

into squares,

w

ill

i^ji^i^:

always

whose

narrower, and the

lit

sides

converge ona

converging lines of a

plowed

vanishing point. You can thisoul b\

drawinga

help to describe the

grid of squares

on a piece

contours of the land.

lcsi

ol

paper, laying

a table

down on

it

and placing

One further way of creating space in

circular lids or similar

landscape

objects on the squares,

of what

some at

the front

and

how the

front curve of an ellipse

is

is

is

by making use

known as aerial

perspective.

others toward the back of the paper. Notice

only

field will not

suggest recession but also

When colors

away from you they appear to become less are far

intense, with a

tendency

rounder than the back one.

toward blue, and they also

PERSPECTIVE IN

contrasts between one tone

LANDSCAPE

and another less and

become paler, with

the

A Notice how on a

it

cylindrical shape, such as

tables look right,

a glass, the ellipses

almost certainly will have

Landscapes other than

pronounced the greater

become shallower at the

had trouble with

urban scenes do not often

the distance. This effect

include convenient sets of

caused by dust and

top.

If

you hold up a glass

with the top rim at your

eye

level

you

will

the ellipse at all.

not see

hard to

make the sides of and you dishes,

bowls, or the tops

and

bottoms of bottles. Ellipses, the circles,

term for

seen foreshortened,

straight parallel lines, so

moisture in the

atmosphere, which diffuse

clear-cut, but there. An

because

will

they don't

appear to follow any In fact they do.

rules.

and there

an easy formula to help

is

is

the perspective

are notoriously difficult at first

less

is

less

it is still

avenue of trees

become smaller and

closer together as

recedes, a

path

will

the light and affect the way

we perceive colors. A sense of space can be created

by

exploiting this, even

it

winding river or

become

exaggerating

it

by making

background objects more blue and increasingly out of focus.

PERSPECTIVE IN PRACTICE

:m

If you

are painting an

urban scene, or even a group of books on a table set at

random angles to one

another, there will often be three or

more separate

vanishing points. these

Some of

may be outside the

picture area, so you

obviously can't

mark them

LINEAR ELEMENTS

^

In

Brian Bennett's

painting,

oil

Burnt Cornfield,

the converging curves give

depth to the landscape.

Ill 1 I

VIEWPOINT < The photographs opposite show how

draw iug N"u can howevet

dramatically the

and you can use

perspective changes as

ruler held

soon

as

in

on

a preliminary

establish the horizon lint

you move. The

length

i«'

.1

pencil "i

upal arm

-

measure the

first

two were taken from

angles at w hich parallel

first

a standing and then a

lines -ln|M-

sitting position.

The

third

iln>

li

1-

ti|>

,t\w

01 ilnu n to .nl\ isable

,i\ s

and fourth shots were

to use

both taken from the

measuring and checking

same high viewpoint, with the camera shifted slightly to the right in final

the

one.

^\

sot

Angles can be assessed

mow

.1-

with

you

measurements since

consistent

soon

it

artists U»i' mil' R/VI

«

>INJ

«

«

>1

IS

1

1

olot

•

43

44

1.1

Ik

w

-'>'

«»I%I

+-

Inside/outside the and Soconcentrated on looking

projects have

lessons

Ear

ai

painting objects onl) a short distance away.

THE AIMS OF THE PROJECT

and

Now you

have learned something aboul both color and

Creating space

perspective, however, you should be ready to look

Assessing relative sizes of

and paint the view through a window or

further away,

objects

open door. Phis will enable you to move from the inside world to the outside in die course of one

painting Phis is a subject that has appealed .

not only is it a challenge, but

artists:

clement of contrast. This painting, tonc.c

>r

whether it

is

it

to

Using perspective

many

always important

Achieving visual unity

an

also creates

•

in

COLORS YOU WILL NEED

the contrast of color, shape.

is

contrast within the subject matter

(see below left) itself.

Oils or acrylics: cadmium

The challenge of incorporating contrast between inside and outside

is

red, alizarin crimson,

threefold. First, you have to find a

way ofshowingthe differences between the two kinds the enclosed interior and the more open

of space

—

and distant land- or cityscape outside. Second, you

must assess the correctly,

space. link^

relative scale of near

because this

is

and

cadmium yellow, yellow ochre, lemon yellow,

ultramarine, cobalt blue, virkJian, raw umber,

far objects

black, white

an important wav of creating

•

between the two contrasting parts of the painting

so that thev form a unified whole.

This artist works in

oil,

TIME

And third, you must be able to create visual

Ik

5-6 hours

with a careful brush

SPACE AND SCALE

lies,

is

once again,

and the problem between what we know

in the conflict

and what we actually see. You can frame

is

quite slender

compared

see that a

window

and you assume that it is also slender compared to a building or some other feature outside surrounding

it.

mav be wider than the building because it is so much nearer to you. To take another example: when you look out of a window you can see a number of objects buildings, the back the window. But. in

fact,

it

—

47

>

you can see part of the

room as well

interior of a

as the view through the

is

working from

perspectives.

window

or door.

If you

have chosen a window.

He is

don't just use

it

as a

frame

painting from an upstairs

for the view, but include

window, and needs to be

some of the wall on either

close to

to the wall

Position yourself so that

important in this case

two different

surprisinglv difficult,

THE PROJECT

drawing, particularly

since he

Judging icale

and always begins

it

in

order for the

side

and any furniture near

view to fill the window

it.

frame, while to draw the

Before you begin, think

chair in relation to the

about

window he has to stand

fit

back. Painting interiors

format.

and window views often

a door view, don't

requires a degree of

automatically assume that

"cheating," but

your picture must be an

remember that the

upright rectangle:

important thing is the

look better as a horizontal

painting, not total truth

one.

to the seen world.

such as a table or chair.

how the subject w ill

into a rectangular If you

have chosen

it

Since the subject

may

is

complicated, and involves assessing both scale perspective,

it

is

and

best to

begin with a preliminary

-

drawing You can use .

better, since you

I*-

may

Inn pencil

Ii.in >mI.

alao utilize

tin-

then cover the «

can

pencil

measuring device

.i-.i

foi

ssing foreshortening

described

.i»

n tin-

«

(

faceol the picture a-

The colors inside room must have

~\

the

fed

— vuu

(|imkl\ as possible

ami measuring perspective angles

-in

1 1 » » 1

Final touches are

a relationship to those

two areas

added to the top of

rannoi judge colors and

outside, so the

tones w hen vou -nil have

are treated together

the tree, but care

ana-

from the outset, with

not to make the colors

ol

w

-llow ing Be

llllr

a- positive a- \nii

the colors,

trj

can »

mi: to

nil

make

patches of color placed

1

is

taken

too bright and strong,

all

over the canvas.

since this

would make

them come forward to

previoua pages lake your

them describe

time over the drawing so

ami shadow lake breaks

the front of the picture

that you can avoid having

From

and destroy the sense of

ii>

make

too main,

cortectjonaai

ili\

can

exaggeratine

if the

color-

-

in see vt

ami

space.

the

hole

are dissatisfied but

describe these qualities

keep checking the wa>

n\

back from your painting

II

(i

,

and tone

However, the near-white and dark gray on the

n

-

t-ir

garden sunlit,

those

may be

-ill.

3-^ Because the

frame provide enough

Ice]

contrast to separate the

and

two areas of the painting.

Introducing oils and

.

acrylics

150-157

40-43

Painting w

1

In-

rule-

nil oils

ill

perspective

45

46

I.I

FIV1

OIXI

SELF-CRITIQUE • Does the

painting express

""

Tin the finished tJ painting you can see

different kinds of space?

how the areas of warm

• Have you got the scale of

red-brown and blue-gray

the objects right?

wall act as an outer

frame, while the window

•

itself becomes

observed?

an inner

Is

the perspective well

frame for the garden view. This compositional

• Does the color you have

device also helps to

used unify the painting?

create the illusion of space.

A Peter Jones Kitchen

in

the

those Hills

Watercolor In this

tones

elaborate and highly

organized painting, the artist

has controlled the

colors and tones with

consummate skill. Although the greens still life

in

the vegetable

are very similar to

in

the background

landscape, the range of in

the landscape

comparison

minute

in

and yet

it is still

is

—

described

convincing detail.

in

alternative projects sanl. "i parts ol a landscape

—

Looking from one kind of

fitting comfortabh

wnhin the confines of the Frame, but when \n begin to paint them ih«-\ usualh won lit his is because you \m unconsciously enlarge them in mind h is i

• Looking out from the

necessarily restrict you to

door or window of a

painting domestic interiors.

workshop

I

You could necessary then

i

figure out

.1

compromise, either a

through the

settling lor seeing less

exaggerating the sizeol the

intlow or

\\

window to fit around

the

enlarged background.

Ian

Simpson

Landscape from a

COLOR AND TONE ways of creating space is

to use warmer, brighter colors in the foreground

cooler ones in the background In theory

does

always help

ii"t

in practice,

1 1 1

because

and

fine,

i» i>

lun

\u are not

inventing colors but translating what you actually see d brick

\

>n

I

Inn:

il«

important element its correct

m the background your subject

in

t

\"n know

forget thai colors also

well as cooler as they recede

group ol \nt i

nan

I

make

place in space in your painting you

to cool down a color thai

\\>u

some

trees or

paint a view

from

greenhouse, for example.

•

A view from inside a

church looking out through

looking out into a garden,

the main door

and further afield, views

•

from any kind of buildings

window

can

A view from a high in

the

city.

make excellent subjects.

Swedish House

^s explained earlier, one of the

it

SUGGESTED SUBJECTS

space into another needn't

become

Youmay know

-1

them

•me green also in the interior,

the view outside >-l

"I t\ ihl' th

that

becoming

more widely used by professionals,

ii

is

it

body, and pure watercolor

is

includes glycerin to keep

never entirely

has a

sure

what may happen

there

is

that

which adds spice to the

since you cannot

make

painting process. You

extensive alterations and

needs more

used thinly, in which case

an element of risk

difficult It is true

it

behaves similarly to pure

watercolor, but without

may

find, for instance, that

two

the translucency which

watercolor paint, and

way that suggests a particular effect. You may

nowadays many artists

wonderfully satisfying

not have planned

areas of thick and thin

medium

you might decide to go

initial

it

planning than the

opaque

paints, but

to u^e.

it is

a

even at the

early experimental stage.

in a

it,

but

method

mix the two, contrasting paint to great

with it or to try the same

effect.

However, this

is

heresy

to watercolor purists,

again.

is

the hallmark of the

colors run into each other

corrections

it

make it flow well. Gouache can also be moist and

and because

you cannot be absolutely

reputation tor being

is

believe that

who

any added

EDGE QUALITIES Laying new color into and

of watercolor paintings.

over a still wet wash

often

The two methods are

WATERCOLOR AND GOUACHE

""body color" (another term

creates softer blends of

combined (above right). For building up

There are two main types

destroys the purity of the

color (above

fine detail

of watercolor. pure

paint and dulls the colors.

fresh

watercolor. which

There

for

is

opaque watercolor)

is

some truth

in this:

and gouache, which is opaque. Both are

the classic watercolor

bound with gum arabic,

effect of the

but gouache has an

below reflecting back

translucent,

addition of chalk to give

it

technique

relies

on the

white paper

through the colors.

WORKING WET-ON-DRY

< With watercolor (top),

you can alter a

The classic watercolor technique is also known as wet-on-dry because each

color by laying another

new wash is laid over paint

over it, but the first color

which has already dried. A

always show through. Gouache used thickly

watercolor, unlike one in

(bottom) has

oils

will

considerably

more

covering power.

painting in pure

or acrylic, must be

worked from

light to dark.

The strongest and deepest

left).

Laying

washes over dry

paint makes distinct

edges (below), which can be an attractive feature

it is

(below right),

usual to paint wet-on-

dry with a small brush.

colors are achieved

PRACTICING

l>\

— laying one color over another — and

WATERCOLOR

building up

highlights are

tin-

t-wil" •I

w

paper

hite

.Li —.u-

which i^a [kiini

I.

i

In it

which color

it

aying the first wash

bwauet

is

a

have

.in-iuul

to

—

consider

ilu

waafa Cora >k\

light you can

you

ili.

n

Ian a i-

1.

darken

ii

all

board

it

Bows

is

no) advisable tooverpainl

|""|'

at a slight

up

will lose the transhicenl quality, so always

in to

the Brat wash as near

GRADATED WASH

expensive watercolor

to start with a band of full-strength color at the

top of the paper, adding

is

subsequent band. For the

work

with sable and synthetic

sunset sky, however, the

damp

mixtures, which are

artist uses

perfectly adequate to

method, which is to work with the board upside down, beginning with well-watered paint and

FLAT WASH

the

A Sweep a band

angle so

1

each lineol painl

begin with. of

color across the top

It is

have

not necessary to

many brushes. A

of the paper, then

large,

immediately reload the

(3),

brush and lay another line

essential for washes,

WORKING WET-IN-WET

below, continuing until

you

working wet-on-dry

you reach the bottom.

into the one beta* as

shorn n in the photographs.

i~

by

is

gradually increasing

useful but not

strength. Try both

1,

sizes for

work.

wain

.in

I

awe the

first

to

•I

ones, either on top or on an •nl

a.lja.

ana

\\

Inn

>• 01

will find

i-

a

effects,

much used

idea

you

i-

lii-\ tl

id.-

wet-on-dr] method.

are of watercolor and

Ilu- effects

be uaexl deliberately

lmw wet

i>»

-tnn iiirr.mil

need for gouache will depend on your way of

together with Doneol

the edges characteristic ol

\>rv inmli a

w

the

ill

depend on

first

more detailed

Mop brushes (5),

form part of your

be

have a series ol bard edges

i

4) in different

use, but they are quite

to drop colors into a

where two ookm overlap l)>.n

2,

expensive, and need not

l>\ I

you prefer.

need

washes, and are a joy to

marvelous waj

rearing atmospheric

landscape painters.

have overlaid several

washes you

i

methods and see which

and

are also very good for

imialK mixed nn the

paper,

its

two or three pointed ones (

technique, in which colon

.In before laying further

an alternative

square-ended one

will certainly

nn means the only way of

\

more water for each

a large range of

working. Ihewet-in-wel

wa^h

made from nowadays

brushes are sable, but

a- |»»»il>li- in the color you

.

The usual procedure is

synthetic brushes along

Ilit-r. i|i>r- will

become muddj and you

BRUSHES A The best and most

there

over with a sponge or

brush *nd

mi

a feeling for

mi stretched paper,

color, Inn in general, n

make

you never use

or the best results,

I

that

much

il

the way the paint behaves

»iili later applications "t

too

darker at the top or

will give you

-

color and tone of the wash if

wash

a gradated

one w here the

painting the exercise

in a

you can paint

example,

is

\.n

I

them, and second

yon need

is

such perfecth even washes

ilanv

i" be, bo thai

ripples or

bottom gradated washes

i«>

decide when- the

—

n.>

wash * here

are often used for skies

ol decision,

highlight

a very flat

and then

skin of

fir»t \n

not

lia\an ol I

basis ol

1 li\

those

.'i

I

color

and the angle at which

is

b} A Washes must be

—

laid

quickly and with

working; you can use soft

watercolor brushes or

no hesitation, so make sure to mix up a lot of

bristle

paint.

a combination of both.

ones of the kind

used for oil painting

— or

definition to the painting

further information 172-177 Paintinga iili watercolor ami gouache

178-181

FOI riVDATION

Watercolor inten iew

COUM

49

your Mian I

will iiw

I

is

held, so you

have to carry oul your

n experiments. Artists

who specialize in this

Not (medium)

(smooth) paper

surface

different angles

and

the dark over light

holding runs of paint with

method, beginning with

a sponge or cotton ball to

colors well thinned with

achieve their effects.

water and building up to

An entire painting

method

learn to control

the

of one color into

ll'iw

Hot-pressed

tilting the board at

undefined, so

it is

add a few crisp final stage

usual to

details at a

when the main

work, but although they vary in terms of weight

the working process, thus

(which determines their

achieving an exciting

thickness) there are only

stretched

contrast between hard

three types of surface: hot-

will

edges and soft gradations

pressed, cold-pressed (or

apply wet paint to

of color.

"Not"),

worked dark

linear is

opaque,

it

this. First,

is

nearly as opaque as

it

but

not

oil

paint, so a light color will

does not

and rough. The

work such as pen

are to be built since

it is

up in

becomes clogged

has a slight texture,

is

most popular of the three,

and

second, the laver of color

washes and

below

Rough, as

"melted" by the

is

its

some

and

will settle in

is

The paint

the troughs of

extent by using the paint

the paper while running

they will quickly become

very thick and dry. but

off

muddy.

until

you arc used it is

tape.

Smooth 3 Agummed

To 4 Agummed

all

four edges. Never use

Scotch tape or masking

more

overlaying of colors, since

paint

long sides, place around

Soak it briefly or damp it well on both sides, then place it on a board

name

difficult to use.

this to

beginning with the two

it.

fine detail.

mix on the paper. You can overcome

and

suitable for both

texture,

wise to

buckle when you

damp the gummed

side carefully,

the

not always cover a dark

color so that the two will

It is

tape,

advance it

Cold-pressed paper, which

below unless used very

much

in

easily.

implies, has a heavy

and dry.

very thick or is

layers,

new application of wet

avoid too

is

lengths of

smooth and

completely cover a color

thick

1A Unless your paper

Cut 2 Abrown gummed

and wash, is not a good

one completely and

is

STRETCHING PAPER

choice for watercolors that

to light,

gouache

for watercolor

although suitable for

first,

there are problems with

paint,

machine-made papers

both methods throughout

can theoretically be

opaque

There is a range of

You can even combine

Since gouache

technically an

PAPER

produced

GOUACHE

is

oils.

areas of color have dried.

•

that although gouache

you would with

somewhat woolly and

look

A These samples show

^

%

thicker paint later, just as

carried out wet-in-wet can

another quite precisely by

GOUACHE

Rough paper

to the

best to stick to

the raised parts, giving

a speckled, broken-color effect that

can be useful.

out the

prevent the

tape well

with your hand as you lay it

down.

It

should overlap

the paper by at least (1.3

cm).

'h

in

tape

tearing away as finish

it

dries,

by placing a

drawing pin corner.

in

each

r.M:.M.\

artist

but do not the feci that

are infei ior paints and «

onh (

know are

ii

.i-

designer

nonnalh

~»» »1 »

I

s

id

ii

i

(?ei

i

han

i

ln\ tend

in

haul after I

lir

colors,

color

become

verj

nended

less the

lui

skies has been

suggested instead

"I

blue and Paj ne

graj

a

instead ol black, w

a linn-

hi

more or

in tubes.

cerulean blue a useful

ulic- w hich

colors show n here

louache paints, also

.m\ surface, such asa

i

can bea problem, because

ill

lead to frustration

mhi can mix the colors on

Itese are lai

I

w.urn

-

die latter are cheaper they

as

tin

he paint also comes

two qualities

•

can

I

deaden watercolor mixes

at e

same

I

cobalt

(

Ihinesc w hite

is

nol an

for

essential color, l>iu

watercolor and gouache,

nihil mi occasion.

ran

I

ie

Inn lor watercolor,

Specialist art supplk

also

-«•

5

your specific requirements

6

Ultramarine

beat to experiment

7

Cobalt blue

8

Raw umber

i-

wuli

machine-made

papers first You

neo these

thai iiu

will find

have their

n characteristics

I

In

-

'

Cadmium red

know

ii

^'

white

9 Alizarin

Si

crimson

10 Viridian

Lampblack

11

popular hWkmirfiinl tample, has an

papi

WATERCOLOURS Yellow ochre

Uent surface for

1

painting on. Inn tends to

2

Raw umber

damage easuS wlim

3

Viridian

thawing and trailing

4 Alizarin

•

crimson

Arches paper holds the

5

[mini vcrj firmly therefore

6 Payne's gray

making h

difficult i"

oolorarotmd or wash -

inders

i«

move it

off

recommended

daU-around

\\WW\W\

Cerulean blue

Lemon yellow 8 Cadmium yellow 9 Cadmium red

7

10

x>

Chinese white

2

I

paper, since h

enough

is

tough

11

10

3

French ultramarine

to withstand

ung ami

*

Mm can

rn.ini|nil. il.- anil

pahM without

remove

mo much

i iixji>/V

«

>rv

Watercolor interview

c:oiifi

51

52

Working from drawings n the previous lessons the subjects

I were painted directh from

some

in

cases

draw inn w

; t

>

was suggested

ii

made on

life,

though

thai a preliminary

the working surlace before

Learning to record

painting in order to identify and place the main shapes

and design the

picture.

This lesson looks

kind of drawing: studies

made as part

al

directly

Claude Monet 1840-1926) and (

lezanne, were

committed

of an

It Assessing the

information

from nature: both

a large extent)

Translating drawings into

approach, as are

paintings

to

to this

information accurately

a di ITerenl

information-gathering process for specific paintings.

Some artists always paint

THE AIMS OF THE PROJECT

many artists today. Others, however, prefer to work in a nu »re predetermined way. making drawings and color

•

WHAT YOU WILL NEED Oils, acrylics,

notes of the chosen subject

and working them up

into

when they have assessed all the visual ti es. Some also make use of photographic

finished pictures possi hi li

reference,

which

will

be the subject of a separate lesson.

or

watercolors: charcoal, pencils, sketchbook

• -

4-5 hours for the studies

DRAWING FOR PAINTING

Ik

3-4 hours for the painting

Making the kind of studies which can be used as a basis tor painting

is

sake. Studies

quite different from sketching for

must be thought of as the

first

this

your mind clearly enough to know what kind of

information you

will need.

Most sketches,

are basically linear, but a line drawing,

wi II not

tell

subject, or

for example,

however good,

you anything about the tone and color of a

where the

light

is

coming from. Artists who

work from studies develop their own systems recording all the things they need to drawing. There in

is

more about

this in

for

know in one Lesson Eight, but

main shapes, one in charcoal or black and white paint;, and one in color. to note the

hose who are interested

in trying out

useil lor both the color sketch

and the

THE PROJECT (

the following project three separate studies are to be

made: one in pencil

I

,J

stage in

planning a painting, and you should be able to see in

'''""

"V

own

its

i

i

TIME

watercolor could final painting.

taping on extra paper.

Now. using charcoal and white

Ihoose a subject from your

own surroundings, for

or black

example, the interior of a

paint,

room with objects in

tonal drawing from the

interesting

it.

or your hack

yard or patio.

THE STUDIES Make a pencil drawing, in line only,

of the

main

shapes you think you will

want

make a separate

to include in

same viewpoint. Don worn if the shapes turn out somewhat different t

from the

first

drawing,

or if you find you have

changed your mind about the important elements.

One oft he

the painting. If you find

purposes of such studies

the drawing going

is

oil

the edges of the paper

to

explore

possibilities. Identify the

(drawings have a wavol

lightest

expanding), extend

tones,

it

by

and darkest and then try to

4

I

X the

drawing first

there

is

Mm

made as

'-mall

be two further

is

begun,

it is

different

not

first

some

inaki-

thumbnail

sketches to

studies before the actual

painting

put into the

draw ing so

stage. Since

will

include everything

in

A careful line

•<

out

try

compositions

necessary to include

t ")

M This value study,

information about tonal

j_

the second stage, has

values and colors

been done in charcoal, but you can use black and

studies so that you

white paint if you are

cannot copy them

accurate a description as

happier with a brush. You

directly

possible of the shapes of

will find

the various objects and

with the lightest and

their relative

darkest tones, as these

drawing. As the

done here,

artist

try to

proportions.

in this

has

make as

Draw

will

it

before you begin,

do make the

lowever,

I

painting larger than the

ranslating

I

thet mini "I

easiest to begin

mi

try

if it

life

itsom

l

develops

unexpected ways,

— you may decide to

judge the middle ranges.

exploit

some details when you come to plan

If

and

the painting, but you

areas have

is

there

leave out

find that the light

want to give yourself as

many options as possible.

happens easily), use a "lift

the charcoal.

comes off

It

ll

i>

is inilil

K dial Mini

i

attempt al painting from studies w ill In-

firsl

entirely successful;

w

out"

putty eraser to

hat

try in

happening

you are using charcoal,

become smudged and gray (this

\\

n,

in

against which you can

everything that

is

exercise,

inallnw the

painting a

and

provide a "key"

diii

i

\

i

in inn-

back

mi work ion I

i

medium

painting

(m you will

whether the tonal

since the language of

probably find thai two

pattern looks

transparent paint

for example.

or three are sufficient to

convincing a

different

make

sufficient contrast

.1

balance between

harmony and contrast \-

you

think

'Ir.iw '!

all (hni-li

link-

to

Finally,

-inch ol

make

ili«-

using oils, acrj

tin-

watercolor.

stick

d"

cided

"ii

a color

subject,

II

li. h« sea

between

n-ut noii

tin

-^

blended and softened by

«'i

pastel stick

i .1

)

»

pastel

l"i

charcoal

in

graphite cannot easih

avoid

\cr\ liai^li illumination

>n«-

nderdnra ings

improves

consideration to the lighting

thinned paint

oi

you end up with a heav)

features.

Touches of light

buildup on the painting

color are

now added to

include and position

surface, spnt) u

the

\i«ur««-ll

fixative before painting

Decide

li«>w

background you wain

to

thai \

•*><

painting sight m/«-

nOne

\\

Ilnln-.ul

should not come

t«'

ii

«ill

ben you begin

on the broad ana-

near

look cramped, or

-•fin* to be slipping oul "I

\'Ui

me

impression

picture.

il

ill

End

"|

convincingly solid?

• Are the proportions

space better

PAINTING

thick paint, like

background

gradually, using juicier

same applies

the

with

effect i" dial

the point of the pastel

l>\

I

use the side of the pastel to establish broad areas of color, but this artist's

she works

in

the

need

to

ing the

Item partially

working that

will

way

suits

i

iii

out?

the

paper only

covered. Bring in

ItMaiiunaui (•' *T

1

experiment with

pastels to find the

more detail? Or left some

of thin painl

more detail toward the end Inn don automatically

same

way throughout. You

• Should you have put in

background, perhaps

and

linear,

pastel

t

using a sketchier,

Kghiw iiMinwn

cool colors and

different paint textures?

— you can create a -imilar

M Areas of color are

Some pastelists

• Have you made use of

warm and

Much

color for the figure.

is

the composition?

advana up the painting

undej thawing in pencil,

approach

• Could you improve on

warm

-' build

sticks.

—

colors, tends to

|>.iini^.

laid in rapidly,

correct?

fairl)

begin with an

—

figure look

thai

you leave the painl

thin in the

. ~)

• Does the

can create the

DRAWING AND using

SELF-CRITIQUE

color

ol

main shapes and

llir

forms You a

\-Mi .in-

to

and tone which describe

-• far do* n thai tin- figure

It

hair.

paint, imiialK concentrate

the top o( your picture area or

\\ iili

you

60-61

*J

because the) are there, and

how color has been built up by means of a complex

66-69

network of lines, with the

102-105

1

wnm

aboul

achieving a liken

-

1

TM»f»

be proportions

3

"1

the

bod) and face

include details just

don

of

A In the finished painting, you can see

Introducing pastels

1

he figure in contexl

minimum of blending and

best.

I

overlaying.

1

«>* rvi>/vi

«

182-187

>ivj

c

>i Ol

:«

Painting a

it Ft

iili

pastels

SE

57

58

W.t

EVEN

« *1%I

Laura

May Morrison

Repose Oil

Here the figure

is

not

treated naturalistically, but as the

main element

complex

in

a

pattern.

M Susan Wilson The Taos Dress Oil

At first glance the composition appears deceptively simple, but fact

it is

in

carefully planned.

The artist has avoided APeterClossick Reclining Figure Oil

composition, with the figure creating a series of all

the

way across

the picture, and the vivid

in

seldom

broken

the symmetry further by allowing the chair to go out of the picture. This might

have created an awkward effect of "slipping" to the

blues heightening the sense left,

of drama.

is

successful, and has

A daring and exciting

diagonals

placing the child directly

the center, which

but the inclusion of the

chair's

dark shadow

provides a balance which

prevents this.

atrmmw.iwrKE acquire the skill to allow you to depict

« 1

1

1

•

figure with

confidence. People are not easy to paint parth because

of the complexity

branch

"I

ol

the

fonnsand

parti]

because

1

1

u-

painting demands a higher standard ol

accurate description than any other. If you get the

shape of a bill in a landscape wrong it may not

!>i*l\ will

jar

you got on well with the

project

in

Lesson

Six,

people

in

would be

an interior. This

SUGGESTED SUBJECTS

useful practice for

• Sunbathcrs on a beach • Card players • A person reading or

who are particularly

working from drawings, you

those

could try a figure painting

interested

done from

in this

branch of

painting; multiple figure

knitting

and color notes.

Or you

compositions can seldom be

•A

could attempt a

more

done entirely from

a series of studies

child playing

a lien

the painting overmuch, but a figure with legs that are

tOO small lor (he

If

— BS h'llow -human- we

ambitious painting based on studies, placing

life

for

obvious reasons.

two or more

canallreadih identify unlikely proportions.

M Trevor Stubley Miss Violet

Aged

Bagshaw

101

Oil This sensitive portrait

celebration of the

is

a

sitter's

great age, and was

commissioned for a

museum

in

England.

The

the north of setting has

been treated with

as

much

care as the figure, since

it is

an integral part of the painting's "story."

uT*mT2 60-61

* m» i«^mTT«T«77B 1

In-

(iiopoitioii-ol

In >L

I1NII>/V

1«>1V1

<

«

»1

1

he figure

in

Painting with

IC

contexi

oil-

59

60

UNFORMATION FEATURE The proportions of the body# and face

•

•

•

•

•

painting the figure

°! the mos ! diilicult aspects of



CHECKING

MEASUREMENTS When you are painting

approximately seven and a

a standing figure, always

halfheads high The legs

check the proportions

are surprisingly long

convenient rule

remember person

is

is

—a

when

standing, the

halfwaj poinl waist, as you

is

ikm the

might

— you'll

find this very helpful.

to

that

against the head

a

And

don't forget that the waist is considerably

higher than the halfway point.

AND

imaginr Inn considerably

PERSPECTIVE

Ih-Iuw

FORESHORTENING

II

(he length of the arms

ami 1

-« -

1

1

siae "I the

hands and

W

misunderstood

arms hang freer/, ».um

l«-\t-l

woman

man

I

llu-

enough

bul since

a il

upper arm in

portraits are \n

w

ill

l« -t

<

l>\

is

\\

ii

head

square

I

much to tin

-

"t

hen the

becomes

Hm

you are painting from

measuring

way can

in this

be m'ia misleading unless ii

done w

i-

ith great

more difficult

rules ol proportion, so you

preferable to compare

w

shapes and

i»

ill

liaxr in

to apply the

check these

measuring, combined w

li\

it Ii

accuracy

Generally

(

is

ii

to try to relate

ili>l

head

the

to

shapes ol the features

about one

i"

each other a child

is

I

breshortened heads,

hands are

larger in |>n'|»>nn>n

limits, feet, "i

bodv, depending on

notoriously difficull to gel

and

ill'-

have the

is

to be

some

in

is

areful observation

Heeded

bound

Bve headstall

il\

some element

painting,

i-

three beads in

and a child

length,

right, Imm in a Figure

legs are

V kil>\ s IhmIv

shorter

onb about

t

to the eyes

depending on the angle

i«'

in length

be head

between die ear

thai

male

hand

to

degree, so you a

come

to grips

a

ill

ith

problem Suppose you

are Facing your model a ho

wllfil painting

seated

in a

chair w

ith

is

proportions aher from

one leg crossed over the

war

other; hnili thighs will

to M-.ir before they

aduhhood

lull

i-

Foreshortened

children, since tbrir

'i

at

to

il

i"

to cover the

is

length and use

between features or

From chin to forehead,

ami the fool

-

check the distance

tr

acutely foreshortened rules of proportion w

I

ill

he

nol

PROPORTIONS Of

help you here,

THEHEAD

may binder you. Because

V

.

omoMM

\mi kiniw thai

mi-i.ik>- istO

too much space to the :

you w

up

tell

nlatiwU -mall ana

of

an

same

onto a dried underlayer has produced the distinct

you

wlmli case you should return tothe

application of new paint

ami

possibh take some

plan the

(Minimal hoosethosethal »ill

>l

al

PLANNING THE ^••11 -h« miIi

ones to create a

soft effect, while the

arrangement of the

atmosphere of the place

On the

woman's hair and the

.1

^part from your

light mail

the wet-into-

wet and wet-on-dry methods can be

note whether a particular

tree,

more

place,

in

placed

the colon and

figure ishghl against

on dry paper,

laying paint

tones of the background i"

dark

in

where you need

slighdy for broad washes,

so the board

note the relationship

One of the secrets of

an

is

important factor in usually slanted

i-

hal

N\

) board

f

everything fttn

tlimi

I

nfortunatel) die\

have

Rembrandt both a

n lui\ ing

decide on other

all

different nystema, but

colors have

name and

or

replacement colors 01

adding

i

\\ In

w

ill

to

need

youf range you to

understand

Ik-

w hat vou need h\

evr-

and

code numbers for colors

lower ones fewer an

mo

system

on clioosin

numbers denote an admixture

tints

ol the

sini|)l\ ii-K

pure color: higher

w dat the manufacturer's

and

lines,

eitherask for an

explanation

a

numbei rhe Figure 5oftet thecolot number indicates

working with

|>aMcl-\ou

•.ui^.vMiti

earlier loi -oil- ,u'r\liln<

.1-

orange, purple, and

of pastel

tseofbhie

ami

itorssudi

nibetantially different

from ihox-

white,

ilu-

ol

while.

addition ol black

II

you

THE COLOURS Lemon yellow tint 6 1

2

Cadmium yellow tint 4

3

Crimson lake tint 4

4

Cadmium red tint 6

5

French ultramarine tint

8

6 Cobalt blue tint 6 7

Cerulean blue tint 4

8Viridiantint6 9 Sap green tint 5 10

Purple tint 4

1

Cadmium orange tint 6

12

Yellow ochre tint 3

13

Burnt sienna tint 6

14

Cool gray tint 4

15

Ivory black

16

White (cream shade)

188-191

I

1INI>A

I01XI

«

<

>1

Pastels: interview

IC^I

67

68

FOK.1VIATMOINJ

IX.

SIDE

I

Ui*i:

i:/V

STROKES

By making strokes with the side of the pastel stick

you can build up

broad areas of color.

Here the

pastel has

been

broken into a short

You will

length.

usually

have to break the stick;

if

you try to make strokes with the full length of the pastel

will

it

probably

break under pressure

in

any case.

VARYING THE STROKES The depth of color you achieve depends on the

pressure on the stick.

Here the pastel has been angled there

slightly

so that

more pressure on

is

one end than the other.

how the color of

Notice

the paper affects that of the pastel, giving

it

a

deep, rich glow.

WORKING METHODS

images by means of a series

a

the color and to the

There are very lew

of lines, seldom

Books about using pastels

character of the marks you

about working

in pastel,

using side strokes. There

make. Pa~tel papers have

and each

evolves a

one important

to have a slight tooth to

personal method.

is

also important, both to

hold the

sofi

pigment and

prevent

it

surface.

There are two

slipping off the

inexpensive and easily a\ailahle papers

made

artist

rules

Some

begin by using the

flat

side

of pastel sticks to lav in large areas of color, similar to

washes

in watercolor.

the

experiment with a variety

the top to the bottom of a

i

Jt

her surfaces, such as

stick.

picture,

Some work from

completing each

more or

watercolor paper, printing

area

paper, or rough cardboard.

independently with either

Then-

the side or the point ofthe

more about suitable working surfaces in Part

i-

Thn-c

pencil Pencil leads

stick as (

less

occasion demands.

Hhers build up dieir

making it

will often tell you how vital

drawing

right at the outset erase.

marks

changes

true

area you want to work over

with fixative

first.

would one

in pencil, but

it

doesn't matter because you

to repel the

can work over any lines or cover

areas that have gone

wrong, even

use a pastel pencil,

stage in the painting.

at quite

charcoal, or the tip of a soft

Pastels are opaque,

pastel stick.

you can

who have not medium before,

For those

might be helplul

fairly drastic

erase a pastel line as you

them completely. Instead,

used the

is

sometimes you can make provided you spray the

because

This

overworking for ever, but

hut misleading. You can't

make

difficult to

to get the

you cant

preliminary drawing in

slightly greasy

common misconception.

it is

that you

chalky pastel color,

graduallv with the point of

>l

is

which tend

specifically for pastel

is

make a

adding more detail

work, but you can

I

ever

rule.

however, which

should never

if

it

in correcl

a late

and

lay light colors

over dark and vice versa

with no

ill

effects.

Of

course, you cannot go on

J

PAPER COLOR •^ When two different

HATCHING

M

There are many ways of

pigments are

different

pastel

"mixing" pastel colors on

one over the other so that the paper shows

the paper surface. By

laid

lightly

using the hatching

through, the paper

technique of laying a

effect acts as a third color.

in

series of roughly parallel lines in different colors

tones you optical

page

will

or

achieve an

mixing effect (see

29),

with the lines

merging to give the effect of continuous color.

ADDING BLACK

M

Black

color

laying

DIFFERENTEFFECTS

<

Hatched

lines

need not

be straight; a more informal effect can be

made by curves and

color

it

is

is

an important

pastel

in

work, since

over another

the only

way to

achieve a really dark tone.

Take care not to

completely cover the color below.

USING FIXATIVE

about

AT A light spray of

the paper and spraying

fixative helps to

cm) from

papers some

the pigment flaking off or

light

smudging.

protection

It

(30

from side to side. On very

prevent

can darken

loosely scribbled lines.

the colors slightly. Use

You can

aJso lay

sparingly, holding the can

hatched

lines

one set of

12 ins

is

given by

spraying from the back,

it

as

shown below.

over

another to create

complex color effects. This technique

is

known

as crosshatching.

BLENDING ONE COLOR •< When you want to create a soft effect, for instance

T Cotton

bails

and cotton

in

a sky, the

pigment can be gently rubbed into the paper. Here a finger has been

buds are useful for

used, but for larger areas

blending colors.

a rag or cotton ball would

be suitable.

BLENDING TWO COLORS

< Colors can be quite thoroughly mixed on the

paper by laying one down

T A torchon, made from

on top of another and

tightly rolled paper,

rubbing them into one

useful for blending small

another.

areas.

is

further information

FOUNDATION

C

182-187

Painting with pastels

188-191

Pastels: interview

:*>**

69

70

1.1

«>ivi

iNiirsii

Working from photographs

M

lost artists I

j)1k

nowadays use

ttographic reference to

up studies and sketches made on

extent, often to back

location, hut sometime.-, lor ideas

— a photograph can

provide the initial inspiration lor a painting.

French

some

The

Maurice Utrillo 1883-1955) painted

artist

his

Paris street scenes from picture postcards in the

privacy of his studio partly because he hated being

watched

at

THE

work, and the British painter Walter

Sicken 1850-1942 based nianv of his highly personal

and atmospheric urban scenes and

figure

AIMS OF THE PROJECT Using photographic

compositions on photographs sometimes taken from

reference

newspapers. Selecting the information

the painting requires

THE CAMERA NEVER LIESl In a sense the

camera never lies, in that

it

faithfully

records the patterns of light which pass through

onto the

film.

The problem

cameras and a photograph

is

that

its

lens

interpretation

we don't see like

differs in

manv wavs from

what we actually see. Photographs can therefore be extremely directly

difficult to

work from, more so than painting

don't contain the detail you imagine they do: the color

dimensional

it is

avoid recreating in paint a

earlier,

with using photographs really record

however, the biggest problem is

that the

camera does not

project so you could try

out one you have not too practiced in terms of

is

drawings, and with this

tempted merely to copy

pinned above her canvas,

the photograph rather

she begins the painting by

•

4 hours for the painting

because of our

tendency to scale up background objects, which was

73

selected one of the

making a brush drawing in

thinned blue oil paint.

2-3 hours for the drawing

when the print arrives that the mountains look tiny, uninteresting. This

A The artist has

1

TIME

with a range of background mountains, only to find

and quite

medium you use for this

than interpret It.

what we see. Most people will have

experienced taking a picture of a beautiful landscape

distant,

matter which

technique you may be

photographic illusion of space.

As mentioned

WHAT YOU WILL NEED

used before. H you are

since they are themselves two-

difficult to

•

It does not

from the subject or using drawings. They often

is often suspect, and

Making a personal

>

2

Still using the paint thin, she places

dabs and patches of color all

over the picture so

that she can judge the relationship of one to

another. Here she uses a •< Several quick charcoal

square-ended brush to

sketches are made to try

make a series of marks

out various different

for the foliage.

arrangements of the elements in the photograph.

1

THE PROJECT It til

you have your hw d

store

photographs, choose

.1

ooloi prim ol an outdoor

OHM dial

\«'ii

«

familiar

MAKING A WORKING DRAWING 1

ook

at die

to see

1

1 «

•

w,

translate

prim

.•It

I

critical!)

in the painting

it

rejected

and make

draw ings

ol

one

ol

draw mi

the section

that interests you

you might

vim can see h

the area you lia\e

die draw

ill

boose

(

ui:js

as the

ii

and

clear!)

the

your composition, Your

probabl) be smaller than

happening

in

the painting, and

painting examine die

composition or the format

dimensions should be

u|i

subject must have

a- necessari!) the Im-m one;

three times those ol the

die squaring n|> methi

appealed to you

you might,

photograph, or larger

described in! lesson Six

(hhcrw

make

im-

u. the

you could use

picture postcard or an

image

in

•

magnritH tvoid

foi

example,

a vertical

shape out

aniinalv unless the) form

draw ings

such a minor |>an of the

shapes, and ha to add

Ignored Ifai

I*-

all |»'->il>lc.

use a photograph of

somewhere you know

well

it

these

several quick

1>\

ol

the

I

-

t

t

lie

draw ing and one

to

photograph, a

extending the

mask

die photograph,

painting

based on your working

main

drawing on all sides. Or if m>u deride In ii-eniiK pari «>f

lie

draw ing used

i-

difficult

il

\< mi

scaling

can use

you are using water

like

THE PAINTING

horizontal-format print.

Make

can

Its

I the central section ol a

sraneainchidiDg people or

_• tliai the)

you

the painting

ith

I

1

II

colors,

suggestions

and tone

draw ing

develop

othera

lines light

ise

the) w

ill

through die paint

shoa

in

t

mi

ill I

\

die

our

close!) to see

ol

am

texture or

you

that I

C8fl

se votir

imagination and don to

)nee you begin to paint,

w hat vim should do. Treat

photograph up

the photograph as you would von were painting

i

In-

the painting Pin your

the draw

in;:

painting surface so that

can refer

to both. \\

Si

I

I

l>\

hat Mill

hen a

il

direct!)

from the actual

important

build

continues to

up the painting,

using linear brushstrokes

rather than solid areas of

used to introduce

into the foliage

and allowing much

similar color has

of the

white canvas to

used

show through.

for the trees

tJ

The edge of the roof is defined with a

lime and

ret

urn

in

deep blue line of shadow.

w

The palette used for the

you have

finished,

painting, although bright,

compare

the print

on the

left.

vmi

photograph awav fora

A

among the greens

II

are brave enough, put the £""

been

right of the house.

color,

you and your

anything irrelevant

some

on the

to

is

painting and leave nut

is

strokes of turquoise blue

lei

the painting dictate to you

4**- Now a relatively

3T She

lr\

I

eopv the photograph,

Subject Select what

small round brush

this

slight contrasts "I color

take care to keep the

1<

to lilnek

photograph

you find

w helhei there are

id

lighter areas, 1

much lamer shapes sometimes look emptj and II

photographed

li.i-i- foi

sealed up.

is

uneventful

Don accept

either the

image

working draw ing will

with ifyou havealn \ul\

i

>niall

main shapes

is

not extensive,

lien

von need

lo.

it

onlv

W hen and the

painting and decide

consisting almost entirely

w tiether you have achieved

of yellows, blues, and

a

persona] interpretation.

yellow-greens.

pfrTTTrT? Tm> oT777nT« foT^ 16-19

Introducing oils and acrv

lies

52-55

Working horn draw

91

(

ingfl

lomposingfl landscape



not. o I course, obligatory.

Vmone who finds the prospect daunting or feels they aunt vet ready lor it can continue working indoors from studies and photographs. You need to go yard.

far.

You could,

don't, however,

in fact, paint in

interested in landscape rather than

portraiture vou should at least try

There

is

minimum. Whatever medium you choose, you will obviously want a sketching easel if you like to work

shops. These are low

enough

to allow

paints on the ground beside vou.

you

If you

to put

are working on

— a piece of adequate — and

paper, vou will need a light drawing board

plywood cut to size is perfectly thumbtacks,

clips,

or adhesive tape to hold the paper

in place.

Clothing will depend upon the climate. Hot sun can dazzle you as well as

make you uncomfortable, so a

wi de-brimmed hat

a good idea. In changeable or

is

would be well advised to earn an extra sweater and possibly an outer garment such as a parka. Wear old clothes if possible, since they outright cold weather you

can be spoiled by paint. (

st

)il

painters will need a bottle of turpentine or

pK ent for

jar to

oil

thinning paint and cleaning brushes and a

pour some of it

towels,

into,

plenty of rags or paper

and an easv-to-earrv paintbox or bag. A sturdy

backpack or

a

bag with

a

ideal, while those living in

the country will probably

Achieving the best

shoulder strap is useful for

77

>

leaf'.'

You could

For town-dwellers, a

know of suitable secluded Walk around your

prepare yourself, however,

spots.

by choosing the location

chosen place and try to

beforehand, perhaps the

find a

day before you intend

paint from, exploring the

painting, unless

already

you

know the subject

good viewpoint to

possibilities

before

thoroughly

making up your

Any medium can be used,

very well. Monet's swiftly

mind. A homemade

but don't choose one you ha vent used before.

painted landscapes were

viewfinder made by

usually of places he

your paints behave Is essential when you are working quickly.

3 hours maximum

your

comments of passers-by,

"until the sunlight left a

•

kind sold by art supply

balance by the

garden or park could be

TIME

who prefer to sit may have to

invest in a folding stool of the

off

minutes for a painting, or

Making a spontaneous

Understanding the way

though some artists get by with the absolute

you

look for a fairly private

•

EQUIPMENT Vou may need some extra paraphernalia for outdoor

standing, while those

afternoon session. This

if

think you might he thrown

place.

WHAT YOU WILL NEED

may surprise you.

one morning or

convenient, and

Monet once gave himself no more than seven

Learning to edit nature

speed at which vou have to work can produce a

I

complete a

working

no

landscape and weather surrounding vou, and the

to

may sound daunting, hut

composition

or

is

(tainting in

certain

substitute for direct experience of nature, with the

spontaneity and fluency that

PROJECT

The aim

Adjusting to a new way of

your own

still life

it.

THE AIMS OF THE

statement

Some artists never work outdoors, but if you are

painting,

THE PROJECT

of the earlier painting projects

have been based on subjects

had

observed over a period of

time and often painted before.

Choose somewhere

cutting a rectangle from a

piece of cardboard can be helpful here in isolating

what will make an

I

features oi the painting

interesting picture

W hen you

id

U-i;iii

It

weathei changes

tin-

and

paint, covet the surface ol

dramatically,

the canvas or papei a-

consider finishing another

raptdh

possible But

.1-

«l.i\

— oneol the

don ai-h i

difficulties ol

1-

yourself inert' than three

hours

thai

you have tofighi a tendency >

panic

lose the spontaneity thai

aiuciul

•t

change as you

light will

tr\

keep up Make a note

working

li is

mentioning

made on

1.'

p»intin|

tile

or you ma>

in all

characterises this

li i~

pn>lMl>l

thai paintings

ilir*|H>i don*i

necessarily have

the

t

method

worth

produced

in a

i

fern

be

hours

exanne spenl days and

direction of the tight

1

before you start you can

days struggling with

(mi a small

miss in the

landscapes

in

his

Provence,

margin of the picture ,and

painting and repainting

dela) painting an)

an

ihadowa mini you have

scene

•Ii-Ii.'*

riVDATiON **

77

78

OIXI lOl.l^^Vl^lVJ

1.1

Learning from the past Prior in the establishment of an schools, mosl artists learned to

paint in

l

lie

apprentices

studios ol successful painters. As ilie\

copied their master's work, and once

were sufficiently competent they sometimes even

the)

Mocked

in

the master

he tradition

ol

Impressionist era. Pierre-August e Renoir 184l-l

(

(

work

ol

)l

these relationships into (

* I,

i

similar ones

the great eighteenth-

cent ur\ masters such as AntoineWatteau (1684-1761)

lu

relationships

Using collage to translate

copying persisted even into the

for example, copied the

in

Learning to analyze color

paintings. Iea\ ing perhaps only

s

the finishing touches to the master himself. I

THE AIMS OF THE PROJECT

the Louvre — which influenced ninous colors — and Cezanne in

Working with "ready-

made" composition

his love of light, his figure paintings

•

WHAT YOU WILL NEED A selection of colored

returned constantly to arrangements based on the

work of Michelangelo 1475-1564 Ruberis (1577-

i

A A Cezanne

1

landscape has been

2

J A large selection of blues and greens was

.

papers

1640 and Poussin (1593/4- 1665).

As art education developed, copying the work of the "(

)ld

Masters" was seen as an important part of every

drawing paper for the

young artist's education, and even today many would agree that

it is

mind and helps to commit ideas and facts to memory, copying a

way the artist has used the paint. \ou can seldom do this in an exhibition, where you look at a painting and then move on to the next one. Actual copying continues to be practiced by some artists and students today, but is no longer obligatory. Many modern artists, how ever, make visual references in their work to paintings they admire, sometimes using the same compositional elements or rethe picture and the

interpreting a particular theme. There

element of tribute in

this, for

British painter Francis series of paintings

painter

distinctive brushstrokes

taken from magazines,

will translate well into

and collected over a

collage.

period of time.

THE PROJECT

colors,

There are two separate

aside the original picture,

stages to this project, the

make your own

second one being optional.

from the collage.

collage

is

Second stage (optional): hah* to one day

(the time taken will

depend on the complexity of the painting chosen)

example the modern

Bacon 1909-92) produced a

based on van Gogh's self portrait,

influenced

TIME First stage: one day

usually an

Going to linrk as a direct homage to a

who had

Paints and any surface

chosen for the painting •

painting compels you to analyze the organization of

\rtist

needed. These were

a valuable discipline. Just as taking

written notes in a lecture concentrates the

The

Scissors, glue, and

chosen, because the

him deeply.

The

idea

is

and then, putting painting

to choose a

THE COLLAGE

USING REPRODUCTIONS

painting you

You mav find

the basis for a paper

Decide on the painting you

collage, staying as close as

want to use as your start ing

possible to the

point. This should be a

composition and general

reproduction of eithera

arrangement of tones and

painting you like or one

it

helpful to

tr\

copying a reproduction of

a painting you particularly admire. Although not Lr i\e you as

much

this will

insight into teclmicpjeasthe

81

>

like,

use

it

as

know

wliuli son wi-li to

moR about

postcard reproduction

ot

reproduction in a book 11111M Ih- 111 color In to avoid too complicated subject — >till life

colore —

oouki be a

It

.1

will give you

I

think

worn

It

n~«'

i> tlir

righl

the one you

Don

nearest

pari ol the

is

particular green

toward

cold color contrasts 10

bow each color you

|>nt

ilow n

the

a-

decided on

vim

tli<

-

is

affected

l>\

1

htce

haw

other printed material, foi

mini \on

yourcoOage Vou

feel

it

is

complete

\\

hen vou tlimk you have

should

it

a

\\a\

liltli-

not [* n«vr-«ar\ to lui\

look it

at

to decide whether

it

makes

from you and

is

to

!>«•

as the subject (bra

prop up the reproduction

paintingand ifyou

make

a

diawiugonTOurwuikiug

«l"p*»| examining in the

and

irMtiL'to

match them as

i'Iox-K a- |Hi"ili|i-

not

chosen

It

Mm

-iir-v. Iiolij tin-

piei

e of paper next

to the paintingand von

mt

mill illHll»iiiatcl\

whether it

ia too

bright,

dark,

warm, or cold

«•

If

>I>

>r

\on don

correct color 1-

1

have the

— and there

no wan too could

you

feel

it

sufficienl

information for the second

[

don't start the

tJ

_••.

in

tone so that the effect is

ii*ri\

in

The darkest tone

side of the

the top part of the

now balanced by an

picture, the blue

painting yet Return to

\»o. carefulh

.in-

diH'- not give

Ihen begin local

or tear the pieces tome

l>aiiiiiiii:

have been

kept relatively close

isual sense.

a>-ii|>«-r

I'bi

bj attaching

another piece c4 paper to it i-

Utering ihrrtinw iwionti

morediCBcuh

if

-mall

landscape can !« [Hiw.-rtul. Inn

you are

large picture

it

you might

prefer die specious

quite eaairj ifyour

painting becomes

\

II

you

feel "I

»->rk tor the painting you ri

mind

If x

i

mi

fmil

or a

"abstract

pictorial content ol

w

nli

die overall shape ol

——

ay, a -nil

or M>n ran |

it

life

mav mean

end up painting

-i/. I

I

life

his can look strange

mi au-»- figures

and -mall

objects natural!) relate to a

it

w

ol

pointing haol

your

composition, so the

framework

HI

your

ai

i

indepen-

dent presence

liTTVrTT

the paper or canvas.

Second

it

«

ill

take your

eye to a particular

pan

ol

the overall rectangular

shape lines,

\-

you add other

individual luii-h

I

III

V

interactions,

mark begins to

interact

•^

heseare

I

occurring alongside the

seem to come forward 7 from the 'background

however

the objects larger than

will

line, a hloli.

small-scale subject,

board

%itha brmai duu

a

the picture. First,

thai you

i-'-a-ie-i to Ik-liii

is

forming link- or

clearrj defined shape, this

a large picture area fora

working on canvas or Ii

>

se

cl

soon a- you pin a

\-

of the

Strokes, or color area-, the)

you don ! have to fill the

it

At the

exploits

opposing rhythms

h\ the

or canvas

line

(oil)

of

promenade.

find

1

The viewpoint

rectangle, the emphasis ol

would

lor

Lesley Giles's Sailing

counteracts the stable

you can adjust your

a size ol

!

although there are

the effect of looking

paper, Ix»anl.

DIRECTION Boat (watercolor) has an implied movement that

ii

irregular panels accentuate

h\ redrawing

is

more dependent

usual!)

MOVEMENT AND

Ml

DIVIDING THE

150-157

""^M'['''l Painting w

ith oils

RECTANGLE •

(in-

wa\

ol

becoming used

162-167 Paintings

ith acrj lies

io controlling the

composition

ol a

painting

/vi>ji>

192-197

Painting with mixed media

WYW.M

85

se

EIVFOR]%fATIOI^

i:ATUUE

1

TRIANGULAR COMPOSITION -^

The overall shape of

Arthur Easton's

oil

painting,

Stone Jar, Cup and

Withered Rose is a clean, balanced triangle with the jar

and rose at

subdivisions

its

apex.

— how

individual objects are

proportioned and whether they overlap each other or

have spaces in between. This kind of scheme can equally apply to a figure

group

in

an architectural

setting, for instance, or a

landscape. Artists don't

RHYTHMIC BALANCE A Nude Man by David

VERTICAL DIVISION An emphatic center line is

always define a basic

Cuthbert

unusual, but works well

framework before

elongated triangle with the

clump of trees in a

regardless of its subject,

slanted sides to the

is

you may be

Ian Simpson's Garden View because the trellis

geometric shapes, but with

buttocks, but the figure's

creates a balanced, formal

experience the

heavy contours form a

grid that underpins the

organization of paintings

strong, rhythmic, non-

colorful informality of the

geometric shape.

garden.

triangle, but

able to see

area as funning a

connecting line runs along

becomes instinctive.

framework of simple

the outlines, or touches

However, when you are

shapes. For example, in

important features of the

learning to plan your

you

objects

will

often see that the group of

group.

triangle.

To create

the triangle, there

visual interest, a tall object i-

placed near the back

may be a

horizontal line running

behind

ol

compositions, you find

To balance and anchor

arranged objects roughly

forms a

on each side of the

it.

This could be

it

may

helpful to practice

dividing the picture plane into abstract

frameworks

using different kinds of

shapes and varying their

the group and other

the edge of a table, with

proportions and the

objects are spread out

possibly a vertical line at

dynamics of their lines.

sideways across the

right angles to

foreground. The front

<

object

The

becomes

>l

apex.

objects arranged

the spaces between the l>a-

you regard

hicfa

apph

freely

vertical

framework of the painting

stresses evenly balanced.

nli

A Featured so closely, the makes more

tree

becomes an abstract

shape that divides the

central and the back-

background and breaks

ground more busy and

up the balance.

active.

an impressionist

88

tin'

and horizontal

over the underlying

W

rwo-dinHMi-innul *urfa< >

die frame,

ol die

discussed

he centre] problem

ol

a

ith die size

and proportion

uninteresting

I

em

the sides, n>p or

mm

'i

he

J

composition have been

repseaentational painting

ic

to

->

%

n-k thai die picture will balanced as

important shapes

a painting, as well

a balance, Inn avoids die

in

n the large

ing attention to die

as n- formal structure,

his creates

I

he

perhaps allow ing

I

\u

lire

iiw point can affect the

mood of

asymmetrical

I

hen

he edges ol the pict

closer into die subject

variety dI quick sketches,

overall shapes, then begin

doa

\\

to increase the

background area or push

nil at

picture

lino thai contain die

is

luiL-

in

different parts ol the

youi subject

making a "I

curves,

each sketch

i

earlier, the basic guideline

eye level Your> iew point in

and

your subject, the "l straight lines

supposed horiaon

orhoriaontalh

eye i" lose direction

IihIi

that space

tine or shape in

way iluu divides the

vertically

relative height

w

isach Kilile

width ami

Before starting a painting

scale and proportion

the background

>

paper or canvas as

window, called the picture spatial

< A road leading the

arrangement of the

picture can layers,

LAYERING THE IMAGE

behind wlneh the

plain-.

\--

1

aganaed

viewer into the picture, as

in

receding in parallel

to the picture plane sy

stems

an-

away

Perspective

pap'-

4< >-+"{

>

Gordon

Bennett's

painting

Winter

-

Landscape, creates an

>f

immediate sense of

funiiali/iiiiiilii' layering,

receding space. Layered

allowing you to

shapes and strong tonal

e

-uj*pest l>\

means of

in

oil

contrasts emphasize the

nvefgence fney also

Boa

\u to deal

150-157

Painting w

iih oil-

162-167

Painting w

iih

effect.

the prinripli

acn

lies

»ith the

apparent differences

in

172-177

Painting with watercolor

and gouache

ii

>

/^r\ji>

i

^

i

i

87

8F

IIVJFOMJVIAJ

iOTXJ

I ^l^^VT

tJKK

POINTS OF FOCUS

^

In his oil

painting Le

Viennois, Peter Graham has set the main figures back

to feature the pattern of chairs

in

the foreground.

your composition altered.

is

You have to

orchestrate the abstract

elements of the painting

and work toward a representation of your subject.

SIMILARITY AND

CONTRAST approach

see page

92 or

some kinds of abstract

color, texture,

painting see page 1-+4 the

composition can look casual, as the

the picture If you

framework of

isn't

apparent.

follow the

approach

to

composition

so far defined, once

matter how freely tone,

are used, they

and pattern still

function

to practice

what is known ,,

for painting you

as "visual grouping,

automatically look for

bringing together items

common

as abstract elements of

ways of organizing the

with

your composition, and

information in your mind,

characteristics even

although subconsciously.

they are spatially

affect the

rhythms and

dynamics of line and

You may look for

shape.

similarities of shape

As you begin to apply

you

When looking at a subject

color,

separated.

and

and be startled by

have achieved a

tones and colors the

emphatic contrasts. There

satisfactory structure for

balance and emphasis of

is

a tendency for the viewer

SPACE AND COLOR

A In Lake Constance (oil), George Rowlett creates a clear landscape structure

when

You can make

that supports the intense

color he has used

the most distant areas.

your composition more cohesive and harmonious

by providing links between

can discreetly echo an

similar objects.

expanse of blue

you can

Alternatively,

additional factors of tone

enhance its dramatic

painting

and color are brought

impact, by counteracting

brushstroke

the viewer's expectations.

different color

play.

Tonal values are used

Similar colors which

and shade,

to create light

sky. If you

have no such links in a

your painting, the

into

but

in all

is

—

if

every area or

is

a

new and

— the

effect

busy and disturbing,

enabling you to model

link different parts of a

undermining any simple

three-dimensional form

painting together can be

underlying structure.

and convey atmosphere.

very valuable. A touch of

Similarly, linking shapes

blue in the foreground of a

and tones

landscape, for instance,

of the painting gives the

Color explains the nature of things

—

local colors are

an aid to identification

and can see

—

viewer related points of contact.

also be expressive

page 108 Textures .

ACTIVE BRUSHWORK •^

the description of objects

The strong shapes of the child and her shadow in Losi

and materials and provide

Bathing (oil) enable Susan

decorative element- in

Wilson to apply color and

vour paintings. But no

texture very

and patterns can add to

in different parts

freely.

A great variety of

unrelated elements can

make a painting confusing and

illogical.

When organizing contrasts in a painting,

90

>

be wrying viewpoints

1

thai you can take

when

different

painti

aspects of the subjei

-

i

you can teem

i"

very large

Inn thedraa back the)

is

thai

ma\ obscure other

Frontal viewpoint

well

1-

presenting

ahemative »as>

composing

ilu-

•!

picture

omposition

1

useful — the

In

ilu~

lui.*l)

puts a great deal

\

sometimes

High viewpoint I

a direct

i«nu>

i>

viea

!

[his

iea « hu'li •—«-«-

1 1

front "I

I

his

the

x

ol

n'w

\

compels

iewer i" respond i

the picture

because the information

It

simplifies spatial concerns,

has to be well defined and

since the objects can

dramatical!) presented

usual)] bedearij

can. however,

indicated receding one

subject of the painting

make

mi

behind another, but the

intrusive and create a

ami

bow

resulting painting can

feeling of unease

lIlC -llkl|CM

l««}Mll.tll\

I

muted

reveals

can, bowevei

li

appear formal and unsympathetic

create a detached, even

Oblique side view

superior iinpre>Mon.

\

especialh *uli

human

It

the

mti'iin.iiK'iK If.nK ili-plrt\

in

an unfocused,

knul

activerj

1—

cotifrontational

detailed flower standing

small scale landscape

interesting features

mood and charactei a,i>

huge

close up, or a

Ihia

iiw point suggests that

you are glancing

on your

in

ALTERNATIVE VIEWPOINTS

A view of a tennis court

bjgh viewpoint for a

relate to the picture

from a window (top) shows an overall perspective that seems normal and acceptable.

kownacapeorlandsca]

rectangle can create great

The higher viewpoint

dynamism and impact Distant view The

(center) exaggerates

character of the subject

detail of the tree

subjects,

.i-

provides an

11

unfamiliar vie* It

\i>u use an

you

will

people

o(

imaginar)

need 10 work out

the funnel perspective

arrangement.

NormaJ eye level

[his is

«our actual experience ol objects seen

from a normal

sitting or ^tniting

position

li

providV

-

\

because

1-

to

The

from

back of the subject

.

and

picture effe

Low

riii-i-

an unfamiliar \ lew

,nnl

can create an unusual .

it

—

varietj

uit

1

li

figure or still

you position

n

can enable you

the horizontality of the

ground plane is emphasized, with the fence becoming the

to

appear relaliwk faraway,

in

From

ground level (bottom)

nui-iii-—

lil«'

branches into the foreground.

prominent feature.

to show h

an interesting! sontext, it

max make

the

mam

seem marginal and

111-ILTlifn Milt

iiiizethedfpthiif \>>ur

dveh viewpoint

Ina

iewpoint can help you t"

subject

in a lm;li view,

recession and brings the

landscape, thedistam

bottom as

lmixTtant to

mood a "d

taking a long> iew

•I

but

1! 1-

in

way important shapes

rather than fonii top to

-1

can be casual or

influences die effectiveness •

.1

familiar

iiifiinnatinii *n>rk-

from

the

expre-.

undentood it

li

mysterious

\

straightforward view thai -

subject

im[»»iiM>n Things close

Close-up view loming I

in

mi the subject helps you

i..

•

n

at'

a detailed

Statement and ilramatu differeni esol scale miL'tit (lailil ju-l a

further information

Vbu

bee

40-43

be rules

ill

perspective

in

150-157

II

I I

>

I

/VI^fl>

I

^

Painting with

I

I

89

90

IIMFOMJVIATMOISJ

I

I\

»huh run off the

sides of the painting, lor

example, hut the

trees

I

of

the

mid

Vcide how much

to

painting ami « nether

and land Been

horizontal format or to a

inre

your

in

Remember that

a

t

The panorama town

working

(top) of a seaside

a

gives a strong sense of

at ground level in town or village, look for

place through acomplex,

views through the

painters began to

detail.

in

down

buildings and streets that

w

ill

the

give your

detailed composition.

Focusing interest on the

composition an interesting

harbor, the artist finds a

structure and sense of

dramatic bird's-eye view

space

(center) that forms an

Focal points ook I

for

individual features that will

make good

focus

tnc

points of

— an imposing old

open, almost abstract

image. This contrasts with the picturesque effect of a conventional

ground-lvel view

for example, a

colorful facade, or the

(bottom) showing the

pattern of a stone wall or

town's local character.

wooden fence

I

se

color

accents provided bj flowers, buildings, or

machinery

to

farm

counterpoint

the broader color areas in

150-157

Painting with

162-167 Painting witb 172-177

III

Ml

/V1XII>

oil

acrj

lies

Painting w nh watercolor and gouache

WVM.M

91

'j

f

KM(M VIIO\

IN^

97

1^7%.

|

IURE

composing a fi Posing your model you want

id create

relation to

1

an

its

surroundings.

Do you want

t

element, placed squarely

rather than

just a figure study,

arrange

clothes and the

objects in the

in

the foreground

room say

model.

overall view?

is

posed

II

in

a

particularly appropriate

example, the

setting, for sitter's

and seen

integral part of the picture, easily

your subject

'.

background, or to be an

something about your

Figure in a setting

<

large against the

thesubjecl so that the sitter's

'

he figure to be a dominant

impression of character

and

lifestyle

•

study or backyard,

think very carefully about the scale of the figure in

absorbed into the

Lighting When painting a

Focusing on the head

figure straightforwardly

alone creates a

from

life,

or

making a

i

confrontational, isolated

formal portrait, vou need

portrait with tonal

strong light from one

drama (above). The fullfigure pose is more

direction that helps to reveal

form and does not

camouflage

it

'

»

-,

—

calmly neutral (right).

by creating

strong cast shadows. Soft lighting tends to flatten

scale. If you

gives little sense of the

forms and make the

an unusual viewpoint,

single seated or standing

model's location, and her

painting lack a feeling of

such as very low, very high,

figure usually works best

character must all be

space. Lighting a portrait

angled sideways, or in right

in

conveyed in her face (top left). The farther view

from above or below can

close-up, this tends to

rectangle,

make a dramatic impact. Viewpoint Remember

produce a more dramatic

group may need the

and atmospheric painting

space of a horizontal

clothing and background

that figure paintings

than one which

that add to the variety of

usually create associations

size

the artist's description

in the

(left)

and

takes in detail of

make a more

complete picture.

appreciate

how they could

suggested by the subject. A

The close-up portrait

were

first

exploited by the

and have

viewers mind and

that he or she

is

very

responsive to the sense of

choose to take

is

sight-

with a normal eye

a portrait format

whereas a figure lateral

rectangle to avoid

compressing it.

level.

Format The format of vour painting may be

GROUP DYNAMICS -^Viewpoint and

u-e the -ami' kind of effect.

Impressionists,

They discovered

become widely used in

composition interpret the

allow ing figures and

twentieth-centurv

mood of a figure group.

object- to be cut off by the

painting.

edges of the picture had

process of selection should

that

In

include where to place the

Tea Party at Cowes Yachting Club Naomi Alexander uses a

outer edges of your

circling

also. created a more complex dynamic effect

painting in relation to the

keeps

between

include

the effect of drawing the \

iewer into the scene.

and I

ili

11.1

contexl

oik

93

9

on

i.M

ivvi:i.vi

Painting an impression ipressionism

sel

I new realism thai

the standards of a

we now take

for

granted. Despite all the innovations of twentieth-

century art, Impressionist pointings still seem fresh

and

inspirational, and the

application

i

approaches remain valid for

contemporary themes. The term

"Impressionist" was originally coined asacritical insult implying that the paintings appeared hasty and

unfinished,

and

thai the artists

were careless

perceptions of form and color. Yet what \\

c

uk

i

il

(

we see in the

ilaude Monet, the great figurehead of this

movement, ol

in their

»er\ at ii

is

a detailed, analytical process of

m and

ren ird. which nonetheless results in

images that are vital, colorful, and celebratory.

THE DIRECT APPROACH )f the new concepts developed by Monet and his colleagues, two principles featured importantly. One (

was the requirement

to

reference to the subject

complete a painting by direct

—

for

example, working

outdoors in the landscape, building up an image of the

immediate view; Previously, on-the-spot sketches were

made which would then be used as reference for a formally constructed studio composition. The other .

principle

was the technique

of working directly onto

white canvas, often allowing new colors to blend with

undried layers below, a method known as working wetinto-wet. This contradicted the traditional

method of

developing a painting slowly layer by layer, beginning with a dark or mid-toned ground and proceeding to a

monochrome underpainting in which

main forms were modeled in tone alone, ^"hen this had dried,

Claude Monet (1840-1926)

vigorously

the

others, the

Poplars on the Epte, 89 1

colors were introduced, usually in the form of glazes

successive layers of thin paint

Paintings

and more detailed

brushwork I

hoc concepts were

not previously

unknown

the Impressionists were the first to adopt

but

final

painting should reO ect the t ransience of observed

96

>

is

so

and

rich

red-browns

poplars felling

from the

equally varied.

In

marks.

Monet painted the

— orange, gold, and pink — reflecting

linear

poplars from studio," a

foliage

some

his "floating

converted rowing

boat moored on the that enabled him to

river

become

pictures, the shapes of trees

completely enveloped

and clouds are elaborated

landscape themes.

heavy

swirls,

with

in

in his

He was

so keen to complete the

he had to finance

merchant's

purchase of the row of

constructed with tiny dots

shot through with fine

is

conventions. Essentially, they understood that a

brushwork

broken that the trees are

and dashes of brilliant color

lush greens, clear

and water. The brushwork

image without the imposition of artistic theories and

a wood

from

to scintillating sunset hues

standard procedures for painting finished works. The

immediate impression of the subject became the

the Poplars

series that

in

series range in coloration

blues,

them as

in

hooked and

pasted brushmarks;

in

order to delay the

of the trees.

»jTvT»Fi CAMILLE PISSARRO (1830-1903)

Monet

uses heavy, evenly

weighted brushstrokes for the simple color areas of

clouds and sky

The shapes

RENOIR

color massing of Monet's

example. Cassatt worked

Impressionism. Technically,

closely with Degas, while

sky His treatment of the

ALFRED SISLEY

his

(1839-99)

but the

Together with Monet, these

described, but the strokes

contrasts define the forms

artists

soften the edges and allow

more solidly

the Impressionist

the

warm

fully

yellows of

formed the core of

movement, and

in

their

worked

closely

together developing

is

very rich and

new

approach to

Manet( 1832-83),

influenced by photography.

persuading him to abandon

broke new ground,

the use of black paint which

with figures posed

had previously been such

informally and occasional

powerful element of his

oblique framing of the image

compositions.

elements to be cut off by

However, each had an

the edge of the picture.

and characteristic

PIERRE BONNARD (1867-1947) In

BERTHE MORISOT

manner of applying

(1841-95)

Impressionist principles.

EDGAR DEGAS

the next generation from

the original Impressionists,

Bonnard developed

MARY CASS ATT (1845-1926)

(1834-1917)

a

that causes important

themes and approaches.

individual

Morisot's paintings proved a

strong influence on Edouard

composition, much

also

early careers they

frequently

work

inventive. His

darker tones and color

of the clouds are

— both

beautiful studies

of mothers and children, for

(1841-1919)

similar,

"feminine" subjects

produced

and

contour, rather than the

into the cool blues of the

is

show an

line

PIERRE AUGUSTE reflected sunlight to bleed

treetops

paintings often

emphasis on

a

personalized treatment of

mainly domestic subjects

Unusually for the time,

two

that extracted every spark

women painters had an

of light and color within his

active and respected role in

view. His vibrant

the development of the

compositions include figure

1874 and 1886, Degas

Impressionist style. Their

studies of his wife and

departed from some of the

work evolved

simple interior settings.

main Impressionist

with that of their male

principles. Primarily a figure

colleagues, while

Although he took part

in all

but one of the Impressionist exhibitions held

painter,

between

he hardly ever

worked outdoors and

in parallel

introducing the extra his

dimension of notionally

< This detail shows the essence of the Impressionist style. Individual laid

on

marks are

fairly freely,

even

crudely, but in the context

of the entire picture they

add up to an impression of distinct,

separate elments

within the landscape.

The

tree trunks and branches are

mere

brown

slashes of warm

creating a linear

emphasis that cuts across the dense massing of greens

ft

74-77

Working on

location

and blues.

150-157 Painting with

I

IIIMI

/VIVII>

I

^

I

I

oils

95

96

II

^:VI

«>IXI

A George Rowlett

contrasts of tone and hue.

Marion

These are arranged to

in

the

Rotherhithe Garden

emphasize the direction of

Oil

the

The strong impression light in this painting

light

source, flooding

in

to the picture from the right

of

and forming hard shadows.

is

achieved by the dramatic

realities.

They reflected the ways in which solid form

and surface detail can appear to change with changing circumstances natural

light.

— above

all,

the variable effects of

Another significant feature of

Impressionism was that

it

challenged traditional

concepts of composition and drawing.

It

was no longer

considered necessary to have objects precisely defined

and

clearly distinguished

from one another. Paintings

did not have to be tidy and distinct in close-up as long as they could be read at a distance.

RESPONDING TO THE MOMENT The practical guideline for an impressionist approach is to free your mind from what you know, or think you know, about your subject and respond directly to the Ajohn Denahy

interest

on the variety of

The

Spring Flowers and

colors.

Auerbach Catalogue

flattened the detail of the

Oil

catalog picture

Simplifying the

still life

basic shapes focuses

into

artist

has

described

in

comparison with the

purely visual sensations of color and

forget field.

real

three-dimensional forms.

it

thus:

'When you go out

what objects you have

Merely think, here

is

a

light.

Monet

to paint, try to

in front of you. a tree,

little

a

square of blue, here

an oblong of pink, here a streak of yellow, and paint

it

the projects PROJECT

.

a.h

a- u looks i" you, the exact color and shape

il\

until

i:i\f^

ii

scene*

you

%

u

row n naive impression

In- 'naive impression

1

won! naive sometimes

i-

the

ol

nol simplistic

implies, bui

it

i*

the

.1-

—

unique

moment

V-

Monet

stressed,

impression "exacth as

Monet

-

"Once

in

directly,

agilin

a

lull

l>\

ho accompanied the

from of his easel, he draws

wiih theobarcoal

and then

.in

attacks the painting

unerring sense of design. He paints with

and uses four or

l>ni-h

fi\.

riverny.

the series paintings, Monei developed a

comprehensive

ami color from

(

and

*

logic of Impressionism that

enabled

him to record the variations of his motif Different color heme- and qualities ofbrushwork describe the range ol visual effects produced by the same object or t

under particular conditions. Although Monet was the supreme landscapist, we can see in his

location seen

own work and

that of his contemporaries

how the

active hrushwork and broken color effects

typical ol

impressionistic renderings can also be successful!)

further information

applied to other subjects, including figures and

74-77

Workiiiifon location

150-157

Painting with oils

interiors, architectural structures,

I

III

Ml

and

still liles.

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9

iiii r

orxi

1.1

i

Painting a likeness

W

identifj

I

i

i

—

i

hen considering the problems of paintings likeness,

natural to

is

it

with the human angle, and to summon

mentaJ pictures ol faces you know welLThey

may

belong to family or close friends, lor example, or to

famous media

laces,

such as politicians or movie Stars.

Bin a painted likeness does not have to be of a person;

could portray an animal, an object, or a location. The

it

element

tliat will

make

it

a true likeness rather

generalized impression or caricature,

is

thana

the accurate

observation and translation into paint of those features thai represent the subject s character as well as the

appearance. In a sense, any

strictly

representational

interpretation of a subject isa likeness, or portrait, of

but even with a Iih ik

l<

non-human

subject,

special details that will

>r

it:

necessary to

it is

animate your painting.

PORTRAITS OF PEOPLE The Erst step toward creating a

likeness

your model. ( )nly one person

always available to pose

for you.

and that

is

challenge, because objectivity.

don

t

really

criticism.

to choose

yourself. Self-portraiture it

You need

fully tests

is

a special

your powers of

to study yourself as

someone you

know, and go bey< aid vanity or sell-

Because you are your own most accessible

model, you •

is

is

may build up a collection of self-portraits

nver the years,

and

it

can be fascinating to see both how

you have changed and how your vision of yourself has altered.

The development of your technique will also mood and interpretation.

have enabled you to van' the \^

hether you study yourself or other people, you get

most out of working from a is

live

model. The

human face

a complex structure which continuously reveals

different aspects of its structural

forms and surface

No model can keep a pose completely static, and slight movements may alter your perception of the details.

overall

shape of the face, or the skin color or texture, or

the interlocking planes created I

he adjustments you

make

by bones and muscles.

to your painting in

response to these small but frequent changes help to build a rich and comprehensive portrait. 'Ibis

being said, photographs are a useful aid to the 101

>

i:i:ixi

other artists to study MICHELANGELO

records, often placing the

DA CARAVAGGIO

subject

(1573-1610)

in

an elaborate

setting His study of Charles

Rembrandt van Rljn

and searching self-portraits

Like Rembrandt,

(1606-69)

The technique also differs

Caravaggio favored

from that used

colors and dramatic

composition, showing

Self Portrait. 1640

works, where he

contrasts of light and shade.

one

Many

profile,

in his

later

up

built

In his series of self-portraits,

the pamt thickly

of which there were over

impastos Here the face

one hundred

rendered with great

paintings,

in rich is

Ifrom Three Angles,

of his figure paintings

portrait-style works.

paint over a greenish-gray

don't

an

unmatched

pictorial

and the

record of the

artist

man

comparatively

This

is

a

youthful work,

m which

Rembrandt depicts himself

base.

The

soft, fluid colors

to his later,

in

sharp contrast

face,

and three-

place

We

people

GEORGE STUBBS (1724-1806)

visit

One of the few major

actually were, but every

in

"Constable Suffolk, England,

to examine what

the

sense of

means that even now

country"

know who his models

to

ability

a precise

artist's

is

left

locations. His

major

among the

painters celebrated for

paintings are

best-known and most

the flesh an almost luminous

depth to the narrative

known

quality.

The pose and

the technique a

c.

1512.

and

may also owe

debt to the master.

for his stunning,

regal portraits of glossy

associations.

thoroughbred horses.

composition are believed to

Man With a Blue

is

ANTHONY VAN DYCK

He

of

most famous

animal studies, Stubbs

Sleeve, painted

more somber

reproduce

personality which adds

have been borrowed from

assurance,

full

Constable's

individual has a distinctive

Titian s

of calm

in

painting the king's

almost imperceptibly, giving

expensively dressed and air

(1776-1837)

have been blended together

as the successful painter,

with an

JOHN CONSTABLE

c.

a fascinating

quarter views.

represent Bible stories.

delicacy, using quite thin

Rembrandt created

is

while others are simpler

spanning a period of forty years.

1636,

rich

drawings, and etchings

beasts, such as lions and

cheetahs.

frequently reproduced of

landscape works, but his

sketches and color studies

published a volume of

are also appreciated for

engravings called The

their wealth of specific detail

As court painter to the

Anatomy of the Horse in 766, based on his own

English King Charles

researches. His

SIR

(1599-1641)

1,

1

van

work

on

individual aspects

of his subjects.

also

Dyck produced many

encompasses detailed but

exceptional portrait

expressive paintings of wild

^ The shape of the hand formed

firmly

with minimal shadow

Color and texture dark clothing

is

and simply,

is

detail.

the

in

also

conveyed by economical means, with gentle tonal gradations that rich

light

up the

hues and velvety nap of

the fabrics.

A Tonal modeling of the flesh

to

is

very subtly applied

show the curves and

planes of the face

34-39

Paintings self-portrai

60-61

The proportions of the

strongest highlights and

shadows are reserved the detail of

for

facial features.

Im«I\

The

and

tace

150-157 Painting with oik

II

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99

OIXJ

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I

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Peter Clossick

Jane Aged Four and a Half Oil

A likeness

is

not necessarily

conveyed by

details of facial

features alone.

The posture

— the weight and balance of the body along with basic shapes

its

— conveys the

subject's age and character,

and can influence our recognition

more strongly

than the likeness

Here there

is

in

the face.

no exact

indicator of scale, but

it is

obvious from the shy pose, the proportions of body

and head, and the fluid shapes of the limbs that portrays a young

girl

rather

than a young woman

— and

a particular

H

A Sandra Walker Power Broker

it

young girl.

M James Moore Two Brass Canisters

Watercolor

Oil

A close-up portrait filling

The apparent simplicity of

the frame of the picture has

an ordinary object provides

a confrontational aspect

the ingredients of a perfect

which

is

entirely apt for the

mood and character of this

likeness.

The artist has been

absolutely precise about the

shapes of these cans

—

are dramatized by the

their contours alone

would

powerful monochromatic

provide a telling description

subject.

The large shapes

emphasis, dividing the

— but he has paid equal

image into strongly

attention to the exact

contrasted areas.

nuances of tone and color

The

subtle color variations of

the flesh tones and the sharply

drawn

details of

features focus attention

the face.

on

on the surface.

PROJECT

I

Paint a half-length portrait of yourself \

1

an tan he a head -iml\

"!•-:

typical

thai

1-

— the

and adult faces, "' variations "I -km color and texture; the lines ol a smiling mouth as compared to one

different proportions of child •

each model l (

its

of use, such as dents and

magazines can

•

shape, color, and texture

compare the character ol an old copper pan to a modern aluminum one. The differences lie not only in

news journals and

help youtoconvey something about the

and

objects:

scratches thai catch the

pictures will

a simple setting

unique presence.

photographs, such tell

it

that gives the object

me

In addition, high-qualit}

gloss)

Give

try to capture every detail of

nee. for

I

treasured object

or souvenir, for example.

portrait

species.

PROJECT 3 Make a painting of a This could be an ornament

is

usuall) easier to learn.

is

features according to

applies

Photograph) often eliminates a lot ol the

a

have a

The other hall

example, can be young or old, and

reference between

person.

and

\«>u

hat you are trying to portray,

asa likeness appl] to other subjects.

.1-

describe each particular

look again and reanalyze the essential

halfway to being able to paint

and the

characteristic features that

careful observation

cannot be said toooften thai once

individuals

an

no trick or shortcut to creating a

depends upon

Ii

for the

ithout

individual Aside from the possibilit) of an inborn talent, there is

Look

family resemblances xx

between

painter- lake photographs to use

and

background.

DISCOVERING KEY ELEMENTS

entirel)

formall) (

/vixji>

ii.i

101

oixi

W.M

107

*:

oi^j

:rvi

The figure in context hi

most

artists,

ugure painting is

Hindi more than a technicaJ exercise ilic

he true fascination of human subjects

I

sense of identification,

when

lie* in

the painting portrays

either a particular person or a descriptive type and

inn-

bea

1

lie

subjecl into a specific context

place,

an

acti\

ii\

— which could

or event, or an unfolding story.

Manet's painting suggests all of these elements. The central figure

is

a straightforward portrait,

and we

recognize her occupation from her surroundings: but the mirrored conversation provides an additional i

atrigue.

The atm< (sphere of the bar is created both

— the lush

through complex close-up detail descriptions of the bottles,

fruit,

and (lowers on the bar

— and the sketchier treatment of the broader background.

c<

mveved through the mirror, with

crush of bodies and scintillating

lights.

The relationship of the reflected foreground defies

not

its

normal proportion and perspective

figures

— they are

much diminished by the additional "distance"

created by the mirror. And

you transpose their

if

spatial relationship to the foreground area of the

painting,

it

appears that the

man should be standing

directly in front of you within the picture frame, effectively blocking your view of the bartender.

Since we

know that Manet did a great deal of

preparation for the painting,

it is

convey his

idea.

It is

made

to

Bar at the Folies-Bergere,

important to remember that

still-life

Some of the figures have

identified as friends of

artist, giving

the image a

a

In

placing the figure

from different sources.

close viewpoint,

variety of elements, perhaps recorded at different

Manet made sketches

times and for different reasons.

cabaret bar, noting figures

picture. But the device of

and objects, and also the

the mirror behind the bar

atmosphere of the busy,

enables him to open out the

technique.

Uthough you are naturally

style,

done

familiar with

105

brightly

lit

scene.

>

in his

the

in

The

painting of the figure

and

—

the

Manet

draws the viewer into the

space and describe the

was

studio, using

in

one

wider context. is

cut-off legs of what

is

presumably an acrobat

composition, and taking a

can consult for inspiration on subject,

the organization

notice, for example, the

from key elements taken

\( hi

in

reference.

painting does not have to be a faithful record. especially if, as in the.Manet, you are putting together a

innumerable examples

There are some quirky touches

immediacy of an on-the-

centrally

in art for centuries, there are

from the direct frontal view.

of shape and form

it is

in

the scene not apparent

more personalized frame of

composite image assembled

COMPOSING FIGURE WORK Because the human figure has been a dominant theme

giving her an active role

This painting has the

spot impression, but

evoke a mood or narrative. Your

been the

1881

adjust different elements to enhance the purely visual

and

(1832-83)

elements.

background

when you construct a composition, you can select and qualities

countertop and

obvious that these

ambiguities were deliberate: his decisions were to

Edouard Manet

A narrative

created by the mirror

of the Folies bartenders,

reflection of the

Suzon, as the model, with

gentleman apparently

recreations of the marble

talking to the bartender,

tall

suspended

in

the top

left-

hand corner of the picture.

other artists to study THEODORE GERICAULT

JANVERMEER

EDOUARD VUILLARD (1868-1940)

(1791-1824)

(1632-75)

Gencault demonstrates a

Firmly rooted

occupy very particular

powerful sympathy for both

domestic

locations, and he includes

the

interesting props and

human condition,

background

ranging from the ambitious

ordinary but highly

Raft of the Medusa. 1819,

decorative settings.

through portrayals of heroic

evolved a loose painterly

of the pictures have

Napoleonic

style of patterning the

allegorical significance, they

troubling portrait of

Vermeer's sublets

typically

details,

precisely and beautifully

rendered. Although

some

human form and the in

in his

Vuillard's

life,

paintings portray close

works

officers to the

A

family and friends

all

in

He image

over, with figures and

are remarkable studies of

Kleptomaniac. 1822-3. one

objects quietly emerging

domestic

of several studies painted

from the massed colors and

life.

a lunatic asylum

in

in Paris.

lights.

DIEGO VELASQUEZ

THOMAS EAKINS

(1599-1660)

A Manet models the face with loose brushstrokes that

cohere into

a

smooth.

The figures

in

the mirror

The major American

distance created by the

dealing with grand

of the nineteenth century,

But Manet has

reflection.

used strong tonal contrasts

on the dark eyes give the

and bold shapes

model

of the painting.

luminous gaze

(b. 1937)

painter to Philip IV of Spain,

serene portrait Bright

a

(1844-1916)

Although he became court

are indistinct, suggesting the

white highlighs pinpointed

in this

part

portraiture settings.

in

Eakins

formal

Velasquez had

chronicler of

painter

made studies of

contemporary life ranging from people involved

proved a dramatic

more

DAVID HOCK NFY

in

sporting activities to

surgeons

work. His

Hockneys' colorful, clear figure paintings

and

portraits expressed an idea

of style and high living

1960s and 1970s.

In later

works, he developed

a

mundane occupations in early works such as Old

figures are precisely

collage

Woman Frying Eggs.

realized, with a dramatic,

systematically built

descriptive sense.

hundreds of individual

1618,

and The Water Seller, c.1620.

at

the

in

technique of photographic in

which images are

from

snapshots.

< A mass of tiny, active brushstrokes

flicks

across

the mirrored crowd, picking

up

lights,

shadows, and

color accents that convey the complexity of forms

through varied degrees of definition.

Painting die

60-61

I

I

84-93 150-157

> FFERENT

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I

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he proportions of the K and face

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Painting «

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Carole Katchen

Zach's in the Afternoon Oil

By contrast with Mortimer's painting, the

mood here is

relaxed and intimate. artist

The

uses strong shapes,

densely

worked

lights

and

darks, and inviting colors to

create atmosphere. She simplifies

the

detail,

but

provides a charmingly descriptive portrayal of the

people and the setting.

Ajustin Mortimer

Three Seated Figures Oil

The central

figure

is

confrontational, while the

others are

self-enclosed,

in

defensive poses. isolation

is

A sense of

emphasized by

the muted, bare

environment, although figures and

background are

painted with active

brushwork and subtle touches of beautiful color.

Daphne Todd

The Daughters of Mr and Mrs Giles Curtis Oil on

wood

Individual character

comes

through the poses and expressions

— the calm

concentration of the older girls

offset by the playful

posture of the one behind, but they form a close-knit group, and naturalistic colors contribute to a gentle,

domestic mood.

K2I3BESS PROJECT

PROJECT 2

shapes have

group

Emphasize a mood Pick up some distinctive

pulled

Choose two or three

aspect of the previous

consider

sketches or photographs

painting

from your existing

the figures; a dynamic

reference sources that

movement leading the eye

underline the

show an interesting

into or out of the group; a

trying to convey.

1

Constructing a figure

figures on a da) -to-day level this does not easy to paint, particularly

same time as making a

at the

make them

you hope to convey an

if

idea

accurate and

fairly

gnizable representation ll

\«ui arc

(bcusingon a single

figure,

it

is l>c-t

I

live

model

to pose for you

easonSixin Pan

comes alive

if

more

make

In

to

your subject Working from

of

ensures thai you have a

lull

ven

il

you do locus

«'n

in

you may w

but be also painted

impression

tin'

!

.1

diem

\- reference lor tin-

imaginative, expressionist

approach to

this

pushed the figures closer

it

quite

if

ulier.

how

the limbs and main body

overlap,

and communicate

l>\

gestures

— a hand

dm nun one figure to another, a pointing finger, I

an embracing arm implies direct interaction,

\\

ithin the group. Alternatively,

you might want

very close, bo thai the figures press on die edges

of

the

mood.

hen you have the figures positioned, you may also

have certain spaces between them, and surrounding the group, that you need to neat positively. As with a

and importance

Here there are dynamic shapes

and rhythms, caused

a

effectively in relation to

background can

narrative part.

can. on the other hand, he purely

It

it

the figures and

J getting several

Imld a formal pose means that vou will

(

m sketches and/or photographs,

be working fn

down and "pushed

hard ahout how the background links

composition.

<

can he played

play

back to focus attention on the human subjects. You

each

need

he impvacticaht]

an important

single figure, the

decorative, or

the figures' interactions, that

l>\

yon need U> organire

1-

other and to the pictorial space and outer frame of your

\ou

to think,

complements them asa group. me drawback to working from photographs

will

that

i>

probably have to put together figures which

probably selecting people and background details

have been photographed from different distances and

front dil'linnt —

an QOt

aapeofl

•

•!

1

-

jr.

-.,|

1

a

groupare more than just formal

omposition,

and textures

that

>rc .\ f

i<

Imir

andean even

relationship between the subjects "I tin-

1

li\

each other. The lighting,

also.

workinfi from draw inns

106-109

Expressionist approaches

may

photographs. Pay careful attention

shadows do

nol

make

appear

if necessary, re-trici the tonal key ol die

make sure am obvious

lean toward each

>i

ith

idely in the

highlights and

the

1

w

individual parts of their bodies, and

a story. Inactive

expressed

w

in -cale

52-55

to

die relative scale of both complete figures and

shapes, colors,

you put on die page Tney also set die

hi«mn| of the picture,

anide

(see Lesson Eighteen).

you have

together, think about

tones and colors.

picture, creates a confrontational

different proposition.

Tli'cKnaini-

project

by physically separating them from the others. ( loming in

.

in scale

»i

this

to emphasize the isolation of one person in the group

kind of

approximately equal

usually

fellows. Reconstruct the

interwoven. Paint

tension

figures in which all die subjects are

people

You may

more

turned away from each other express unease and

FIGURE CROUPS

I

mood you are

composition to give

For example,

\\

t«>

the

w bereas folded arms, hunched shoulders, and bodies

in

crowd — a

n Eight foraoS ice on sketching people

\-

wish to take a

its

aspect greater emphasis.

hi

approach, you can use photographs and sketches see I

fairly

from

forms overlapping and

held

\-

each ofwhich is only partially -ecu ami

mranrmalrj emerge

how

background color or detail

ish

rendered inexactly, as glimpses of individual features just

you have

can be manipulated to

complex grouping, with

1

the BarattheFolies-Bergere

way a- to capture

ii.a-- "i figures

more figures Use the

realistic

explained, Manet included portraits of his friends

Bach

if

farther apart,

telling details.

a single figure,

among the btf customers,

figure isolated

straightforwardly, with

range of information,

include other figures peripherally in the

surroundings, as

between three

information to draw a

interesting or help to convey a

>m » huh you can Beted the most I

or

hook, your painting

the composition ol your

penonaliaed impreasion life

ts explained in

you include props and background

detail thai simply

picture

One of the

the closeness of

them

to relationship

have a

interlocked;

become

1

1

1

mi re the

84-93

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omposition

inconsistent —

painting to

150-157

Painting willi

192-197

Painting with mixed media

oils

variation- are minimized.

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it

Yi»i-»ic»I\J

W.M

1

,1X1

Expressionist approaches Vincent van Gogh (1853-90)

Expressionist painting goes bevond appearances, using devices of

technique and composition to develop

mood and

atmosphere By distorting or exaggerating particular

The Night Cafe, 1888 Van Gogh's

aspects ol the subject, the artist directs the viewer's

emphasize

response toward the emotive qualities of the picture. I

he picture

objectively.

is

An

Expressionist painting

necessarily "unreal."

the

in

drawn subjectively rather than and

it

is

not

it

use of color

this painting

to represent

intense emotional qualities: "I

need not he threatening in

manner of van Gogh's .\ight Cafe, but

own words

his

has to

have tried to express the

terrible passions of

humanity by means of red

challenge our normal perceptions of reality.

and green ... have tried to I

express as

COMPOSITION AND STYLIZATION Main different devices are employed in The Night Cafe to develop the sense of unease and imminent violence that van Gogh wished to convey. The perspective of the room is based on normal conventions, with the side walls and floorboards appearing to converge toward a vanishing point. At first the room seems to be a large open space, but there is something odd about it perhaps it is too large, seeming to open out and threaten to engulf the viewer. The exaggerated directional lines of the walls and floorboards,

—

were the

it

powers of darkness

in

a

low

public house, by the use of soft Louis

XV green and

malachite contrasting with

yellow-green and harsh blue-greens

— and

all

this in

an atmosphere

like a devil's

furnace of pale

sulfur."

In

creating his visual

impression of the cafe as "a place

where one can

oneself,

a crime," van

curious sense of momentum, as

used sharp tone contrasts

you might suddenly

find Yourself hurtling toward the cavitv in the wall.

Although brightlv

lit

in the

and tables placed near the walls are thrown out to the edges of the picture. The cafe customers occupying them become isolated and distorted perspective, so chairs

almost insignificant. This leaves the pool table

whether he

is

Distortion

the figures convey various

degrees of misery and apprehension.

occupying the wide center space, casting its coarse

confronting the viewer directly.

room toward the small doorway at the back. The attitudes of the open space of the

composition follow the

shadow. The cafe proprietor is an ambiguous

\

that funnels you through

has a crude, ugly shape harshly outlined in black.

Other elements

Gogh also

and a distorted perspective

from behind, this doorway

The figures are drawn as simple, basic shapes that

figure,

accommodate van Gogh's

We do not know

heavy brushwork and

welcoming or hostile.

thickly impasted paint, but

and

the poses are expressive.

stylization are characteristic features

of the Expressionist approach. As in this van Gogh, the

Dark

impression of space and distance can be heightened

contours and heighten the

through exaggerated perspective.

colors.

In landscape.

architectural, and interior subjects, selective

109

>

^s

->&;

to suggest harsh lighting,

back

v

V

go mad or commit

emphasized with slashing brushstrokes, create a if

v\

ruin

lines

emphasize their

V

1

•lJ.iVVJTt.l

!« {•[ •I-nU'A'j

JAMES ENSOR To convey

The Kiss. 1892.

1893,

(1860-1949)

The

Portrait in Hell. \69S.

his pessimistic

and often semi-

stylized,

Jealousy. 1895. and Self-

Both the subject

abstract.

matter and

technique,

his

view of humankind, the

shapes, colors, and textures

which uses strong color and

Belgian artist Ensor

bridge a gap between reality

gestural brushwork, are

transformed ordinary

and

typical of the Expressionist

people into

world.

a gallery of

a privately

conceived

approach

in

painting.

nightmarish, macabre

FRANCIS BACON

EMILNOLDE

some even wearing

figures,

grotesque masks. Often paintings have a strong

Nolde's paintings cover a

Bacon developed

personalized form of

narrative background, while

range of subjects from

others express emotions

biblical

and atmospheres through

studies of flowers and

EDVARD MUNCH (1863-1944) There

is

themes to simple

landscapes, with

figurative imagery.

nothing veiled

moods

and space feature

rarely harsh or garish

demonstrate a

in

the

manner of earlier

wonderfully expressive use

Expressionist works, but

of pure color.

even the color harmonies

somehow contribute to the

KIRCHNER

titles

most famous

disturbing effect of his paintings.

(1880-1938)

works, such as The Scream,

of the lamp

violent distortions of form

benign. His watercolors,

ERNST LUDWIG

Expressionism, as

of some of his

which

in

prominently. His colors are

charged emotional

demonstrated by the

Expressionism

a highly

varying from menacing to

particularly,

about Munch's highly

The glow

(1909-92)

(1867-1956)

his

Kirchner's imagery

is

heavily

is

painted as a radiating pattern of colorful strokes, using the sulfur yellow that

dominates the picture, and also slashes of green that

make the

liTHlrt?

illumination stand

40-43

out through complement-

T 1

\

In

,

,

,;.;,,, ,t

\TfoT||

rules "1 perspective

ary contrast with the red

background.

I

III >

1

x rv i >

110-113

Expressive color

150-151

Impasto

i

^

i

i

107

10

I.I

r\j

ii

i

: :ivj

George Rowlett

element

is

the use of active

Night Canal, Venice

brushwork to disrupt the

Oil

stability

A particularly Expressionist

an architectural subject.

M Gwen Manfrin

the painter uses the actual

Bedlam

textures of the materials

Pastel and acrylic

and high-toned pastel

The poses of the figures and

colors to achieve these

their relation to the picture

qualities.

of solid forms, as

< Peter Clossick Lynn Clare Oil

Heavy brushwork and dramatic color changes provide a striking portrait.

Form

is

directly expressed

by the movements of the brush modeling a series of planes and curves.

The artist

has used complementary contrasts

in

warm brown

with cool blue, green with pink, but the particular

tones and hues create discordant notes that suggest a turbulent

mood.

frame convey

a

powerful

sense of chaos and distress.

Harsh

lighting

and texture

are also disturbing features;

in

j

the pro PROJECT

1,1

bird intended to express

1

Expressing

mood

Paint a self-portrait

composition and distortion

the subject can create a

"I

mood. Paintings from the figure conunonl)

particular

use a method similar to caricature

1

he characteristic

features o! faces and bodies are exaggerated. even d> the im >uii

also .

!

image or

associations, h can

its

lulplul to simplify detail, so thai a person

Ik-

»j«-»t 1*

make

means of emphasizing the

of deformity, as a

narrative [x>mi of the

11

reduced

t

«

h.

1

>

«>r

essential ingredients thai

>-«•

recognizable But

\

-till

spressionism does not

acrylic using color

in oil

a

mood. For

its

— the power and

aggression of a beast of

containing too

much

-and make several color sketches distracting detail

prey, for example, the

investigating the "sense of

sinister quality of I vulture,

place" through varying

or the timidity of

moods. Select

Use

a

deer or

specific

example, an angry portrait

rabbit

might have intense, strong

naturalistic color range

colors and harsh lines

suited to the

describing eyes, nose, and

subject and avoid the

and develop the color

mouth;

temptation to make

scheme

a tranquil

image

non-

a limited,

mood of your a

features of the scene as the basis of each composition.

then interpret the shapes

in

a

manner

could put an emphasis on

simple likeness. Instead, pay

appropriate to the chosen

harmonious colors (not

attention to the variety of

theme. Try using pastel or

brushmarks you can use to

watercolor to

describe the creature

colors freely.

strictly naturalistic)

Expressionist devices are used to create lyrical,

fluid,

and

curving shapes.

lay in

the

expressively.

alternative realities.

>>|

or

and

always aim to provoke or disturb. Sometimes

appealing ^ isions

character

brushwork to describe particular

yj

PROJECT 2

COLOR AS EXPRESSION ts described

van Gogh, the colors ol The \ight

l>\

(

m 'in.

1

brighmess throughout

emphasized

l»\

I

i~« «

>rd

he intensity of these vivid colors

ana-

contrast with

"1

1

is

enhanced

yellow, used as the

•

— one not

Expressive use of color

1»\

that

tints.

is

in

an image

particularly dramatic

or unconventional. This

their

naturalistic, informal

lark tone,

theme color in

iationa, particular!)

interior or

exterior view

need not result

portrait by Rosalind

Cuthbert subtly opposes

several of van Gogh's

the predominantly

major works. Uthough yellow has some pleasant -

Choose an

.

startling feature ol the pamting is the dominant

\

make a brush

"I

the use of several differeni greens,

ranging from acid yellow -greens topali sea green I

reference,

he clashing ol values is

1

photograph as

ih

strong contrasts of light and

The natural

local colors

colors of

and tonal

another useful contrast, with

its

muted grays

relieving the

and shape

otherwise nearly

modifications that are

that

predominantly warm, offset

symmetrical.

absolutely solid and

by the cooler, acidic hues of

so keenly

dense mass of

balance of a composition

observed that they appear

fruits are

many 120

Apples and

is

The frontal viewpoint

other artists to study albrechtdOrer

DUTCH STILL LIFE

(1471-1528)

PAINTERS OF THE

SEVENTEENTH CENTURY

Durer's famous watercolor

The Young Hare.

1502,

is

a

The elaboration of detail

wonderfully evocative animal study, seeming to

and

describe every hair and

variations

whisker. Similarly,

Dutch

in his

same detailed

scale subject can

musical instruments to food

grasses.

and flowers. Few of these

PieterClaesz( 1597- 1661),

CHARDIN Chardin's

still

lifes

and Jan Davidsz de (1606-83)

known

are

regarded as classics of the

genre

is

in

heavy shadow, the

detail of its

form reduced to

the highlights describing the curves of

lid

and rim.

— precise, detailed

individually as are

other seventeenth-century masters such as Vermeer (1632-75) and Rembrandt,

composed of quite ordinary

but their work

objects, such as basic

appreciated and sets an

foodstuffs or the props

around the curves of the

coloration and brushwork

though not fully

Heem

— are as well

statements typically

make out the brushstrokes worked apple;

— such as Ambrosius

Bosschaert( 1573- 1621).

(1699-1779)

pot

be

from books and

to simple wildflowers and

SIMEON

just

demonstrate

analyzed

JEAN-BAPTISTE-

You can

the complex

observation and description

artists

A The shape of the pewter

in

still lifes

how intensely any small-

Piece of Turf. 1503, he applies the

sensitivity to color

his

in

own studio. The

is

widely

exceptional standard for

acute observation and realism.

are subtle and delicate.

blended, they construct a unified form.

focuses still life

all

attention on the

group, and the

simplicity of the setting

—a

shallow space consisting of flat

planes and discreet

coloring

— emphasizes the

modeling of threedimensional form.

mposinga mhi

150-157

hirv

4

Trevor Stubley

s»J vmHF^h VW-TcBHfcW.

7WHI

the watercolor washes

contrasted with the hard

edges and linear highlighting of the dish.

tt^

t

th eproj ectsl PROJECT

stones from a favorite place,

1

for instance, or

Everyday objects Devise

compact

a

group using

just a

ob|ects with simple, distinct

shapes

— natural forms

such as

fruits

buildings have

many

naturally picturesque qualities,

but here the

artist

as plain-colored cups and

paying attention to the

Keep the

important to you.

wood

local color,

are

with

light

washes, brush drawing, and

for the highlights and

Go sketching outdoors,

shadows;

using watercolors or pastels

uneven

on black and white

try to see the

variations of hue and

as

counterpointed by the hard

intensity of color created by

making broad,

the

the lighting.

impressionistic landscape

shallow

PROJECT 2

individual elements, such as

relief,

Objects with associations

a patch of flowers

the wire

The

grille in

views, instead focus

close, frontal a

a—

[".inning-

al-<

in.

•

-i !_'_•

\ tlu'inr

i-.i

-i-

some kind

ouniniiii

ol

toman)

Make a painting based on

or shrub with fascinating

objects that have special

form and

appeal to you because they

translate your subject with a

convey memories and

high degree of accurately

—

colors

in

the

c

"iilcl

m,ik>- |i;immiLr -

relate to a particular hobb)

aaon

in

your life,

I

In-

u

1

11

1»

isn't

helpful to pause from

your skills of observation subject,

1

h>-

1

In-

more options you

ol

time to time to

more you can see in your lia\>\

pictorial

which

space

colors are said to be likely to advance or recede

from the picture plane; but rather than theoretical formulas, n

color

and -hade.

their interactions,

can be related to the impression

Some

— notonl)

n-l.ni.iii-.hip- in

is

essential that

rely

Lngon

you consider

the actual context of your work.

harmony or contrast ating subtle linkages across the picture plane and

H\ organizing the effe* tsol

an image, you need to consider h«»w your brushwork

and

paii 11 texture contributes to the construction,

translucent glazes and broken color enable \n to layer the surface effects corresponding in

1

In-

planes

and textures in the subject. Opaque, heavy colors create a more dense, uniform surface that affects the structure differendy. ^gain, there

is

mi

right

or wrong wa) of

approaching these elements, just alternative solutions to

be aware of as you develop both composition and

26-27

11 11

and

1

1

i|i

ci ilni

1

technique

27

relating the tone and intensity of applied colors to the

larmonious and complementary coloi I

arrangement of vour composition, you can do much to

enhance the impression

1

48-51

\u

landscape, for instance, the linear frameworks of large

and the well-know

acrj

1

ma) he helpful to choose

soihethingthal offers you immediate visual cues. In

and Binting inventive ways of applying and mixing colors on the canvas r paper, rhis applies l>m-li

it

n Tropical Storm

Henri Rousseau 1844in

( l

'l

STYLES

133

1.1

13

>ini

r

rwi«:i%ri^v-c>ixi

memory, and dreams

Fantasy,

S

Henry Fuseli

urprisingl} lew paintings come

'direct Iron) the artist's imagination;

Even when

inn~i arc Eirmly grounded in the real world.

the imagery

is

overtly fantastic or shocking,

usually evolved realities

from a combination

and imaginative

ol

it

The Nightmare, 1782

has

The combination of the

observed

erotic and grotesque

possibilities. Artists are

bv

when

emerge from studying the character of things very

and then working on a "what if principle. hat if you take an ordinary scene and insert one

something known

to

it

was first put on

exhibition, and

closely,

absolutely out-of-character element? What

in this

painting caused a sensation

nature inquisitive, and fantastical paintings can

\\

(1741-1825)

it

was an

instant success. Highly

respected

if

Fuseli

be solid and enduring was

in his lifetime,

was ignored

for about

a century after his death,

made to seem changeable or fluid? If pigs fly. what would they look like when flying? Some artists do seem to invent their own eccentric,

suddenly

until

could

Surrealists rediscovered his

highly personalized worlds, constructed from unusual

volumes and perspectives and populated with strange

humanoid forms or unfamiliar creatures. However, it

the Expressionists and

works. The Nightmarebas since

become an

style

of imagery that seems

icon of the

to tap into dark,

subconscious fantasies. is

pretty well impossible to imagine

something

completely beyond vour own experience. A weird

composition

townscape might consist of architectural forms that

organized to create a

up in the real world, but this implies knows something about true perspective

couldn't stand that the artist

and relationships of space and form, to invent

in order to

be able

an opposite effect. An image supposed to

represent a living being, however extraordinary'

It is

interesting that the

formally

is

balanced structure, and

employs well-established pictorial conventions, such

as the heavy chiaroscuro, to

achieve

its

its

dramatic effect.

shapes and features, will inevitablv evoke references to

Although the

some aspects of real human or animal

execution creates a

forms.

style of

heightened sense of realism, Fuseli uses distortion

SOURCES OF IMAGINATIVE COMPOSITION

inserts imaginative detail to

Different kinds of experiences create personalized visions. Storytelling

might choose to heard

— from a

is

enhance the theatricality of

the basis of "other worlds": vou

illustrate

novel,

for

anatomically incorrect,

example, or a scenario that you have developed for yourself

Dreams are a direct resource

The graceful lines of the woman's body are

the image.

something vou have read or

poem. song, or plav.

while the horse's head

— not evervone

caricature, but

me pan of a dream, and there is often a fantastic element because dream logic doesn't conform to

blank eyes.

•

normal routi] tes and expectations. of fantastic imagery described as

136

>

is

exaggerated to the point of

remembers dreams in much detail, but sometimes vou wake with a startlingly clear picture in vour mind of

The kind

and

menacing by

made

its

horrid,

>i

j

'i

:'*-w-nn^rOTFi

WILLIAM BLAKE

really?

biblical

along with his

on

themes,

own songs

and poems, and he

developed

happen?"

mundane situation needs little

intervention to turn

it

into the stuff of confusion

and nightmare.

a highly

SALVADOR DALI

personalized style and

technique to portray

(1904-1989)

his

unique visions.

GUSTAVE MORE AU (1826-98)

meanings

and associations

in his

imagery and with

a vivid

producing one of the most

(1840-1916)

consistent and recognizable

These ma|or figures of the

movement

produced many

Dali played with

style of hyper-realism,

OOILON HE DON

Symbolist

this

— that show how the most

(1757-1827) Blake's images are based

myths and

Could

expressions of the "alternative realities-

proposed by

rich,

Surrealist

of the mid-twentieth

elaborate, and technically

artists

inventive images conveying

century.

other-worldly values.

highly eclectic and also long-

Drawing on

lived, Dali

history and

However, being

encompassed

a

mythology, the works

great range of experiment

include detailed

the course of his career.

in

—

observations of reality

MARC CHAGALL

mixed with imaginative

(1887-1985)

symbolic forms.

Strange people and

RENEMAGRITTE

creatures exist

(1898-1967) deadpan men

Magritte's

in

dreamlike

settings, able to defy gravity in

and otherwise go beyond

derby hats and bland

the normal reference points

domestic interiors

of the physical world.

participate

in

a variety

of

events by turns ambiguous, surprising,

and shocking. His

paintings continually raise

questions

— "What

is

this

Chagall's style of lyrical

expressionism creates a

world of brilliant color and sensuous form,

alive

with

narrative symbolism.

further information 106-109

I

ixpraeionisl approai hes

122-125 Working to a theme

I

IIIMI

/vrvi>

i

^

i

i

135

136

II

>TNI

TnWI^IXJTY-OIKTl

surrealism typically involves a reversal of expected forms. It incorporates juxtapositions of ordinary objects in unusual relationships: everyday scenes

disturbed by something additional or out of place; subversive changes in the apparent scale or weight of

environments and objects: people taking up impossible poses, strangely dressed, or involved in activities that

seem

to have a ritual logic inaccessible to the viewer.

Some kinds of surrealism are semi-abstract, arousing the viewer's memories and associations, but refusing to

confirm or deny any specific interpretation.

Memories are a source of personalized imagery, and realities. Have you ever returned to a place where you were taken on

memory plays tricks with observed

A Rosalind Cuthbert

and space, putting

The Nightingale

objects into unreal

Mixed media

relationships.

An

like quality

interesting feature of

imaginative composition

is

the ability to play with scale

is

real

The dream-

enhanced by

techniques that create soft veiling

of the colors.

Daphne

Casdagli

The Story of H orys

1

Collage and acrylic

Ancient mythologies and cultural

symbols are

rich

sources of subject matter.

a- a .In Kl

vacat

.iiul «li-. •overed

dial pre\ iou&h

PROJECT

I

huge and looming,

Pain your

memory of a

viewpoint or

vou see? Scale is an important aspect of ehildhood experience \n open landscape by the sea or in the countryside can seem vast and unconquerable toa

disturbing

Or paint one that you have

outside the image, as an

ordinary context. Try

earned Whichever you

hut

find \u

when you

can walk

return

all

i

the place as an adull you

the way across

matter ol

in a

ii

paintings based

dramatic elements such as

collage.

you remember

non-ob|ective color and

reproduce the image

heightened tonal contrasts

faithfully,

to emphasize the

two

interpretive qualities.

expressive approach (sec

it.

Think

how you can

construct the picture

way

in

a

that expresses your

For example, a very low

event, I

>»i

person

bom another pan

scene,

perspective that

TE

drawings or photographs

makes

objects and people seem

Putting together images

derive your subject an

M Catherine Nicodemo Love scene

arrangement of the image and the surface treatment

Ii

Pastel and watercolor

man draw on "teal" references. Inn doesn't have i" convey them in an objective way Surrealism can be it

A gentle, lyrical mood

curves of the landscape and

painting techniques to create a hyper-real image. The

\

is all

the

iewer has the impression

Mm

harmonious rhythms of the

more shocking if the

figure groups.

seeing a "true* picture.

of this painting creates a

"|

M>u ran manipulate purely formal elements, such

a- shape, color, realistic

image

ami tonal modeling,

clear, translucent rich,

pink

9&.

wuli

i

conventions of scale and perspective in

dark tones of the

story behind the image

the narrative you want to put

lou can simplify and distort actual forms, pkn

lit-

series of fascinating works I

nun

\ ici iria i

1 1

by collaging pieces taken

engrav ingsthat were originally book

not

explicit,

and surface

is

but the

underlying emotional

content pictorial design, create peculiar textures

do the

hues and

watercolor palette. The

elephants, blood-red rivers, or whatever conveys die |

The structure

feeling of serenity, as

to develop a non-

that follows its own rul<

emotional impact

is

conveyed by the undulating

you use controlled, careful draw ingand

disturbing element

more

CHNIQUE

rom » batever source you

il

then paint one or

that take a

also pages 110-113).

imaginative composition gives you great scope for the

very effective

One should

PROJECT 2 Make a collage from

viewpoint produces a

life can

m Aide you with a picture of a non-objective realit)

COMPOSITION AND I

\«>m

i

on your

above You can also use

huge, grotesque, and threatening toa child

moment fnewa) you remember a

making two or three

mood and atmosphere as

relationship to the sub|ect.

vulnerable

observer hovering

decide upon, exaggerate the

minute& Similarly, even well-meaniiig adults can seem ai a

alien

a

mood in an

perspective puts you

about ilulil.

new

that describe

composite formsorcic.u<

scene or event

di

dear, detailed memories do not correspond lowhal

a high

aerial

is

unambiguously

illustrations.

portrayed.

rhythms relating to the thickness of the paint and the

movements ol your \

especialh interesting that you see, and in

which you

can note down imaginative ideas that occur to you, is a I

he wav sketchbook pages

images (rom

evolve randomly', with a collection "I

and

l

other painters,

technique from current styles ol illustration

sketchbook recording anything unusual or

different locations

work

you can get some useful ideas about imager) and

brush.

useful personal resource

In addition to looking at the

events,

sometimes suggests

unexpected combinations ol pictorial elements,

\

books,

in

magazines, and posters dealing with fantastic and

dreamlike subjects. 1 he immense popularity fiction,

l

science

horror stories, and magic realism in literature

and films has produced specialized

illustrators

achieve an exceptionally high standard

in

who

their work

Mthough the images were original!) designed

lr

scrapbook of photographs culled from newspapers

reproduction only, man) have become collectors

and magazines functions

items.

Surrealibt painter

Max

in a

Ernst

similar way

1891-

1

*

*

*

»

I

he

1 r^T- ^"1 - 'T 84-93

(

{imposition

produced a

192-197

Nil

/vrvi>

Painting «

aTVI

>i

i

1

mixed media

137

138

II

i\v i :niy-iw

€ >i%i

Abstracting from nature For some people, the word "abstract automatically signals that a painting

w

ill

Victor Pasmore

(b.1908)

be difficull to understand and possibfj

uninteresting to

lonal renderi ng of three-dimensional space and it

forms of landscape

previously produced

common to us all, and that we

example, an abstract painting can be a two-

form: or

particular location, but to

an inner experience of the

not as readily accessible to the casual

a recognizable

as. sav.

1950 This painting refers, not to a

is

response to particular themes and methods, and that respect

Green,

Blue and Gold: The

may obey particular conventions of

move into more formal explorations here beginning to

of abstraction loosely based c(

imposition and division of the picture plane.

It is

also

on landscape themes. The

composed of the same materials as other paintings, and therefore represents similar preoccupations with

spiral

technique and surface values.

paintings.

The idea that figurative and abstract approaches are worlds apart

is

absolutely

false.

But

this

is

not helped

and critics who have felt it necessary to create a kind of competition between them, and to claim one approach as being more universally valid than another. In fact, since abstraction became a bv some

artists

common, even for a while dominant, form of painting in the

middle ol the twentieth century, the two

motif was a key

element

partially

in

a limited series of

The spiral adapts

and wholly to the

rhythms of landscape features, and the colors are

appropriately distributed.

But although

it is

easy to

read the spatial relationships of land, sea,

and clouds

in

the image,

apparently different disciplines have usefully

which suggested the

exchanged developments of style, concept, and

figurative title,

technique, so stimulating both areas ol image-making.

versa.

If

you are one of the people who has felt excluded

from abstract i

iot

art. this is

most

likely

been given the means to relate

know and understand about

because you have

it

bit

you do

painting. This article,

the following feature on abstraction,

knowing a

to things

and

may leave you

more.

SOURCES OF ABSTRACT IMAGERY There arc two basic methods of developing an abstract Style. One is to use objects and images from the real world as reference points from which you evolvea

it

was the completed picture not vice

The full title

identifies

the painting primarily

through the basic ingredients of its

composition.

other artists to study NICOLAS DESTAEL

fellow artists

(1914-55)

New

De Kooning

and 1950s.

impasto together with

focused the

color theme

variations

the

York School of the 1940s

Strong shapes and heavy

brilliant

in

a

evoke the lights

human

source of abstraction

Other works show

andtownscape.

in his

Woman series.

well-known

and textures of landscape

figure as

explicit

references to landscape origins.

GRAHAM SUTHERLAND STUART DAVIS

(1903-80) In

work based on the

landscape and

its

(1894-1964) Davis'

individual

work

exhibits a

on the

features, Sutherland

refreshing variation

evolved a fascinating range

abstracting from nature

of semi-abstract pictorial

theme,

equivalents to natural forms

forms and graphic imagery

utilizing

man-made

to develop a decorative

and environments.

abstract style.

WILLEM DE KOONING (b.1904)

Working alongside the purely abstract

modes of his

personalized, "abstracted

qualities,

interpretation. [Tie other is

formal pictorial elements and material

in utilize purely

such as non-referential shapes and color

relationships and surface effects directly relating to the

material properties ol the chosen

medium. The second -

approach

is

investigated on pages 144-

1-+"

.

abstracting from nature we can take to mean ilti i\ I

ing abstract imagery from things actually seen.

andscape

i^;i

frequently used resource for

approach, perhaps because us

i

Reduction

I

i" essentials

he picture Burface

rYLi

139

140

II

rv

r

rwii:ixri^v-i"W€>

detail that

cannot be clearly identified

at a distance.

But this basic method can equally well he applied to other themes like figures, natural and objects, indoor

man-made

and outdoor environments, and actual

events.

To describe

this process of abstract analysis in (lie

most simple terms, we can take possible examples and relate

them

to figurative interpretations. For

landscape of fields, hedgerows, and distant

example, a

hills

can be

seen as a series of rhythmic shapes each of which has a

dominant color; an abstract painting of such a view might look something like the image that a figurative painter would achieve while blocking in the landscape in the early stages of the painting

medium or

AlMickSwingler

particular

Landscape Euphoria

mixed-media approach.

Roy Sparkes

A

Doris Tysterman

natural subject such as

Watercolor and pencils

flowers can suggest ways of

Some natural forms have

involved with the pure

unleashing these properties

very strong, characteristic

sensations of color and

freely,

texture available from a

observed

Acrylic

Abstraction

is

frequently

but from a basis of reality.

shapes that can be isolated

and rearranged.

— broad contours

the projectsl PROJECT

ami color areas not

broken up

yet

l>v

seen as an elliptical shape colored an overall

or

changes simply by gluing

Using a similar subject,

pieces over each other.

make a color drawing with

PROJECT 2

the contours of shapes and

still life

view that

- a

is

legs can be interpreted as

areas ol

l>ld

color and pattern

Often, in am subject, vou can identify linked and

and create an

pattern

so thai \u discovei

MMtraction means

contrast

l

similarity

initial!)

and

breaking do* n

what you see before you into simple, sometimes verj obvious visual elements. You can then start to examine

m a representational

the detail, a* you would

and

M-e

w hai other information

that enables

painting

prw ided »

\>>u are

some detail

but using paint to create the

interesting textures or

patterns on the surface of

your base paper (see pages

in

202-205 for more about

\n see,

elements, such as

color areas Apply the paint

this

within the range ol hues and tones thai

including

Repeat the pro|ect above,

colored paper collaged to

your interpretation rhesameft peol linkage can

made

A painted abstraction

cut and torn pieces of

repeated shapes and forms that give a sense of unity to l>e

Drawing with color

brush and paint, following

still

abstracted color study using

basicalh c\ lindrical forms and clothing as separate

make

familiar to

you — or set up a simple life,

uniform pink Vims and

PROJECT 3

other, and you can

Choose a landscape theme

the particular

detail "I indix kJual features. In the same waj a race can lx-

overlap and modify each

1

Collage from a landscape

different

ways to vary the

the objects you are looking Try using a bright-

surface qualities within the

at.

different shapes. For

colored piece of paper for

to deal with distinctive.

example, use heavy impasto

your painting

strong shapes, eliminating

contrasted with patches of

so that you have to select

small-scale detail. Don't

transparent color glazing; or

your paint colors boldly to

worry about making the

opaque,

make sure they have an

shapes too precise; you can

active,

working method). Try

flat

color next to

broken brushwork.

in this

project,

impact.

allow the paper pieces to

ith

m reinterpret and elaborate your

you

bask image

RobertTilling

Distant Light

HOW FAR DOES IT GO: So

Acrylic

we have examined

lar.

thai «'|x-n* the

a

lank simplistic approach

door ^abstraction bin does not entirely

bridge the sap between a hat an

son the canvas or paper. [Hiini a

artist

sees and a hai

Ibis is because

new conceptual leap ma\ OCCUT

Bomeol die

link*

B1

is

an interesting

ambiguous abstracted image

—

it

could be a

formalized interpretation

some

dial eliminates

between observed and interpreted

of a real landscape view; or it

might be

a purely abstract

arrangement of shapes that

realities.

hr

This

example,

ii

you wen- working on an abstracted

ktndscape, \|

evokes essential

qualities of

open landscape.

It is

a clean,

sunlight well-balanced, satisfying

Ulingon -Lc-«h

l

which might then become a

a grass] field,

on your painting

fini:lu yellow

\-

composition.

you step

back ami see the effect on your image, h tnaj occur to \iiu

togive

the nlanhcd

1

lie

yefloa a

1

brushmark

Bhape \liernaii\e|\. ever] area thai

Ii

into a distinct, hard-edged

\(.u

had prei

Herein hue or tone, or to turn directly to those of the original subject

might suddentrj decide that tousrj rep rese nted green grass

should !» panned bright red to change the character of the painting completely, i

rryoumighi create a broad

i>|

^r.t—. not n.

,

.

-stnl\ in nalnrali-lie

-ueli ideas develop, \>>n gradual!)

colon

\-

remove the

relate elements ol

ii

and have

tiol

verj well, trj looking at

abstract paintings in these terms and

colors. Bin

particular associations that would enable an

unmvolved viewer to

\pondin()

and neither the color nor the construction suggests an)

whose paintings also conform

dement

atid contain ver) strong colors and tones. Yet

ol real

space and ronnlnis requires careful

judgement of the proportions ofthe shapes and the extent ol the color areas,

and their

flat

and opaque, the mark- made

\>\

— the color

i>

vigorous,

1-

the hm-li are

I

tollman

s

gestural, the colors and

and

varied. \ suggestion ol

three-dimensionality sometimes occurs when shapes

overlap and colors seem to advance or recede but, as

canvas and

THE RANGE Of ABSTRACTION at,

and

some of

with Mondrian. the image exists on the surface of the

virtual!) invisible

Mondrian aimed

free,

textures of the paint are rich

interactions.

fainter!) features are also eliminated

work

,

to a grid-like structure

into an

and achieved, a

a- "an I'xpro-iitn ol jinn- nalit\."

I

hat he described

tut as you can see

from looking through an) Imm>L on modern

bneaand hmhed color an-

1>\

art, straight

no means the onh

is

self-referential

— the viewer

is

not led

illusor) pictorial spare.

Looking at abstract painting in terms ol simple definitions, there are distinct!) different styles. In

hard-

edged abstraction, shapes are sharply defined although not necessaril) geometric,

ni

24-29

(

00-00

Hie dynamics of the

lolorand tone

and color interactions are

ingredientsol abstract art. h is interesting to compare

usuall) strict!) controlled. Another style

Mondrian s work with that of the German-born

painting, which

is

IjTT^r^mTn- '•

visual!) busier and

is

gestural

rectangle

more complex 138-41

Abstracting from

nature

I

IIIMI

/vrvi>

STYLES

145

146

II

>ixj

Terry Frost

Sun Slip Oil

Arcs and

circles are

recurring motifs artist's

in

the

work, through which

he investigates varying relationships of color and

tone.

A restricted palette of

very intense, saturated hues

produces a dynamic, contained image.

self-

r

w

^wi:tv

v^-i

1 1

it

i

i

the projects PROJECT

space or keep the picture

1

Geometric abstraction Choose a single kind of

absolutely

about why you are choosing

areas of color and texture

a

geometric shape such as

certain kinds of colors and

to develop the image. As

mode,

square, circle, ellipse, or

what they contribute to the

you progress, study the

structure of the painting.

surface qualities and color

^ Terry Frost

Here

Yellow Triptych

purely abstract

Oil on

exploring different

triangle

configurations of similar

basis of a brush drawing.

board

The formal device

of using

separate panels to

visual

it is

adapted to

elements

and use

image has been frequently

which you then

needs to

tell

work

a story

or

encompass different

a

as the

fill

flat,

and also

direction, then adding

interactions that

in

and positions

different sizes

that

it

repeating the shape

construct a unified, single

used for figurative

create rhythm and

with

broad

emerge

PROJECT 2

and make deliberate

Gestural abstraction

decisions to enhance those

Using

oil

or watercolor,

by making very free

colors. Think carefully

start

about whether you are

marks on your canvas or

trying to create a sense of

paper,

initially

that

work

successfully and

to adjust those that do not.

using lines to

aspects of one subiect.

with vigorous brushmarks, splashes, spots, and dribbles activating the picture surface rhere are also

more decorative forms

•

picture surface appears nth.

.tin)

sjoi I.-,

draw

ii

all

abstraction, in a hich the

•!

hem

work-.

patterned, rhere are

il\

indrvidual artists who

l>\

ofthese conventions and ma) use multi-

media approach) You ma\ Bnd thai h

approach

to

is

easiest to develop an

beginning a iili work through become gradual!) more

pure abstraction

abstracting from nature

!>\

\s \"ii

particular images, \"ii will

what is happening on your canvas or and you ma\ forget about the actual source, You

interested in

paper,

ran

start to deal direct!)

relationships of line and

a

ith

color interactions;

ma—,

textured contrasts;

the painting itself and your own instinct,

developed into entirely

-kill,

surface texture.

landscape subject.

figurative work, but at some point your subiect

axhnacal

maintaining an active

paintings originally derived

Ilk.

involved are the

Ajudy Martin

ami experience

will eventually

enable

further information

isolated and gradually

142-143

1

he picture surface

abstract forms, using

\ou to earn n throueh

r

m I

^

I I I

M

I

/V1VII>

138-141

Abstracting from nature

150-157

Painting with

I

^

I

oils

147

Media and methods

Jusi

as

Pan rwowill

!ia\- Here the

but it was not long before artists such as

,

physical characteristics

marks made

"I

the paint

became an

bj the brush

;,|1(

integral part

'

artist

•Vijfcs^S

is

using the point of a

1487-1576 and then Rembrandt began to

tin-

Z~

surprisingly delicate

triangular-bladed knife to

the

apply small, precise dabs h^kv4

of color.



16-19

oils over an acrylic

— remember that you can use

l>l V

ANI>

oil

paint

IVII

:

I

14

>>

153

:<

154

ijxj

«>

SGRAFFITO «*

1

For this

technique, which

I

involves scraping into wet

paint to reveal another color below, the first color

must be thoroughly

dry.

2-^ Any pointed

k -'

-

implement can be

1

used for scratching,

c

.

^

v

5 IVJ;

depending on the effect

-^^^^

you want. Here a small *

•v.-

^*^S

screwdriver produces little

ridges in the thick

gjl paint.

3-* The handle of a paintbrush, which

does not score so deeply into the paint, for softer,

is

excellent

broader

marks.

I

'.

^E

The combination

F smudged, ofs

sweeping brushstrokes of thin paint and sgraffito into thicker paint gives a lively

and convincing

impression of the lacy fabric.

A Peter Clossick

use of thick impasto for the

Study in Blue

face and hands, while for the

One of the ways of creating

background he has smeared

space

in

a painting

is

to vary

the texture of the paint, using

it

thinner

in

the

background. Clossick has

brought the figure into

prominence both by strong tonal contrasts and by the

and blurred the colors to create an "out of focus" impression.

over acr)

lie

combined

\\

with no ill

effects

ith thick paint,

i

dazing can

al-

prcn iding the latter

completer) >ln Rembrandi

-

portraits and

I

achieved in this way; such effects are impossible to

be

duplicate

is

mini

impastoa

1

In the earl)

yean ofod painting, a technique called

1

lu>

in

conjunction with glazes

involved painting in white only on a mid-toned

ground.

I

shadoa

ait-.i-

pound

liizlilidit*

were Unit up quite thickly, a

the paint was Idi thin

color to show through

were then applied over

this

I

enough

hile in

for the

Inn. transparent glazes

underpainfing, the a hite

[Mini reflecting back through the applied color i" create

.1

l>liit--

>l

.

wonderful!) rich

garments

in earlj

effect

I

In'

opaque

paint

COLORED GROUNDS

landscapes Uxli show glazing over thick, pale

under-modeling was used

in

-

brilliant reds and

Renaissance paintings were

1

it'll' is

no reason

\\ li\

you should not [mini on a white

surface; both [timer and the Impressionists favored

white canvas because the

liulu reflecting

back through

the paint gave a luminous quality to the work, I

lowever, a large area of white can be verj

intimidating, and also

makes it difficult

Brst colors you put il\

contrasl with

while. Fortius reason,

man)

canvas or board

inga layer oi thin paint

!>\

lay

artists like to

pre color die

known

•^

Mary Anna Goetz

Rockport Beach Here you can see how the warm golden-ochre color of the ground has been exploited, with the patches

allowed to

show through

the blues, enhancing

them

by contrast. The varied

brushwork creates a sense of

lively

movement as well

as describing the

the rocks and

flat

forms of planes of

the sea.

further information 16-19

Introducing act)

24-29 158-161

mi

i>i v /vivii>

rvi

(

oils

and

lies

lolorand tone

Oils: interview

155

156

i

:<

irsj

George Rowlett Roses and Clematis All

Rowlett's paintings are

worked very

rapidly, in

thick, juicy impasto, often

!

applied with knives or fingers.

By means of an

expressionistic approach

(seepage

106),

he conveys

the essence of his subject.

whether it portrait,

is

a landscape, a

or a group of

garden flowers.

the TTTT KNIFE PAINTING At first,

may

a painting knife

not seem as sensitive and

< Philip Wildman

versatile as a brush but

with Mandolin

Still Life

This, like Brian Bennett's

painting

on page

was

151.

painted with knives, but this case

surface

in

the working

was paper rather

oil

matte

and gives a more finish

Paper

is

a

surface for

oil paint,

should be primed

page

16).

but

first

can

as well as brilliant,

using

oil

smooth.

^see

and thin paint and then

smooth glossy

in

the main area of the

on

paint with a knife

in

your

Use

paint.

it

from the tube. At

rag or paper towels.

Once the entire picture

use your largest

and painting

painting knife and reserve

surface

the smaller ones for

the overall effect and decide

is

later.

is

covered, assess

whether you need to

Experiment with

is

more detail or a

possible, a painting knife

spreading, scraping, and

introduce

tends only to produce

freely "troweling" the paint

greater variety of marks.

Your painting should look

little

range of textures. Use both the

side.

You could use

first

protect,

it is

of the knife blade

and the edge, which you

a painting

knife for any sub|ect but. for

your

flat

find

worth

will

can produce quite sharp

lines.

You should

try

mixing

lively

will

at

and exciting but you

be lucky to achieve

the

first

painting

attempt.

isn't

way will still

colors both on your palette

working

and on the picture surface.

have been valuable.

perhaps one where the

Try also making partial

mixes which,

as

successful as you had hoped. Start by drawing the

a

main

shapes of your subject on

if

sweep of the

your

successful the experience of

have already painted,

was not

If

this

completely

choosing one which you

painting

in this

You don't necessarily

applied with

have to apply the paint to an

should

entire painting using a single

knife,

and exciting

painting knives clean with a

this stage,

detail

using

brushes, but often used 1

that drawing precise shapes

Although drawing

way

conventional

foregrounds.

to discover the possible

to rot

paint

skies

which have one straight

it

smooth

wipe your palette and

you

if

dabs of color or patches

eventually cause

of

and applying each color,

a painting knife as

could

oil

and incorporate some areas

his pictures in a

with

otherwise the

seepage of

paint surface,

example, painted areas of

knife to create dramatic

straight

is

a

picture as well. After mixing

Don't thin the

difficulty in

is

your palette and apply them

were spreading butter

with the edge of the knife it

features of knife painting

painting Mix the colors

glassy areas of color

Vlaminck( 1876- 1958). for

forget that

either charcoal or a brush

block

expressive textural effects

difficult

surprisingly sympathetic

it

exciting.

The main

than canvas, which absorbs the

produce

one of the

the painting surface, using

The French

produce some exquisitely

technique.

subtle color effects. Don't

painter Maurice de

< Susan Wilson Poppies

A not of glowing colors

a- .in

combines with bold

this if you wanl

brush work and an unusual

composition to give

a

this

artist's delight

medium

is

still life.

The

m her

very evident.

;ill

overii

— you ran useacrj

lie

for

todry quickly.

ii

Ine choice of color is important, since background

powerful feeling of life and

energy to

unprimatura

ii

acts as a

for the applied colors to pla) against

Neutrals and mid-tonesare easiest to work on,themosl used being subdued brum

as, ochres,

or gra)

artists like to use a color ihai contrasts

—

for example, a

foliagi

—

and

warm red-brown

\\ itli

to show

s.

Some

the subject

further information

up green

16-19

deliberately leave Bmall areas ol the

ground color uncovered as pastel painters do seepage

Mil

II4H>

159

160

ervi :w i

ini

regiment] painting other people's pictures. I had an exhibition at the

Ben Uri Gallery, and that was the real turning point it almost sold out I was forty- one And in a

— .

!

dilemma, because I still loved restoration work, and it's hard to do that and

commissions and to exhibit at the Royal

whose

Wimbledon Tea Party No. 2 The brilliant colors are built

Sargent's paintings, and lent me her jewelry and one of her favorite dresses, and told me what colors she liked to wear and so on. The main problem was that she wasn't actually the elegant Sargent type, so it was quite a challenge, but I

up

enjoyed doing it. If you

Academy, I realized I actually could paint, so restoration went by

the board. I still do the occasional one, though, because I

terrible

painting at the same time unless you have two studios. But when I began to get

,

mother had died. He bought me a book of

in thin,

overlaid layers

have an affinity with

and transparent glazes.

the artist it's interesting working in this way, but direct copies are very tedious.

come back to HTo your own work, can you tell me something about your technique?

QI simply can't turn things down.

A Misery The black background and simple color schemes of

E

You do copying

muted complementaries

as well, I believe?

contribute to the feeling of despair and abandon.

QYes, that started when I became

like thin glazes, so I always work on a very smooth surface glazes tend to get interrupted by a canvas grain. I paint on hardboard panels for preference, primed with ordinary emulsion, but recently

—

one of the Mall

new with my own

I've had to work on

Gallery's artists. They phoned me to ask

signature on it. I've

canvas I'm afraid the public think

whether I could do copies and I said "of course." I'd never done a copy in my life but I ,

couldn't turn that

down either. My first commercial copy was for an American who had bought Queen Adelaide's bed and wanted the queen herself to hang above all bright and it

—

also had commissions for portraits in the style of another artist.

H

What kind of

people do these commissions come from?

QI

did a painting in the style of Sargent for a member of the Royal Fusiliers [British Army

—

they're buying something special if a picture is on canvas galleries tell me they can't sell these things on "bits of hardboard."

—

The canvases do have to be gesso-primed, with many coats, to

make a smooth surface,

and it all takes

twice as long as

.

preparing a piece of hardboard I could

work on wood — oak — panels, and have done sometimes, but pieces of oak are rather narrow, so the pictures have to be quite small

BWhat medium do you use for

Q

work from one of

my own sketches, but sometimes with a book of one of these artist's work next to me, asking myself which colors he would use, and what kind of underpainting Once the painting I put the book away it's just a way of getting inspiration. I've started

—

glazing? I

will

very sharp and clear, so I had a copy made which deliberately blurred the image. I take photographs from the television too.

H

—

trying poppy oil and

walnut oil

EDo

you ever use photographic

reference for your

work?

Q

Oh yes, I'm very reliant on

photographs. I use blurry newspaper pictures or old family snapshots quite a bit to give

Apart from the

artists whose work you restored,

who influenced your technique, are there others you look to for inspiration?

My most direct inspirations are Vuulard, Bonnard, and Sickert Sometimes I

me ideas for

subjects and

compositions

—

T The Monastery of Mar Saba, Israel Several versions of this

were

painted from sketches

made

during

a trip

to

Israel.

and use

effects,

I

distorted photography

Another device I'd it hard to do without is the too.

find

His

throws a reduced image onto the canvas by means of mirrors. So if I'm working from a sketch I make a

image, but the hazier it is the better too

—

much detail interferes So you will use

^mJ this general idea as a basis for a painting, but inventing your own colors?

reduced photocopy to fit onto the mirror and project it. I used to square everything up, but it takes ages. This way I can experiment with many different images, moving them around the canvas to position them. It's helpful for changing a composition. For example I can cut out a figure from a ,

photograph or drawing and add it I

—

onto the painting simply by projection.

photographs I don't want to be influenced by the original colors,

use sketches BYou and phototrr aphs

and besides, I see

for your paintings.

pictures as tones.

How much sketching

When I'm planning a

do you do?

picture and painting from life I use a dark shield, similar to sunglasses, that takes out all the colors so that you can work out the tones. I also have a square reducing glass

QA

(difficult to

obtain

though very few sketches will be used I don't do because I want to I just have to, and it's the same with

for paintings.

—

it

The only time I really enjoy it is

—

great deal I'm a compulsive sketcher, especially when I in a new '

m

environment

— then

I

I'm sitting doing nothing. A painting is basically a feel guilty

if

when

I

feel

I

have to

make an immediate

QYes.it is — it

and quite a hazy

Yes, that's right. never use color

drawing, so one must always draw, even

painting.

video them, stop the tape in the place I want, and take black and white photographs. You tend to get a stripe across it,

Q

gives interesting

that some kind of projector?

work?

with my imagination.

the thing I want is a perfect photograph. For instance Tea Party

wide-angled lens on a camera, which often

Elitoscope.

plays are so beautifully photographed, so I

last

now) rather like a

How does that Some television

use a lot of

Wingel I'm addicted to it It makes the paint transparent but quite gooey, and it dnes very fast, so I can build up a painting very quickly with it It worries me. though, that it does tend to discolor, so now I'm

H

ia Riga Before the War was based on a family snapshot. In fact it was

painting from life. I often hate the idea of starting work, and am quite intimidated by

the blank canvas. I usually work on a dark ground.

you paint BDo every day?

ENot every day, no, I

have many

commitments to the art world as well as to family, and I have

my

to adjust my painting schedule accordingly. I have a clear monthly schedule though I set myself a target, and probably will work six or seven hours a day one month and then perhaps not at all for a week or two.

—

If I have to work to a deadline I can be pretty determined, but I'm afraid I'm stuck being a woman. When we were first married

my husband said he visualized me with a paintbrush in one

hand and a soup ladle in the other — and that's it — I'll never be able to put down the ladle.

>ll l>l V /VIX1I>

METHODS

161

r •:

V%^3

'

for acrylic as for oils, but is

'

r

has been used very

thinly,

the slight ridges of

the brushstrokes used for

it

the gesso ground are

easier and less

laborious

Because the paint

|""

GLAZING The principle of I 1 1 glazing is the same

visible,

in acrylic

still

creating

because of the faster

additional surface

drying time. You can

interest.

glaze over thick paint or build

up an entire

painting

in

thin layers.

A Plain water can be used for glazing, but

TEXTURED GROUNDS Modeling paste, shown opposite mixed with paint,

is

more often used

The paint is affected different to

in

how you lay the

textured ground.

to lay a textured ground,

applied to a rigid support

the broken-color effect

with a palette knrfe or

you can see on the left, while the gender texture

You can

can

make the paint

able, as well as giving a

A very

rough texture creates

painting knife.

it

sloppy and unmanage-

ways according

paint over this surface

on the right causes a

either with thin glazes or

slight

thick, solid colors.

paint.

rather

dull,

dead surface.

mottling of the

The 2?working on board artist

is

coated with acrylic gesso,

and the paint is thinned with acrylic medium,

which aJso makes it more transparent.

A A Notice the way the L

earlier colors

show

through the new ones, -

^^Ufft Lb afeff

•

V

L^r

giving a deep, rich glow.

M» I

\

1

1

1

J

H'

16-19

i

fllOj

,\?M|1

:

f |1 J

Introducing

oils

and

acrj lies

H,a» »*-^a\i

151-153

Loipasto oils

153-155

(

166-171

Ml

1)1 V /VI%JI> All

I

rlazing

\i i\ In ^

oiU

interview

HOD!

163

164

II

<

IIXIOI

I

A David Cuthbert Melanie Acrylic

is

an excellent

medium forthe kind of bold, vivid color effects

seen

in this

Because there

is

it

painting.

dries so fast,

no danger of new

applications of paint mixing

with earlier layers and

muddying the

termed imprinting, color.

in

which you press objects

into a

thick layer of the paste to leave an indented pattern.

Texture paste

is

frequently used for collage work:

it

has

M Ingunn Harkett

strong adhesive qualities which allow you to stick even

Reclining Figure

quite heavy objects such as pieces of wood or metal

Here the

paint has

been

onto the surface of a picture.

thinned with water to a gouache-like consistency,

WORKING THIN

and the

Using acrylics

artist

has

encouraged the colors to flow and dribble

down the

themselves. You can lay transparent washes in exactly

the composition.

same manner as watercolors is

similar, but not quite the same, as using watercolors

surface, emphasizing the vertical thrust of the

in the

same way, diluting he colors with water and t

S

T~^>t[*j,,T

:•

t

rrrr

When used on their own, acrylic paints

have

a

somewhat dead, matte

M Pat Berger

surface which

find unattractive.

The

make them look more like

versatility of acrylic

is

demonstrated by the

contrast of styles on these

pages

It is

as well suited to

oils

without affecting the color,

can be used for matte

and

glazes

Cacti scape

clearly

when added to colors, and

some people You can

Not recommended

as | final varnish, since

it

can

heavy

or knife well.

Retarder When mixed

colors.

with paint,

this

drying time.

medium When mixed

with one of the specific

Gel

mediums

with colors,

Each of

medium

gel

cause clouding over dark

by mixing the paints

listed here.

like

holds the marks of the brush

it

increases

their transparency

slows the

Do not use

more than 20 percent of retarder to color, or paint

and

may form.

the kind of minutely

these

detailed photorealism seen

character of the paint

in

brilliance

different ways, so

worth

the consistency.

build

Heavy gel medium

three-dimensional effects

in this

painting as to rich

will slightly

change the

it is

impastos and broad sweeps

experimenting with them

of expressive color.

until

you decide which one

best meets your needs.

Gloss

medium An all-

on

with a 50 percent gel

color brilliance, giving

more

purpose mixing medium,

paint. Useful for

transparency and gloss and

work, since

improves the flow of the

marks of the brush and

final

can also be used as a

Matte medium This

is

an

for those

prefer an eggshell

It

If

mixed

medium, the paste can

also

be used on canvas or other

oil

impasto

holds the

will also

a rigid surface.

flexible surfaces. Acrylic

colors can be mixed into the knife

keep paints

a longer

paste, or

it

can be painted

over with either acrylics or oils.

period.

Opaque gel medium An

alternative to the gloss

medium

well.

it

workable for

varnish.

heavy textures and

increasing transparency and

which increases

It

Modeling paste Used to

Thickens paint while

of the appearance of

paint.

skins

but does not alter

economical way to increase

who finish. It

paint

volume for impasto

work.

increases transparency

It

bulks out the paint

Nick Swingler Tropical Tones

Here the

brilliance of

color derives the

way

m

part

paint has

the

from

been

scumbled and scrubbed over earlier layers You can

further information

see this broken-color effect particularly clearly

in

17

the

left,

blue

where

Fainting surfaces for OCT)

dark area of foliage on the flecks of brilliant

li<

IIO-II3

Expressive coloi

166-171

Vcrj

show through the

near-black.

>>

V

/VINtI|>

>

lies;

inten ie*

HOD

165

166

i

i.

s

j

&

applying them with soft sable or synthetic brushes onto wateroolor paper. Bui In

>\\

h watercolorthereisalimitto

\\ ii

many washes can be

laid

one over another before

mix together and become muddv. there is no such limit, because the paint

the colors begin to \\ iih

acrylics

cannot be moved when

dry.

Each

separate, allowing you to create effects

complex and

loss of color brilliance.

without

particularly clear

You

and sparkling effects

restrict yourself to

colors,

layer of color

if

remains

intricate

will achieve

you

try to

mixtures of the most transparent

such as ultramarine, phthalocyanine blue, and

crimson, which are more transparent than other colors, a disadvantage

have

less

If you

effects,

when you are working thick, as they

covering power. are not aiming specifically at watercolor

or the contrast between transparent

and

opaque colors, vou can use the paint very much as gouache is used, starting with thin washes and gradual Iv moving toward more opaque paint. For this

kind of work, vou particularlv the

may like to try mixing the colors,

opaque ones, with a

little

gloss or

matte medium, which will intensify color and increase its

transparencv. The pale, white-based colors can look

somewhat dead and dull if mixed with water alone. Experiment as much as vou can. and don t feel bound acrylics can be to paint only on watercolor paper

—

used on

am

surface, unless

smoother one. such

it is

oily or shiny.

Try out a

as illustration board, or a rougher

one. such as canvas.

GLAZING The principle of glazing is the same as for oil see page 153

.

but acrylic

is

painting

even better suited to the

technique since you don't have to wait long for each layer to dry. Since a glaze

is

transparent, the effects are

most noticeable when a dark color is

laid over a lighter

one. though you can subtly modify a color by glazing light over

dark Vou can use water or acrylic (gloss or

mane medium to thin the paint, but medium will produce richer colors and a

livelier finish.

thin glazes can either be built

up

in lavers

As

in oils,

or applied

overall impasto paint surface, where the transparent layer of color

adds a touch of delicacy.

the project! A

TOWN SCAPE

since

you

will

be

less likely

Acrylics can "imitate" other

to use the paint thin

media, but they have their

already have

If

•^ Ian Simpson

own

Mumbles

project aims to encourage

try

you to discover these

but you don't need to.

Because

its

speed of drying

enables you to

make

an excellent

medium

for

outdoor work Simpson likes

to

this

if

Experiment with

Remember that

once a color has dried permanent and

atownscape

If

working

in

a

is

a

view from

this proiect.

use the

paints

increased the height of the

opaque form. You can

painting twice because he

on ordinary drawing paper

in

their fairly thick.

but board

start,

paint

may be better.

draw the

main shapes of the sub|ect thin paint and block

them

in

in

over

it

if

it is

you paint

you can scrape

it is

previous color underneath.

make the paint thick and

Some effective textures can be made

in this

and make the textures of

a painting knife

the buildings a feature of

wooden end

your painting. Look for

paintbrush.

surfaces.

There may

also

the latter technique you

may

find retarding

medium

otherwise you

useful, since

have to work quickly before

wet revealing the

to

stained walls and rough

painting wet-into-wet. For

the paint dries.

simple areas of color. Try

as possible,

will

through the top color while

in

opaque as soon

window. For

slightly.

To make a

public place worries you.

preliminary drawing, and

make more of

bricks.

and

using only water to dilute

a

decided to

allow you to try glazing and

slate, tiles, stones,

ways of translating these

The

also for features of

by

the paint

another sheet

he was working fast with no

project.

Look

your subject which

particularly useful for

you could paint

case

in this

other

a variety of

or a dry brush.

surface textures provided

so quickly they are

necessary by |Oinmg on In this

them out

and

textures

Because they dry

the sublet for this proiect

allows him to

extend the composition

this

working outdoors, and so

work on paper

because

and

example,

project can be completed

qualities

changes as you work, acrylic is

qualities also,

you

some acrylic mediums, you may want to

a glass roof, for

way by

using

or simply the

of your

The top

layer of

paint can also be partially

be

removed with paper towel

the foreground

< Neil Watson The Capitol, Raveish Watson works both watercolour and

in

acrylic,

and here has used the paint fairly thinly,

but has

worked

on canvas rather than paper. Bold, sweeping

brushstrokes

in

sky and

foreground contrast with delicate, linear details

on

the building.

further information 17

Painting surface* for acrylics

153-155 Glazing oik

154

mi:i>i\

/vrvi>

Sgraff

>iU

>« 165

\' r) In

166-171

\n\

llinlillllls

Ins;

inten

iru.

167

iivnrEMWMErw

II

I

try to convey a

quiet tension which will

hopefully creep up on the spectator and tap him or her on

the shoulder. I'm interested in

how ordinary objects can be made mysterious by the way the painter interprets them

.

.

painting is about illusion

.All

—

it's

really a kind of magic. It

John Sprakes John Sprakes studied at Edinburgh College of Art, to which he won a scholarship, in the late 1950s, and held his first solo exhibition in 1968. Since then he has exhibited regularly, and has won several important awards. His work is represented in both public and private collections in the United States and Britain. He was elected a member of the Royal Institute of Oil Painters (ROI) in 1987, and of the Royal Society of British Artists (RBA) in 1990.

He lives in

Nottinghamshire

and paints full time.

A The Month of June In spite

of the

realistic

portrayal of the objects, the painting can be appreciated

on one

The

level as

an abstract.

with

detached

cat,

its

gaze, presides over a skillfully

orchestrated

interplay of shapes and colors. ».

9

B Q

When did you

start working in acrylics?

My early work

was mainly in but I began to oils, experiment with acrylics during the sixties when they first became widely available, and I found they suited my way of

working. They dry fast,

which I like,

because you can layer colors without them mixing on the surface, the colors are strong, and the paints are

enormously versatile.

HI

notice that you're a member of the Royal Institute of Oil Painters. Does

;

this

mean you still

quality of the surface is an important part of a painting, and I

paint in oils?

Not very often

now.TheROI

—

sometimes make my own paints by mixing pure powdered pigment with acrylic

don't achieve quite the

compositions and

same transparency

incidental situations with figures, objects

and luminosity as you do with tempera done on a gesso ground, but does produce a

does accept acrylics if they're on canvas or board they count as oil paintings But although most of my

would like to say about

HWhat would you

work is in acrylic I do sometimes work in tempera, which has

technique in general, though. The physical act of painting plays a

say are your primary concerns as a

similar properties to acrylics in the way it's

vital role in

handled

picture, but technique is only a means to an

BWhat can you

it

rather nice flat, soft, delicate feeling.

medium There's something

I

the construction of a

— assisting the

end tell

me about your

technique? start with the paint as thin as possible so that I can make alterations later. and I like to block in the main areas quickly, so I use hard, wide

artist to realize his or

her ideas. You have to avoid becoming a slave to technique.

painter? I'm interested in space and the forms that inhabit space. I try to construct my paintings using both

considered pictorial

There seems to

e;be a

and environments.

slight Surrealist flavor to some of your pictures.

Some of my paintings

Would you agree?

are autobiographical

they say something about my life and the people around me and the objects I use

—

sometimes things I have collected, things with personal associations. I use these in juxtaposition I like the different use of objects where one is diametrically opposed to another in character, color, texture, and presence.

—

QYes,

think so. I convey a quiet tension which hopefully will creep up on the spectator and tap him or her on the shoulder. I'm interested in how ordinary objects can I

try to

be made mysterious by the way the painter interprets them. All painting is about illusion

—

it's

really a

kind of magic.

A three-

I

.

brushes and sponges feel it's important not to be too specific early stages, so I

I

m the

concentrate on broad statements of color

and tone, working across the whole picture at the

same

time Then I begin to alter things,

which I do

B

Do you paint on canvas or board? use a variety of but

I

fine surfaces, I

like

them fairly

smooth, so I mainly paint on fine weave

canvas or hardboard, with an acrylic gesso ground Also I like unprimed cardboard .

— acid-free mounting [mat] board. This is

where you get a particularly close

with tempera

constantly,

parallel

reconsidering and

painting

repainting. I use thin layers of pigment,

sometimes allowing an underlayer to show through, which gives a luminosity you can't achieve with thick paint, and I tend to use broken color, particularly where there are large, passive areas The

—

it's a very absorbent surface, and

the paint sinks into it, giving a matte effect I very much like. You

RoomC30 This

still life

was

set

up

in

a

classroom, where the letters

and symbols on the

blackboard suggested the composition.

mi:i>i\

/vrvi>

mi

i

iioi>

169

170

ixiiimi

vv

M Evening at 126 The slight feeling of unease derives from the stance of

the figure. She seems not so

much a welcoming hostess as a protective guardian of

her bottles and glasses.

around and so on. This gives me enough information to develop

passages of light, form, and reflected color when I begin the painting, which I only

do when I've made a series of drawings to explore the pictorial possibilities.

I

would

never go straight into a painting without doing a good deal of this preparatory work.

Then I look at the drawings and decide on the composition I find the most powerful and exciting, and then go on to the painting, still with the model there.

BFrom what you have just said, I

assume that you never use photographic reference?

dimensional illusion on a two-dimensional surface.

B

You seem to paint mainly

landscapes very much,

and skies and so on,

and I'm particularly fascinated by gardens.

but I prefer nature in microcosm. In an

As I've said, I'm very

interior I like the light

much concerned -with

that filters in through windows and doors,

interiors.

and a large, enclosed garden is like a room outside — the

countryside and paint landscapes?

space is confined. Landscape itself can be very grandiose and

garden or orchard, with light coming through trees onto an

Q

intimidating. I have, of course, painted hills and moors and valleys

enclosed space.

figures or objects in

Do you ever go out into the

Yes I do. I enjoy painting

space,

do you set HHow about one of your figure paintings? Do

you work from a model?

Q

No,

photograph in my life not that I think it's I've seen artists who use photographs very It's

wrong

and you see the same

QYes, sometimes

sort of effect in a

I'll have a model posing for up to a week. Forme, it's very important to work from life, to observe

the subject as fully as possible,

moving it

I've never

worked from a

—

successfully and

produce beautiful

work

—

it's just that it doesn't suit me. I find that if you are painting a group of objects, say

.

.

some apples on a table,

you could paint

them thirty or forty times and the act of

particular as my "favonte painter"

—

I

just think there are

many marvelous

discovery increases through the constant ." 'looking with intent It's almost like a as surgeon's knife

—

an artist you are dissecting, analyzing, looking at the forms

paintings from all

penods of history. Good painting is good painting, whether it's a religious painting or a 20th-century abstract In fact I sometimes get a bit

and taking them apart in your mind's eye. You can't do any of this with a photograph

irritated with

it's already a twodimensional illusion you can't walk around

painting

— —

go up close and examine it it

or

HYour emphasis on repeated drawing reminds me of Degas. la he an artist you particularly admire?

QYes.Ifindboth Degas and

inflexible attitudes towards different

approaches in

— some

people make this distinction between abstract and figurative

— observed —

painting, but it doesn't matter what kind of painting is practiced provided it is sincere, well perceived, and

honestly and thoughtfully produced. I admire paintings that have the power to invoke in the spectator new

Lautrec inspirational. Mainly for the way they both use drawing

ways of seeing.

as an act of discovery, an investigation into the seen world. But there are a lot of painters I admire you could fill a book with them. I studied at Edinburgh College of Art in the late 1950s,

you work HDo straight through

—

when William Gillies was Head of Painting and Scottish painting in general, with its wonderful vibrant color and light, has had a tremendous influence on me But I would never

name one arust in

on one painting, or have several on the go at once? Several, usually, because I try to work very hard at being a professional painter. I work seven days a week, from about 10.30 a.m. to 6 00p.m. and then

sometimes in the evening too. Typically, I'd have three on the go this might be a

—

figure painting,

and a

still life

or interior in

think you've got to be adaptable if you're a painter, and try to get the best out of your

A August Incident The

precisely controlled,

natural light, and something else in artificial light or in summer I might paint outdoors in the

working situation. Sitting around doing

give this painting

evening.

nothing would bore

derives from the limited

me to death.

color range, consisting

—

B

you use? Just ordinary tungsten. Of course you have to restrict that painting

H

its

much

of

its

serenity

cool blues.

Several of the artists I have

talked to have said that they paint because they have to they don't actually enjoy it. What do you

—

about this?

to artificial light; you can't start working on it in daylight as well

feel

Sometimes when you

something you have to do a kind of compulsion — and it is

look at it in daylight not the colors look wrong so much as different. It's the yellows that are affected most they

—

—

do tend to alter, but I

i

power, while

almost entirely of warm and

What sort of artificial light do

>!:>

hard-edged shapes and strong contrasts of tone

v

Well of course,

it's

—

hard work It demands long hours; it's a .

solitary activity,

often full

it is

and and

stressful

— one's expectations of a piece of work and the realization of it

don't always match.

There tend to be more lows than high points, but there are those times when things do work a bit and begin to they come together can be wonderful

—

moments, and that really makes up for it all.

of disappointments

/vr\ji>

ivi

171

172

Painting with watercolor and gouache MASKING FLUID art One of the book provided a briel

general introduction to water-based

media, the generic term for watercolor and gouache, Imii

although

In-

i

ma\ have whetted your appetite

certainh will nol have told you all there

is

it

to know

There are coundess different ways of working, and there are also man) special technique* von can use

make

more \-

difference between watercolor

is

essentially

and gouache:

relatively recentb that the

painted onto the

tree and allowed to dry

before washes are

laid for

artist to paint freely

to

without worrying about spoiling the highlight

some of

areas.

2-^ Once the

little

in fact

background is it

two became

established as separate media. Gouache, or

descendant of the tempera paint used since the time of \ncient Hg\

pi.

while the special characteristics of

ransparenl watercolors only began to be exploited

fully in tlie

complete, the rubbery fluid is

rubbed off with a

finger.

A medium (cold-

opaque

watercolor. has the older history, being a direct

i

I

is

interesting and useful of these.

hasalread) been said, there

was only

< Masking fluid

the sky. This allows the

the painting process easier and tocreate

particular effects. In these pages we will look at the

1

eighteenth century. The techniques

pressed) paper

is

best for

method; the fluid is sometimes impossible to remove from rough this

paper.

described here, with one or two exceptions, are suitable for both media.

MASKING AND SCRAPING BACK As anyone who uses transparent watercolor will discover, the traditional technique of reserving

highlights by carefully leaving bare areas of paper

works

best

when

the shapes

and uncomplicated. Small,

left

unpainted are large

intricately

shaped

highlights, such as ripples catching the light

on an

expanse

and you

o|

water, are a very different matter,

may become so obsessed

with painting carefully

around them that your painting will become tight and fussy. 1

here

is

which

is

be

white.

lefl

now

a

way to overcome this problem,

to use masking fluid to "stop out" the areas to

Masking fluid is a kind of liquid rubber and applied with a brush: von

sold in small bottles

simply paint

it

on.

and leave

it

to dry.

When you lava

wash on top, the masking fluid acts as a

resist,

and once

your wash isdryyou can remove the fluid by rubbing gently with

your finger or an

eraser.

Purists tend to regard such "meelianiral."

methods as

perhapseven "immoral." but using

masking fluid is not just a wa\

to

overcome a problem:

3 Anow done onwork Further

is

the

tree,

which was a

formless white shape

when the fluid was removed.

^

*

.

OUT

LIFTING

ii

^ With the blue WJ /ash

1

are

lifted

still

wet. areas

out with a piece

I

create exciting effects. When you apply

what you are doing, Nun

of crumpled tissue to give

a deliberately

uneven

ii

is

c.iii

in effect,

makeven

i

too thick

light

effect.

technique in its own right, which enables you to

i-.i

-~

I

•

»

is

masking fluid,

painting in negative,

fine lines with

masking fluid, as

realh un\ highlights, such as the

r

shining on the edges ol blades ol grass in the

ground

ol a

landscape or flecks ol seaspra>

up

casl

bv the wind, the best method is to scrape into the paint with a sharp point ideal.

— a cutting or craft knife blade

Most watercolor papers are tough enough

is

i>>

withstand this treatment, but don't try it on very thin

<

» ")

_

Less pressure

was

used toward the

bottom

I

of the sky; clouds

are always smaller and less distinct

paper because you maj here

lessol

;i

problem

it \\

hen using gouache

create highlights ITiey can be added in

ses.

You can

i

make such

fine lines

w

to

opaque paint

l>m the above techniques are still relevant

above the

horizon.

is

i

you can with a Made, nor can you achieve such clear

light

w hue-

1 1

is a

watercolors,

on water, are worked

curious fad that paint can never quite wet-into-wet.

match the

brilliance ol

hite paper, so

\\

lr

in

which he explores effects of

paint by tilting the board,

which allows considerable control.

He lays

reall)

sparkling highlights it is often better to use methods

which reserve the surface ol the paper.

two 1^washes have been In this

laid,

case

and the blue

lifted

is

to be

out to reveal the

dried pink

wash below.

UFT1NGOUT Soft-edged highlights cannot be achieved

methods described above, created verj easily

l»\

I

l>\

anj

ol

the

hej can. however, be

which simpl) means

lifting out

remo> ing areas of paint with a small sponge, blotting paper, absorbent cotton, or a rag Lifting out

is

the

can suggest wind ing a wash ami hen

perfect technique for clouds; you

clouds in a blue sky just b)

sweeping a sponge

I

iizl

u

I

\

lay

i

across

ii

while the paint

.

)

— to

-4

Again, a small

piece of tissue

dab into the

is

used

paint. For

broader effects you

might

is

wdt You can also lift out drj paint, though will need a little more coaxing, and you may not be able to regain the lull » hiteness ol the paper. Some pigments have more staining power than others, for example, sap n and alizarin crimson will both dye the paper to some extent, and papers themselves vary in the way

Jesty's

the) hold the paint

technique could not be

still

il

absorbent cotton

Maiden Castle watercolor

more different. He builds up

try using a sponge,

rag, or large piece of

A Ronald Jesty

WAX RESIST

his

it

has much wider possibilities —

washes, allowing each to \

v

/vrvi>

Ml

pu

sub|ect can't

effective painting, but

the features of this

medium sometimes

into-wet

gouache

You can paint dark pictures

so that

be applied with

a white it

in

room. You might

the "white" objects, and there

will also

be reflected

is

think that such a simple

colors

in

your group. Resist

be translated into lighter

a

much

tone to look right

in

your painting.

a

painting knife or as brush impasto

< Trevor Chamberlain Quiet Canal, Venice

The gentle

light

and soft

colors are beautifully

described by painting mainly

wet-into-wet. This

technique needs to be carefully handled or the

effect

may become too

"woolly," and here the sharp

edges of the boats provide essential touches of crisp definition.

•

(tTTjTtT "^ITWOf nJ-l!

48-51

f •!*»*

>ll l>l V

V^vl>

>

W'*

Introducing watercolore

142-143 The

picture surface

«>>

177

178

:vv

rx.

7

Sometimes I think it would be good to have a technique which is sure and 11

masterful, but I don't want to

paint as a technician. I love the

H

How did you

early and working for

start painting in

an hour every morning, and then coming home and

watercolor? Did you learn at art school?

No

didn't really learn anything at art school. I was only a ,

I

part-time student, and

was studying typographic design not fine art. I started

danger of the unpredictable, but at the same time I'm afraid of it. I work with a brush in one hand

I

and a mop of damp cotton wool

studio, using color in the form of markers

in the other. II

and so on. Then what happened was that I decided to do an Open

getting interested

when I was working in a graphic design

University course [a degree course studied

John Lidzey After attending Camberwell and Hornsey Schools of Art in London as a part-time student, John

Lidzey became first a typographer and then a graphic designer. In the late 1960s he began teaching, and at the same time worked on systematically developing his personal style of watercolor painting. He now devotes all his energies to painting, and exhibits at several London galleries as well as one in Suffo lk, where he and his wife live In 1990 he w^ .

awarded the Daler/

Rowney prize for the most outstanding painting at the Royal Watercolour Society

Annual Open Exhibition.

at home through

—

my mind more than anything else, and this involved getting up

You obviously became used to a working routine. Do you still paint every

putting in another

day?

hour. When I'd finished and got my

Q

Humanities degree I decided to use this extra time to paint. Every morning I'd put in an hour's work on watercolor s, then drop everything and rush to work, then come home and paint again. Looking back over what I did in the light of what I know now,

the paintings weren't much good. I think I

gave most of them away.

correspondence and radio and television programs] to stretch

H

T Cottages at Dusk A sketchbook study exploring the effects of late-

evening

light.

do, yes, I really treat it as a nineto-five job, and paint I

even when I don't

want to. In fact, I almost never do want to

— there's always a

terrible reluctance to start. If I only painted

when I felt like it I wouldn't produce

much — if anything. It gets a bit easier when I'm into a painting, but there are not much problems all the way

—

and you have to constantly think, not only about the subject but about what the paint is doing, and

how you can exploit certain effects.

HBut presumably

there are some watercolorists of the past you admire? Well, of course,

Turner is the obvious example

—

I

don't think there is any watercolorist who doesn't look at Turner. What I find exciting is the way his imagination takes off, so that what might be, for instance, quite a

mundane harbor scene becomes an exhilarating sweep of color It's

and brushwork.

the marks he

makes on paper that

—

are so impressive his manipulation of painting materials to suggest effects on the extreme edges of belief and even

beyond.

I

like

the

Norwich painters, too, like Cotman, though he has less to say to me in terms of approach his paintings are more highly organized and

—

planned, rather tighter in technique. I like the painting to develop as it

A

Elsie in a

The free,

Straw Hat

fluid

treatment of

the sketch (above) has been

maintained

in

the finished

though both figure and foreground are more

painting,

sharp h/ defined

B

Serious painting really is hard

work, isn't it? People don't always

H3

When people say that "painting is so relaxing" it makes me squirm.

H

Watercolor is a very suggestive medium isn't it, in the

Did you have any

someone else. You see

sort of lessons in

students at evening classes becoming very

way you can exploit accidents. Can you

reliant on their

tell

watercolor technique?

appreciate that.

No they don't.

goes along.

No, I really evolved my own

way of working by trying things out. I think there's a danger in learning from

teachers and trying to paint in the same way they can't see any other approach as

—

valid.

XII |>| V /VIXJ|>

me something about your technique? Well, sometimes I think I can't cope as a watercolorist. procedure seems to be

My

Ml

I



is:

184

«

IIMOI

I

M KayGallwey with White

Still Life

Flowers As you will see from the pictures

on these pages,

there are

many different

ways of using pastels. Gallwey works mainly with the point of the pastel building

stick,

up forms and colors

by means of a network of overlaid lines, with the

minimum of blending.

up too many layers, but it is easy enough to remove entire areas of a picture simply by applying solvent and rubbing gently with a rag or you

try to build

cotton

ball.

Another advantage of oil need

fixing, which

should

pastels

is

that they don't

make them

the ideal

medium for outdoor work. In addition,

they are (juick

and since you can mix and blend colors on the

to use.

paper you need only a small

palette.

an unfortunate tendency to melt hot. so

But they do have

if the

weather

is

at all

you can find you have more color on your hands

than on the paper. This can be tiresome and messy, so

work in the shade or at a cool time of day.

try to

MORE ABOUT SOFT PASTELS for those who who intends to

Page 6°- suggested a basic starter palette have not used pastels before. Anyone take

up the medium

range of colors

seriously

in time,

a small palette until

but

you

is

it is

bound

to

want

a larger

not a bad idea to stick to

haw become familiar with

pastel painting. In this wayyou will quickly learn

how

to overlay colors so that they mix on the paper, which

a vital

skill to

acquire.

I

laving said

this,

is

however.

pastels do not have the versatility of paints and in

practice onlya limited range of colors can be produced

by mixing. Some professional pastelists,suchasthe artist

whose work

hundreds ol

is

shown on the following pages, have and tints, but even they

different colors

186

>

Moira Clinch Early

Morning Train,

Greece In this oil pastel,

the

artist

has emphasized the spiky quality of the trees by using vertical strokes of the pastel

throughout the picture, so that the eye

is

drawn

upward, through the trees to the plume of steam from the invisible train.

^ Nick Swingler Reflected Lights

The

artist

has built up rich,

luminous color effects by laying pastel paint.

over

Although

acrylic

this

is

a

sympathetic mixture of media,

it is

not always easy

to handle, as the acrylic seals the paper, causing the soft pastel

You

pigment to

will

slide off

need to use

it.

fixative.

66-69 183

188-191

mi:i>ia

/vrvi>

I

I

m reducing .i\

imsicU

ing a ground

'aslcls:

mHT\ li-\s

>!«>

185

186

IIC IIXIOI

I

find thai they cannot

always match a particular shade

seen in nature without

some degree of overlaying.

fuse together,

is

perhaps the best known. By choosing

your colors carefully and blending them thoroughly

you can achieve almost any color or tone, hut

MIXING COLORS I

here are various ways of doing this, and each method

creates a different effect. Blending, which involves

putting two or

rubbing with a

more colors on top of each other and linger, cotton hall, or rag so that

it is

n< >t

much on blending, since it can make your picture look verv insipid and lifeless. )ne of

advisable to rely too

they

(

the most exciting things about pastel vigorous, linear quality,

overblending. A

light,

and

this

is

is its

fresh,

quickly sacrificed by

unblended application of one

•^ In

Doug Dawson the Gentle Light of the

Window Successive overlays of pastel, built

blended

in

up heavily and

places, give a rich,

painterly quality to the picture.

The lively broken-

color effects, particularly noticeable on the

background and the hands and arms, were achieved by

working on a textured ground, as demonstrated on

page

183.

1

the project PASTEL ON SANDPAPER

supply shops; these are

Soft pastels can be used on

usually a

any surface that

and exciting Hut the great thing aboul pastel work is that you can n« ui\ mistakes relative!) easily, and a bland,

color over another

more

is

v

ibranl

oversmooth areaol color can often be given new life .11

it

igor

\

I

lighth stroking another color on

'i>\

the tip of a pastel stick

i «

> |

\\

>

i

1 1

In- technique, called

I

is

rough

warm

your composition

yellow-

line

beige

enough to provide a "key"

project,

choose a

this

color Most of the abrasive

to explore the linear

embarking on working with

papers which are

possibilities of the

medium

manufactured primarily for

as well as

to

smoothing wood are

smooth

suitable for use as supports

one tone or color to

the blending and linear

another. This could be a

approaches

colors and tones or to bring in an element ol contrast

various

These have

names such

as

portrait

its ability

transitions

make

where the head

could be translated

sandpaper, and flour paper.

smoothly blended colors,

while a too-bright color can be attenuated bj an

and depending on the actual

while the

application ol itscomplementar) color.

abrasive, can be gray, dark

could be

red, sand-colored, or

using line and hatching, with

almost black. The finer

the color of the support

grades are generally best for

showing through.

1

1

hi in

ii-il

'i

i

,ni

|

>;ii:r .

Ibr a pastel painting is

the color ol

tlic

paper used

ven important, because it

seldom covered completer}

l>\

difficult until you

have had

because they

wear away the

pastel sticks

the pastel strokes, less quickly.

some experience,

l»ut

there

have

pastels,

as

you had

in a

different way.

clothes

more freely drawn

is

to

use charcoal to plan where

Large size

you intend to position the

sheets of sandpaper are available

When you

completed your

picture developed

in

A good way to start

i>

boosing the color ol the ground paper can be lairh

(

pastels, partly

pastel.

planned or whether the

glasspaper, garnet paper,

sitter's

drawing before

consider whether you used

from

ta over-dark shadow, for example, could be lightened itahaed l>\ feathering with a vivid blue or green, and

V-

make radical changes in

subject which will allow you

for pastels.

SURFACES FOR PASTEL WORK

to

that will retain the grains of

leathering, also gives you an opportunity to modify

m

on your abrasive paper.

necessary, you will be able

If

In this

lightly in

main objects

from many art

in

your picture.

Draw the main shapes of

are one or two tips to bear in mind. Some artists will

choose

paper that harmonizes a

.1

scheme

ol

landscape (

khen

-»• in-

itli

the overall color

the picture, using bhie-gra) fora a intrj

warm \ d low

,.i

summer one

for a sunny,

lake the oppoaite approach, painting a -now

on a warm M'llow

r

i_

roinul

-i

nhat

tin

•

coin

tin-

choice will depend on

you won't L'ofar

\oiirw,i\ ol working, but initial!)

wrong with a

neutral color such as beige or light gray.

You wiDalso want to experiment with different textures ar»- fine,

I

I

In-

>ut

tw

i

there are all sorts ol other ones you can use

as well Watercolor paper it

favorite, and

is a

you can

tint

to any color you choose, either b) laying a watercolor

w.t-h

grinding up pastd and rubbing it on with a

i.r l>\

loth tin-

1-

termed laying a

m-

1-

a fine

specialhj for pastel -|>« < i.ili-i

in

much

work

— bul

like that sold in

larger sheets

,ll«J.V', Jill

.'.'.,.•'

\

''.

color.

66-69

Introducing pastel

69

Blending

are worth

supplier

sandpaper exacdy

hardware stores bul

up solid

I

be other is

%«> 188-191

mi:i>i\

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Pastels;

inten ie*

18'

188

i\

i

ic\

i

II

1 1

:>x

What I find

important is that you are

drawing and painting at the same time. It speeds up the process, and it also keeps a vitality in the picture With paints I tended to lose some of .

drawing with pastels the whole thing stayed lively and .

.

Do you always work in pastel? No, I also use oils

and watercolors,

but at the moment I'm working with pastels more than anything else.

I

think I go

through phases of different media.

Lk

the intensity of the .

H Q

What led you to

pastels? Did you use them at art school or did you see

someone else's work you admired?

0Fwas m

fresh. If

not sure if it

Patrick Cullen Patrick Cullen trained at St Martin's and Camberwell Schools of Art in London from 1972 to 1 9 76 He now paints full- time and exhibits regularly in both mixed and one-person shows. He has won a number of awards for his pastels and watercolors, and in 1991 was elected a member of the Pastel Society. He is married with one daughter, and lives in North London, when not painting in .

Tuscany, whose landscape has recently provided the inspiration for much of his work.

either of

those things. I certainly wasn't taught pastel at art school.

I

worked

mainly there on life studies and so on, which each took

maybe a couple of weeks, and people tended to work in oils. But I do remember that someone had a box of pastels and I asked to borrow them I'm not sure why. They were not the kind I use now; they were slightly greasy somewhere between an oil pastel

—

—

and a chalk pastel — but they were lovely colors, and I really liked them. I think it

was the discovery of these soft and yet strong colors that captivated me originally.

^-v'^k

But you didn't

i;

Lm become a serious pastelist until later.

;*>*v*.

fa*

A Tuscan Landscapes

What I find important

These two oil sketches, done on location from two

is that you are drawing and painting at the same time. It speeds up the process since you haven't got two separate stages, and it

slightly different

became the

viewpoints,

basis for the

large pastel, Vineyards.

Q

also keeps a vitality in

No, but when I school and

left art

started working outside much more, I found that pastel was a very good medium for catching fleeting effects and getting things very quickly.

Vineyards The composition of the pastel

is

quite different from

either of the sketches, with

the perspective of the

foreground

field

dramatically steepened.

the picture which I found hard to achieve with oils With paints I

tended to lose some of the intensity of the

drawing, but with pastels the whole thing stayed bvely and fresh I went on using

the oil- type pastels for a while and then turned to chalk pastels.

Yes, but it wasn only that. I think

I

t

1

was also influenced by the fact that Degas

B

Oil pastels

have

quite a limited color range, don't

they?

made quite a lot of

pictures using oil and chalk pastels together, but they're not really

—

used chalk pastels.

They were deemed to be the "real thing," while the others were a sort of crayon. In fact

very compatible their physical natures are so different.

BA

problem with

pastels is that you need so many colors. Did you buy one of the big boxes or start with just a few

M*

fascinates me.

Some

would no doubt say

Q

don't think I ever

bought a whole

figurative painters,

but I don't agree.

It

probably started with about twenty sticks and gradually added more. I now

seems to me that the

have three or four hundred.

other of this interface. Either they are primarily concerned with fidelity to the scene before them and

I

Degas, who is the obvious role model for a pastelist, but are there any other artists

whose work you have always particularly admired? Yes, of all the

great masters,

Bonnard was the one I was most fascinated by, and continue to be. I think it's because of the particular how shall I say this ...it's the interface between .

.

.

working directly from nature and inventing

majority place

themselves more or less on one side or

are reluctant to alter, for example, the color

values and shapes of the landscape, or they completely transform the external world. We could get very bogged down here with the whole question of what fidelity to nature means, but there's a

quote of van Gogh's that I've always found illuminating. He said that you start out trying to follow the colors and tones of

nature and everything

entirely from one's

goes wrong. You end

imagination. I mean,

up freely creating them from your own palette and nature agrees and follows you. The crucial bit is in the last five words

Bonnard always drew his inspiration from

things he'd seen and sketched every day of his

V

this particular

that this is the terrain

have HYou mentioned

>

It's

kind of in-between area of working which

occupied by most I

life,

but his

/VI^J|>

Ml

1

see.

sticks?

set.

Nil

paintings nonetheless are inventions of the imagination. They have a believable light in them and believable space, even though it's not the same light and space that we actually

I

IIOI>

.

BS

IM

190

i;n

I

I I

«:W

r —

the magic which cannot be reduced to

Vines and Olive Groves

The

rich,

vibrant colors are

rules and theories lies in the question of

achieved by successive

whether and how nature does follow

between

you.

Q

H

Do you see yourself as

layers of pastel, fixed stages.

Mainly drawings

and color sketches, but I also use

— just

occupying this inbetween area?

photographs

QMore and more

experienced photographer, so I

so. For many years I worked direct

from nature, but now I am doing more of my paintings back in the studio.

I

do still work

outside a good deal,

but even then I am usually producing a synthesis combining what I looking at '

m

and what is in my head.

It's

a sort of

continuum, with each picture lying

somewhere along it — with some pictures I have a definite agenda of

my own, while

regular color prints. I'm not a very

take a lot of shots (photographs) to play safe, but I usually end up using only one or two. I am against

making any sort of rules about painting in general, but I do have a strict rule about photographs, which is never to rely on them

too much.

They have

to be just an adjunct,

and you must have an idea of what the painting is going to look like. The photos are for information not

others are very much

inspiration.

direct responses to

Some of the large paintings are based on pictures I have previously done on the spot rather than just quick sketches. Sometimes I see

what I see When I .

paint like that I won't fiddle

with it

afterwards, but

sometimes I will start a painting outside and change it a lot when I get home, even

something in one of

them that suggests a

something else

large-scale treatment or an idea I want to

altogether.

develop further.

instance, in Vineyards,

I'm concerned about

Sometimes I combine two or more sketches of the same place seen

the foreground was taken from one sketch and the whole of the

making them

from different viewpoints so that the finished painting is a sort of composite; for

background from another. I feel such

transform it into

E

The larger

paintings are obviously studio works. What kind of visual reference do you use for them?

landscapes are true to a place, in a sense

—

believable in terms of light,

atmosphere and

general structure. But

you were to visit one of the scenes you would never be able to if

pin down a particular there isn't one.

viewpoint

H

—

How long, on

average, does one of the large pastels take you?

E

depends Sometimes I work

Yes I do.

It

Sometimes

I

feel

on a picture over a penod of three

stuck because I really

months, but not every day

want to pamt, and

HVVhen you are working on it, do you turn it around so that you come fresh to next time, or leave it visible so that you can think about it? it

QI do both

know what

I

then I just have to go out and look for a subject, or perhaps have another go at

something I've started But there are

times when I know

what want to paint I

and I'm quite keen but still a resistance to the initial stages getting the thing mapped out on the paper and getting

there's

really,

but I do try to make myself turn it to the wall It's very easy to slip into constantly looking at a picture

and fiddling with it — you must give yourself enough space to see what's wrong with it

E

don't

Do you work

•very day? Or do you do sometimes have "artist's block"?

QOh

certainly I get blocked. Usually I

can convince myself at the time that it's because there are other things I have to do. but since it

happens rather too often for that to be true I am forced to admit that perhaps I'm deliberately finding other things to do. But I never let more than a

few days go by without getting down to something

HThat sounds as though you have

—

—

blocked in I can be tremendously listless about it. it

there an Hiselement of fear?

That you know what you want to do and you are not quite sure that you can do it?

minutes to dry. Then, if I'm using a

all

goes, hopefully, quite well from then

for five

can you tell me about your working methods? How do you begin a

HWhat

out the composition by

pastel?

also

After this I tend to block in, not necessarily over the whole surface but certainly to establish some of the key tone and color values. I don't have any particular rules about

which are useful if

where to start, but if some particular aspect

medium tone,

QThe

sort

drawing first with a white pastel pencil, which you can erase fairly easily.

first

thing I do

select a ground not just the type of paper, but the color as well. Usually I tone my

—

I

is

own papers, though I keep a selection of precoloredones,

you're in a hurry. I like to choose the color with the subject in front of me so if I ,

'

m

working outside and using white watercolor paper I put on a watercolor wash and leave it in the sun

scene grabs me then I'll deal with that and then move back of the

and forth.

controversy about whether to use fixative.

Q

I

Do you?

used to fix

between stages

of a picture, but

I

do so

much less now. think I've become more I

experienced in choosing the right paper so that the color doesn't

fall off.

With surfaces like sandpaper and velour paper you don't really need to fix, and I don't fix at the end of a picture if can help it. The best way of I

preserving pastels is to frame and glaze as soon as possible if

—

you can afford it!

H

1 1 know there's a

good deal of

QI

think so. The idea that you're

going to spoil it. But then I find there's a point about a third of the way through when I m starting to get '

more confident. When one or two of the things are beginning to work in the picture and I can see my way through I start getting a head of steam and it

Ploughed Hills in Tuscany The marks of the pastel most vigorous and expressive

in

are

the

to force yourself to

foreground, giving depth to

work.

the composition.

>

BVaEWaBB^aaHHHBBiHBSSSSSSSSSSSSSSSSSSSSSSSlESlEMESSHSSaEMSSSHBSBSSSBVBl

Ml

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MI

I

!

191

:iivi4.»i

'-:<

19:

Painting with

A

i

mixed media LINE AND WASH

Ithough some painters know the)

A M A line medium,

ican create their besl effects with

I

pure oil paints, watercolors, or pastels, others find thai their expressive range

from

is

have become increasingly i-

experiment in

common

\\

li;i\

color. Usually the line In fact, the

drawing is done first, as in this case,

inga larger range of materials to

than ever before.

iih

I

such as pen or pencil,

the perfect partner for

the delicacy of water-

(ar from new. but twentieth-century artists

are fortunate in

media

l>\ breaking away and mixed-media works

broadened

technical restrictions,

concept

is

but there is no

hard-and-fast rule.

singtwoormore

the course of one painting can often oiler new

di rcci ion-

ami

differenl

wax sol approaching your

subjecl matter.

Mixed-media paintings, categories

in general,

fall

into

two

— those which exploit the compatibility of

two or more media, and those which exploit their

2-^ The artist has

example of the former is pastel and gouache, which o very well together because both differences. \n

used a water-soluble

r

i_

pen, so that the lines are

have the same kind of dry, matte surface. The classic

softened and spread by

example of the latter approach is the traditional watercolorused with technique of line and wash

the washes laid on top.

pen and ink or another line medium.

drawing appearing too

Combining media which have very different qualities can produce an exciting contrast, but it can also destroy the unity of the picture. Only by

to the watercolor.

—

This prevents the line

hard and clear in contrast

conducting your own experiments can you discover

which combinations work and how you can

best

exploit the differenl characters of the media. The great diversity of

modern

impossible to

list

artist's

materials

makes it

every potential combination, orto

prescribe specific techniques, but the suggestions here will give you a helpful starting point. I

tJ

W ATE RCOLOR WITH OTHER MEDIA

I\

Transparent watercolor is eminently suitable for

/-

mixing with other media Combining it with gouache oracrj

lie

scarcely counts as

'

.-J

#

it

is

pastel

is

worth noting that

ol

like,

as

is

drawings

a

watercolor and watercolor crayons.

he crayons, which come in pastel-shaped sticks and

pencil lorn i. are almost a

mixed media

in

themselves,

— which

is

often used for flower

suited.

gouache or acrylic. Gouache with

an excellent match of like with

combination I

in

preserve the delicate

technique

\ou can often save an unsuccessful watercolor h\

working over ii

the shell have been the

kept to a minimum to effect for which the

mixed media, since the

paints are similar in nature, but

v

The washes on

I lip

—

is

so well

Mm <

hen

v.

dn

the) can

!> become paints. You can combine them with watercolor

pencils, but

She continues to up the picture, on top of pastel using the the gouache to provide texture and accents of •

)

O

build

mn

or gouache ai to see

stage of a painting.

watercolor and soft pastel

Line and wash

is

the best

this

known of all mixed-media

began to exploit the full

when watercolor had mainh been used to lay flat washes over pen drawings. The traditional technique is still to make a drawing first and paint over it, but it is

are opaque, with similar

difficult i" integrate

matte

the result doesnol

surfaces.

harnessalso

medium in the seventeenth cen tun

possibilities of the

together since both

not unusual

watercolor techniques, and has quite a long history, British watercolorists

Ik

is

mixture is discussed under pastel below

color.

PASTEL AND GOUACHE These two go well

in

It

I

<

the drawing and the color so that >•

>k

like

a coloring book exercise. Il

can be more satisfactorv to develop the line and the color at the same time. Or you can work the other waj around,

first

establishing the

main composition with

watercolor and then draw ingon top.

Line and wash

main

possibilities

restrict

felt-tip

an exciting technique with a great for varied effects. You need noi

is

yourself to pen drawing

pens and

— you can use

and you can draw

in several colors

il

you

artists favor water-soluble inky which

w here color

is laid m top.

r

L

i\

like.

ha

1

1

short

w

nli

In-

Some

runs in places

inga contrast between

crisp and soft edges. Ifvou use felt-tip pens, i

fiber- or

hard orsofl pencils as well or instead,

ink colors are lightfasi

make

sure

— some fade in quite a

time You might also try combining line and wash the masking-fluid orwax-resisl methods

described on pages I72and 173-74.

172-177

Painting w

iili

watercolor

ami gouache

>ll l>l V /vrvi>

182-187

Painting

189-201

\li\id

\\ iili

pastels

media inten

METHOD

iem

!^

194

I

I

<

I I^S»

l«.»t

OIL

I

AND GRAPHITE

PASTEL WITH OTHER MEDIA

I

1-4 Pencil (or a

Pastel can. in theory, be

mixed with any of the painting

which

media, hut the pastel/watercolor and pastel/gouache

darker and denser) can be used successfully with

combinations are the most successful Pastel painters

graphite

stick,

is

oil

sometimes

paint providing the

latter

is

used

thinly.

in

Here

lay initial

washes lor a picture

in

watercolor

order to establish swiftly broad areas of color, hut

the two media

the artist has used

combined

washes of paint diluted

complement each other and can he a more direct way to exploit the contrast

in

between the transparency of watercolor and the matte

with turpentine.

opacity of pastel. leave

it

to dry

It is

simplest to begin with watercolor.

and then work pastel on

top.

You can

then lay further washes over the pastel, overlay again with pastel and continue using a kind of layering

2^ The

4A

thinned paint

has dried quickly, and

Fine lines of white

oil

paint comple-

the graphite stick has

ment the linear drawing

been used to define the

in black,

structure of the teasels.

to focus the eye on the

process. Pastel can also be

worked

into a

damp

watercolor wash, which causes the granules to spread out, giving a distinctive texture.

as well as helping

painting's center of •

interest. '

-

«-

3-^ The element of •

drawing has been ."

taken through the entire

•

'

It

picture to avoid the disjointed effect that can

occur in mixed-media

work. More oil paint is

now applied to soften the lines

•

on the vase.

5 A The

loosely

-

M+

Ik

jrf' 'V.t

k 1

...

scribbled drawing in

the background, with the curving lines following

the direction of the plants' stems, creates a

lovely feeling of energy

and movement.

?&ER&jR&$

r

'

:

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IIH9

H

Wildman

Philip

Rooftops and inventive

In this lively

painting,

pen has been used

with gouache,

very

a

different use of the traditional

hne-and-wash

technique from the one

shown on page

192 Instead

of drawing

and

in"

first

"filling

with color. Wildman has

overlaid line with paint

m

opaque

places so that the

two separate elements are integrated

fully

M Laura May Morrison Margaret

The sgraffito technique

(see

page 54 has been used |

1

here, with

oil

pastel laid

over oil pamt. and scratched through

m places to reveal

colors beneath

If

mhi choose

Im-^i ii^'ia /vrvi>

lollage inten

>«>>

tin- |>;i-i

i«'«

2C

INTERVIEW II

I

collect papers

But I buy a lot of good-quality Japanese paper too I have to try and

wherever possible

.

.

.

;

forget how much it costs when

I'm tearing it up

The floor of my studio is covered with paper, almost like a carpet a magic .

.

.

—

E E

When did you

Tuscany recently, in

when people ask me

start working in

autumn when the land was being plowed, and that's what I was

about my "favorite painter" he tends to slip out of my mind, but he definitely is my

collage?

interested in

student, I did a lot

way in which the fields

favorite.

had been shaped over

of printmaking — silkscreen,

centuries. In Scotland

lithography,

what I tend to look for

lot

the feeling you get in several places on the west coast where

Nash, Graham

and

etching — and

I

was a

very bad printer. So I started tearing up the prints and collaging them together, and eventually the collage of the paintings.

BDo

you now work mainly in

collage?

Barbara Rae Barbara Rae studied at Edinburgh College of Art in the 1960s, and in 1966 won a traveling scholarship to France and Spain. She has exhibited widely since leaving college, with over twenty solo shows to her credit. In 1975 she was elected to membership of the Royal Scottish Society of Painters in Watercolour (RSW), and in 1992 to the Royal Scottish Academy (RSA) She has won a number of prestigious awards, and has work in commercial institutions .

and public and private collections in the United States, Great Britain, and Europe She lives in

No, I work a good bit in watercolor and mixed media as

at Glasgow School of Art.

my

well. But largescale pieces are invariably collage.

have strong abstract qualities, but they are obviously based in the real world. What do you look for in terms of subject matter? I

into a single idea I'd say that it is the effect

it

of people on the

— a garden,

for instance,

where

—

— artists like Paul

Sutherland, and Ben Nicholson. But I was probably getting more subliminal influence from Scottish artists,

because they were always around. William Gillies, for example, was principal at Edinburgh

College when I was a student, and I think his way of looking at landscape has had an effect on me.

HYour collages are obviously not

ED

done directly from the subject. Do you make

collage work?

small preliminary sketches on the spot?

Are there any artists who have influenced your

say KurtSchwitters, and when I left college

QYes,

became aware of Tapies' work — the

always the first step I go out and make mixed-media studies from the landscape

I'd have to

I

various textures that he uses that's a strong influence too And John Piper I think he did collage at one time, but the way he paints suggests it might be collage he uses a lot of contrasting textures In terms of painting in general I have quite a long list of people I admire, with Matisse at the top. It's odd, but

—

I

have a great

many sketchbooks. That's ;

first.

Then I'll come

back with a series of drawings and studies from, say, the west coast, where I paint a

;

there's a man-made

structure such as a wall or doorway. Or it's the quality of land that's been worked

over and over again. was painting in

still are there, for instance the fishing industry and peat cutting. I did a lot of sketching at the Leith docks, which is the subject of The Russian Ship these ships

—

think if I

have to condense

landscape

people have lived but are no longer there. But some of the things I do are concerned with the people who

out quite often.

BYour paintings

Well,

is

used to come in and

.

Edinburgh and teaches

When I was at

college I was looking at English painters a

element became part

carpet. If

— the

When I was a

I

Rooftops, Capileira In places,

the papers are

encouraged to wrinkle, providing additional surface interest.

< The Russian Ship The

layering of paper, paint,

and medium creates marvelously rich and

complex

effects.

— a more sustained piece, looked into

more carefully. the purely BOn practical

level,

how do you go about a collage piece? How

do you begin?

EIonnormally work

a large piece of

heavy board — very

large in some cases, for

instance The Russian Ship is 6 feet wide. I start by looking at the image I'm going to translate, but after that I may not refer to

much, because I'm interested in creating it

something different. I always begin with the paper, so I tear up

some, or pick some up from the studio floor, glue it onto the board, and then just go on selecting different

kinds of papers and lot,

and then I may do

another series of paintings, simplifying and refining my attitude to the landscape, and trying a subject out in different colors and slightly different

compositions. I might not take a subject any further than a mixedmedia watercolor piece, but in

Ml

some

1)1 V

cases I'll translate a painting through collage and make something quite

Once I've

layering them onto the board I use a lot of .

mediums too, like acrylic gel medium and PVA, and their

had a series of paintings and studies

different thicknesses also create layering effects. I don't put the

in the studio for a

paint on until the

while I'll see that something about one

paper is in place, but I like to start using the

of them

paint when the

different.

— color, tonal —

values and so on suggests that it needs to be on a larger scale

/VJV1I>

medium is still wet, or semi-dry, so that it all

blends together

—

%!«>

207

TV

208

:i«x ii \

Binocular Vision Series

you to

the glass before returning the paper to its original

interesting effects

A David Ferry Provided you use

need to do is to fix one side of the paper

firml) to the slab with

applied to areas that have

ol

Yov ran achieve

rolled-slab print

on

drawing paper has been given additional color overlays.

method, a> the painl

builds up on the glass to impart differenl textures to die prim. Further texture, pattern,

When the print is

"T

dry, th thoroughly

it

lie

added,

ii

sharp point

you to

like, l>\

produce

and

definition can

scraping into the paint with a fine white lines.

can be worked into with pastels,

oil

pastels, or

ROLLED SLAB MONOPRINT

more paint. I

he second basic method involves covering the whole

slab with a thin, even layer of ink or paint a|i|»l\ it

with a

roller

—

it

is

best to

— and then placingthe paper on

0* t^nT 150-157

«" ("""^WOiH Painting w

ith oils

top and making a draw ingwitha pencil or other

214-217 Monoprint inn

MIDI

V

A1XI>

Ml IIIOI)

rviev

21?

212

li

<

IIMOI IS

TWO-COLOR MONOPRINT

on the inked slab, with the printing paper on

1<

top.

This is the same

basic

method, but

is

then

dragged over the paper to produce a hatching

with several stages of printing.

A comb

The artist

lines will print,

hut some of the ink will

the paper in other places

and

if

come off onto

you touch the paper

with your hand this will also register on the print. This accidental printing can, in a

random wav, give an

effect.

attractive textured

begins by cutting a stencil,

implement, on the paper. Theoretically, only the drawn

effects

which he places

background and any accidental

can often be exploited. Accidental marks also

add charm and spontaneity

— thumbprints are a

notable feature of Degas' prints. Again, you try out different kinds of paper:

may like to

some printmakers use

a very thin, Japanese paper, which

is

particularly

and

is

transparent

suitable for fine, linear effects,

enough

to allow

you to see the image developing as you

draw.

There are many variations on this method. You don't need to use pencil

for the

drawing

— a wide variety of

marks can be made by implements such

different

as

combs, wire brushes, paintbrush handles, and. of course, your fingers.

You can

also overprint

print in other colors, using the registration

your first

method

described above and re-rolling the slab, or selected areas of it, in another tone or color.

2

Yet another variation, which

A This photograph

both types of monoprint,

shows a second

printing stage, after the

in the rolled-out paint

paper has been replaced on the inked slab and further drawing done this time with a

print

it.

is

to

is

really a cross

between

draw the image directly

and then

lay the

This will produce a negative

paper over it to

print, since the

drawn marks will be white. The implement you choose draw into the paint will depend on the effect you are

—

to

seeking. For broad, sweeping lines you could use a

screwdriver.

stiff

paintbush or a finger, and for finer ones, a paintbrush handle, the point of a pencil, or even a screwdriver. You

can also

try

applying the paint more freely to the glass,

using brushes instead of a

roller,

so that the

brushmarks contribute to the finished

3^nowA

second color is introduced.

The

The 4 Ashows

finished result

the sophis-

Whichever method you

favor,

print.

you need not regard

the print you produce as the end product. You can

ticated effects that can be

work

the top with a strip of

achieved by this simple,

pastels, oil pastels, oil paint, colored inks, pastel, or

masking tape so that it

"kitchen table"

crayons.

can be replaced

printmaking method.

printing paper

is

held at

in

the right position.

exactly

into

monoprints with any other media, such as

If you

intend to do this however, don't use too

thin a paper. High-quality drawing paper will produce a good surface for both die print and the subsequent

painting

the project One of the beauties of a monoprint

that you can

is

take one subject and treat in

a

Look through your

sketches and see find

one

you can

if

you think

that

will

translate well into a print

perhaps still life

a figure sketch

—

or

drawing made for

one of the protects

Part

in

One of the book. Try the painting first

on

glass

a

roller.

Now try the rolled slab

it

number of different

ways.

more pressure with

apply

method

(you can place your

method

for the

sub|ect.

You

same

can't put the

sketch under the glass this time, so prop

up

it

in

front

of you so that you can refer to

it

as

you draw. You can

turn the paper back at any stage to see

how

the

work

is

progressing, but don't let

the paint it

will

become too dry or

not print —it should

sketch under the glass slab

be

to act as a guide for the

happy with the drawing,

try

scratching into the paint

in

painting

if it is

going to be

the same size).

When you

painting, place the

paper on

one

two

fix

side with

pieces of masking tape and

rub the paper gently

all

over

with your hand before turning

it

"hinges." faint,

back on If

you are not

places or darkening

some

When you

over the paper

have finished the

print, pin

it

up to dry and consider

whether you might improve it

by painting or drawing on

top of the printed image.

its

the print

If

areas by rubbing your finger

are satisfied with the

top,

just tacky.

is

too

replace the paper and

•4 Carole Katchen

The Gambler In a

painted monoprint, the

paper picks up the top layer of oil paint, so that the

marks of the brush are very obvious, and

become an

important part of the image.

Remember this when you are doing the painting, and

take care not to overwork.

(O f HI 1' L'J l"l' 150-157 Painting itli oils 1

I

'

I

'

I

v.

214-217 MonoDrint inten

>ll l>l V /VINJI>

>

•«>

iew

213

214

IINJTElWMErW

You can work yourself to death on a painting, but monotype has a kind of immediacy that I find very seductive. It forces you to be bold it's like jumping into a pool when you first begin to II

.

.

swim.

.

II

Kay Gall wey Kay Gallwey entered the City and Guilds School of Art in London at the age of fifteen, and later won a scholarship to the Royal Academy School of Painting. She has worked as an illustrator, costume designer, and portrait painter, and still undertakes portrait commissions, though devoting much of her time to still lifes and flower paintings in oil and pastel. She exhibits regularly at the Pastel Society annual shows, and has held two solo exhibitions at the Catto Gallery, London. In addition to a prolific output as a painter, she also writes and --

A Conversation Piece The brushmarks and textures form an integral part of the composition, giving a lively sense of

movement.

illustrates children's

books.

B

When did you start doing

monoprints? What led you to them ?

H

But you must have seen Degas' monotypes?

Yes, but until

I

bought this marvelous book called The Painterly Print, which is all about monotypes, I didn't

know that's what Degas was doing. You

school,

HYes, "tonking" a very useful method.

can't always tell,

Monotypes — always call them monotypes. I don't like the term monoprint, because they aren't really prints; they're

something quite on their own, quite I think I started about fifteen before years ago that I hadn't even

different.

—

heard of them.

because he used pastel on top such a

when you got

stuck with a painting you used to put a sheet of newspaper or sugar paper over it and blot off most of the paint so you could start again?

That's right. Well that would create

an image on the paper

—

printing inks, whereas

it often looked much better than the painting itself, which was usually pretty awful by that stage. I didn't realize it at the time but that was a

my method has

monotype, and that's

evolved through oil

more or less how I make mine now,

lot.

My monotype method is actually not the same as his — he came to it through printmaking, and used

Do you remember at art painting.

,

except that Ipaint on a

sheet of metal or Formica instead of

But also, of course, a change from

canvas

painting You can work yourself to death on a painting, but

EWhat makes you decide to do a monotype one day, rather than an oil or

it's

.

monotype has an immediacy that I find very seductive.

pastel?

Often there's a very mundane reason If I've been doing an oil I usually have a lot of colors left

on my palette, and I want to use them up — it's

as simple as that

H

Are there some

subjects that you think would work better as monotypes? I

QNot really — mostly the subject matter is the same as in my

paintings, but occasionally

monotype does seem perfect for something. For instance I was

doing some illustrations for a children's book recently a cat book.

—

Small children need very simple images, but using monopnnt I was able to get a variety of different textures and a lot of interest all over the pictures. Although it's such a simple process,

A Flowers in a Black Vase Here the paint has been applied very evenly to

produce

vivid, flat colors,

which provide

a

background

for the lively pastel drawing

made on top of the print.

•< Red Flowers The attractive textures produced by the monotype method are particularly

evident

in

the lower half of

the picture,

where the

colors have also been

encouraged to bleed into

one another. When the print was dry, touches of crisp drawing were introduced with the point of a pastel stick.

Mi:i>l A AIMI>

Ml IIIOI)

i\

i

i

i;\ ii \>

the results are surprisingly sophisticated to look

Flamingoes For most of her monotypes

Gallwey uses a sheet of metal for the painting, but

at.

for this large

BYou mentioned texture.

get in a painting.

the

down with

printing paper

Presumably monotypes provide effects you couldn't

books.

QWell, you have a

Q

Yes they do, and what's exciting is that you never really

know what will happen. Of course you can control things to some extent, and you can change* them afterwards.

work she used

a glass slab, weighting

A friend of

mine who sometimes works in my studio did a black cat — and then next time I saw her it was a white cat. She'd

worked into it and completely altered it.

good deal — you

soon find out the different effects you can make by using the paint thick or thin, or using a lot of turp on the paper. You can get quite flat effects, like a real print, by using the paint very evenly, leaving a small gap between the colors so that they don't bleed into one another, and then laying down the paper very carefully.

Some artists use I

printing inks, not

Do you always

^J work into the

paints, if they want this kind of result inks don't hold as

—

prints?

Q

Usually, yes, but to varying

degrees. Sometimes I'll put a lot of pastel on, like Degas did,

but

often I just describe the shapes with a simple line drawing more like Matisse. It very much depends how the print comes

—

because it dictates to you what to do afterwards, but it's important not to kill it you can do that very out,

—

easily.

B

How much

control do you have over the print? I

much oil. But I usually like

a looser, more

painterly effect, where the flow of the colors creates its own illusions. In the

Flamingoes, for instance,

I

wanted a

— the birds are standing in — so water after watery look

all

I

splashed turp all over the place. You dollop some on and then lift up a corner, and this makes the turp run down the paper. You can see what you're doing, but most of the time it's still a surprise sometimes doing a

—

monotype will

too, which makes it

completely change the way I'm looking at something.

look unfamiliar.

of course the

very confusing if you've been working

something in front of you, like a vase of flowers. When you want to work into the print you can't go back you to the original

is reversed

from a photograph or

have to have the

HAnd image

Q

Yes, that can be

—

courage of your convictions and just

draw — go along with what the print suggests instead of doing something you'd planned in advance. Monotype forces you it takes to be bold things out of your

—

hands in a way

It's

completely different to sitting down with a pencil in your hands and working out a painting

—

it's

like

jumping into a pool when you first begin to swim.

Bit's obviously a great thing to do

when you're feeling

—

stuck and good for beginners, who often feel

nervous about

starting a painting.

Q

Yes, because it's easy as well as exciting, and you always get an interesting result. But it's

perfect for

everyone

—

professionals, amateurs, children. used to get my

I

daughter and her

Nude Study The degree to which the pnnt is worked into dictated by the

afterwards

is

print

here the pastel

itself:

drawing than

is

more extensive

m the other examples

A The Spanish Dancer The

soft, fluid

merging of

friends to do poster-

paint monotypes

colors above the dancer's

when they were about

shoulder and below her of

five years old they loved it, and by the time their mothers

turpentine. Gallwey's

came to collect them

right

arm

is

achieved by

liberal applications

monotype method

there were pictures

is

demonstrated on page

—

211.

everywhere.

—

It

just is

fun no one can possibly not enjoy it.

217

Glossary Advancing cotons ~ ( iolon

Broken color ~ A

thai

appear to come toward the front of the rii

id pi

11

\m The colors that have this

propertj are in general the

-.lightly

term, sometimes used as a

for

for oils

and water for he water-based I

is

not laid as

area and does not completely

[taint

Dry brush ~ A technique of applying

minimum of

strong ones, such as reds and bright

a

yellows

cover another color below, or the color

usually with the bristles of the brush

of the canvas or paper.

slightly splayed out.

Canvas ~ A heavy woven fabric, the most commonly used si pport for oil

but

flat

Aerial perspective - The effect of colors

recede from (he viewer,

tlir\

with diminishing light/dark contrasts.

Alla prima ~ Italian

-evil

in.

le-> a-

il

this

'at first."

and

refers

completed during one

with each color laid on more or

appear

will

painting.

The

painting,

and also frequently used

for

is

perhaps best known

up their paintings layer by

monochrome

context of watercolor. where a

it

provides

means of describing textures such as

Egg tempera ~

will

occur when new paint

is

who built

layer over a

sometimes

added

into a

that has not fully dried. Backruns

can look unsightly intended to be

if

the color area

connection with the exploitation of

Encaustic ~ Paint made by mixing

and measure the purity of a

often induced deliberately by watercolorists

who paint viftintovcft.

Binder ~ The

liquid

see

mixed with WCMENT pastel sticks.

watercolor

form

oil.

svnthetic resin,

M

and

pastels with

gum

painting, in io\t.

first

Gesso —

and now enjoying a

ground used

revival of interest.

and color are

[tainting

grounds are

oil

paint in tkmpf.ha.

Color field painting ~ A type of abstract painting making use of large

as the painting proceeds. For

any

areas of flat, unbroken color. Color field

this

the 1940s and "50s.

Colored ground ~ Artists working in the opaque paints which includes

oil

painting: beginning

content

is

oil

refined in the later -tages.

mix pigment

\

watercolor painting meaning opaque

10

It

sometimes

i-

some

primer itself.

very important Thick, oily paint

this,

Pairs of

juxtaposed powerful

voilet

and

yellow.

the top layer will dry

is

also used as an alternative

Depth — The

illusion of space in a

painting

or acrylic color in thin, transparent

Diluent - Liquids used

to thin

down

paint, such as turpentine or white spirit

A technique of applying oil

layers so that the color

beneath shows

Figurative painting

- A painting of

through, modifying the color of the

something actual,

as

opposed to an

glaze. Overlaid

abstract painting.

The word does not

imply the presence of human

figures.

this

is

misleading, since

all

watercolor

transparent.

~ Thin varnish sprayed onto a

drawing or [tainting to prevent

Glue size -see Size

smudging and slipping off

Some pastel painters use

fixative at regular stages

It

washes in watercolor

are sometimes described as glazes, but

is

it

Golden section ~ A system of organizing the geometrical proportions

during a

while other never use

at

all.

has a tendency to darken the colors.

of a composition to create a

harmonious

effect,

ancient times,

which

placed over a textured or indented

the larger part

is

smaller

it is

known since

defined as a line

divided in such a way that the

Frottage — A technique akin to graverubbing, in which a piece ol paper is

[tail is

to the larger [tail is

what

to the whole.

surface and rubbed over with a soft pencil,

term for gouache paints.

not true gesso,

first,

When

effects.

is

Glazing ~

[tainting,

in a painting they create

acrylic painting,

shrinks.

the pigment

appear opposite one

and

and may crack as the lower layer

Fixative

colors that

for

preparing canvases and boards for oil

two coals.

over

pastel

ol color.

who

slightly in the process. If lean paint

purpose or prepare watercolor paper

wash

artists

The preparation

and seldom requires more than one or

the colored papers specially sold for the

light

used by

takes a long time to dry. and shrinks

work on one of

refers

watercolor mixed with ( Chinese

white, but

is

another on the color wheel, such as red

term exclusive to

water-based paint.

acrylic, this

into the

and green, and

Body color -

and

still

to a panel

Gesso

known as acrylic gesso, sold

painting built up in a series of layers,

laid

Complementary colors — be

to prepare a surface for

and gilding a chalky pigment

increasing the thickness and

the surface.

laid in broadly, to

Originally, the brilliant white

with thin, non-oily paint (lean) and

USA in

are

pigment with hot wax, common in

contains no chroma.

stage of a

which the main areas of

still life

genres of painting.

in several successive layers.

by laying a

Blockingin ~ The

all

mixed with glue and applied

Pastel painters either

tragacanth.

most commonly

building up an

paint over a white PRIMER, though

\k\bk oil paints are

life,

Fat over lean ~ The traditional way of

on

usually done by applying a thin layer of

acrylics with a

domestic

the chromatic scale, while neutral gray

•red or blue, for example, are high

painting. In

paint, or

The binder used for

i> i.i

bound with

to

A term used to describe

ancient Egypt and the Classical world,

pastel often color their CROl ND before is

1

paintings depicting scenes from

2 A category of art; for example,

Tempera

Pure

color.

and are

medium that

though some have a

tendency to fade.

landscape, portraiture, and

to describe

painting was developed in the

is

but they can be an

flat,

attractive feature of a painting,

permanence, and very few colors are truly fugitive,

[tai nters.

In watercolor painting,

jagged-edged blotches

with a code denoting the degree of

associated with 17th-century Dutch

Chiaroscuro ~ An Italian word r meaning "bright-dark. used in

Chroma ~ The term used

NDERPAINTINC.

i

Nowadays, most

manufacturers mark their paints

Genre ~

in the

hair or grass.

strong light and shade in a painting.

in the final

painters of the 19th century,

wash

The method can

acrylics.

Impressionists worked in

way, in contrast to the academic

Backruns -

paint to the surface,

Literally translated, this

term mean-

to paintings

the

- A color which fades

to light.

be used in any of the [tainting media,

and tour- becoming paler and

colder as

Fugitive color

on exposure

[taints.

urn* U \n\iv. In fact, broken-color

simpK means color which

warm,

imprecise

svnom in

crayon or pastel

stick.

Designs

Ground ~ A layer of [taint or other

or textures created in this way are often

substance which isolates the

used as an ingredient in collage work.

from the is

[taint

necessary for

si

placed on top. oil

[tainting

pport

A ground

because

from ihe paint -ink-

without

u. iIi«-.mI

miu

surfaced the canvas or board

ih'i

Local color

-

I

be

lual soloi "l

at

>

an

object, regardless ol iheeifectsi reaied light

l>\

Mahistick -

[IkB

medium used as a

Br\ufH for watercolor **. MEXI vkiili

Mixed

medium h

anrii he- the

colon ami oathes the paint

pad

d bamb al

one end, used

when painting in pastel work to prevenl

line details "i

hand restingon already

-

ofon

I

dose together on thecoiorwheeJ violets, reds and

hlue-and

thuado not

set

BR

lliai

ie

Masking

up sharp cwiiruMs

-

through

laid

and blue

red, yellow, green,

dried

is

dear, straight edges, masking

"i

I

tape can !* used — in oils and acrylics

Image

-

i term aaed to describe either as well

.1-

i

In-

unmixed a

n

1

Pure intense color,

Mark

an]

1

Scrapingback ~ Small,

"i

a

oi

Lute,

lineal

made

highlights are often

a "cool palette

-

ilal ie

II IC

|

I

"

i

ll|

\l\im\\l PAINTTNC

hi nil -I

l>\

scratching

ned

all

»

nli

the point ol a knife oi similai

implement

\\

lechnique

usual!] referred to as

is

hen used

no Broadet

for oils, Ihe

effects can also l>e

the elements in the picture appeal i"

scrai

recede Lrom this plane, a bile rsoMFi

achieved in oil paintings by scraping oil

oi

i

effects are achieved b) painting

ii

objects in such a waj that the] project in Inini

watercolor

Another

painting

in lui figurative

Saturated color

physical Burfaceol the picture

In ino-t

after the paint baa

in

intodn watercolor oi wet oil painl

l>\

is

the paper before painl

am) removed

»rs

til

ihoae an artist habitual!] usesLe a

PlCTUREPLANE

in

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n>elyueofco*or,onasca)e

watercolor work,

limited palette* a "palette

watercojoi work [he commonest

panned onto

Hue

l"i

Masking methods am often

-

VN( rsci

Representational painting

variel) ol different

i'l>

[be kind of colors used in a painting

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laid pastel

used for resen ing highlights

yellows am)

forward see vw

plastic version ol iheoil palette J

primaries

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120. 134

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SailingBoat 85 III,

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Red Flowers 215

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24, 26

wmmm BOSTON PUBLIC LIBRARY

No

longer

Boston

ft^t*gtHt$ PuKc L^ry,. uSrarv, 8.c

.

Sale of this material benefited the Library \

—

•

>i

j

\

i

>

oil

1.

1

" 88

painta

and

structure

wan n

174-6

"l"i

141

man

[odd,

173

colors

Oki tone

104

( ,;rt(.v

lifting

fifrure

129

scraping back

88

tonal values

Toulouse-Lautrec, Henri de

watercolor cra\ 131, 171

Turner, Joseph Malloid William

\orham

(

'attie,

Sunrise

155, 179

114-15

.

ais

78

173-4, 192

TheDayofDoom

122-3

under-modeling

I

inll'i.

watercolors

155

Maurice

63,94,150,152

oilpaints

30-3,94

underpainting

157

knife painting

underdrawings 57

70

wet-on-dry \\ histler, \\

49-50

48-9,63

James Abbott McNeil

115

ildman, Phihp:

Bridge over the Tiber 77 Rooftops

99,142-3

Van Dyck, Sir Anthony Van Gogh, Vincent

78, 151, 153, 189

106-7,109

TheNighlCafe vanishing point

40-3

Velazquez Diego

Vermeer,Jan riewfinders

195

Sdll Life with Mandolin \\ ilson,

Susan:

Losiliniliiiif!

Poppies

74-5

working sight size

Sandra:

Power Broker

rates, lack:

100

Walton. Barbara:

Black Iru 84

warm colors

27. 28.

I

58

working drawings 55

w tt.ilk.r

88

157

I he Tims Dress

103

103,119

II

I

larrison 183 right

~

(>2--+.

Middlesborough 22 ~ Kirklees Metropolitan Council, Bagshaw Museum,

National Gallery of Scotland 94-5

— reproduced

by courtesy of the Trustees, The

National Gallery, London 98-9 — Schmidt Bingham Gallery, New

~

Wk 100

bottom -

courtesy National Portrait Gallery 104 — Yale

— The Turner Collection, Tate Gallery, London 114-5 — reproduced 118-') — courtesy of the owner, David Sprakes 120- Royal Academy. London 122 — courtesy England & Co. 12-1 — Courtauld Institute Galleries. London 12-7 - Musee d'Orsay (c) PI IOTO R.M.N. 130 - c Detroit Institute of Arts (gift of Mr & Mrs Bert I. Smokier & Mr& Mrs Lawrence A. Fleisclnnan 134-5 ~ Tate lallery, by courtesy of the Trustees, The National Gallery, London

138-9.

l-H-5- 146 The Mayor Gallery

Three Figures

205

13

I

legner&Son, 13 South End Road. London, and Langford

Warwick Street, London

wet-into-wet 127

~

Special thanks to F.

192-3

Weight, CareL

Uccello,Paolo

lazel

(

48-9, 63

Watteau,Antoine waxresisl

u

Cleveland Gallery

London

49-50,63

wet-into-wet

wet-on-dry

167

91,

I

174-6

texture

30-3

underpainting

173

174-6

•spattering

52-4

- Jeremy Galton 31-32 -

University Art Gallery 106-7

50-1

papers

and structure

70-72.211

Courtauld Institute Galleries, London 102

192-3, 194, 197, 198-9

47

tonal drawings

178-81

outdoor painting 77

draw ing 65

163

in their collections:

Batlev59

172-3

niiM-.lme.lia

III

in-ide/outside

t.mnscape-

(

174, 197

173

out

masking

24.27-8 contrasts

works

interview with John Lidzey

The Daughter* oj Wrand Mrs

151, 152, 154,

54

51

dry brush

Daphne

tin-

the captions:

We would also like to thank the following museums and galleries for permission to reproduce

63

color studies

99. 151

rfdlwey 20-22, 36-37, 56-57, I

brushes 49

Winter Headiand I

(

angle of board

DiitaMLight

in

176-7

additives

Robert

for this book, especially

194 ~ David Ferry 202, 203, 212 -EllieGallwey 78-80- Kay

James lorton 44-46, 74-76 ~ John Lidzey 52-55 - Philip Wildman

16

acrylics

SO-

right, 182, 1821eft, 192, 193,

48-51

watercolor

129

who kindly submitted work

out demonstrations but whose names do not appear

Jean Canter 172, 174 ~ David Carr 13- 14, 35-36 ~ Rosalind Cuthberl 150,

192

49

watercolor

ul l/rv

watercolor papers rriling.

line and wash

93

a

l.l.

like to thank all the artists

who carried

187

dry

66.68

following,

164-6

acrylics

151

pastel papers Mill

Quarto would

washes:

174-6

gouache

157

\^

1.

for the loan of artist's materials.

& Hill Ltd., 38-40

k

(continued from limit

thai a

//\

.mists, you'll be inspired

world—find

as

or subject matter. As

important paintings

at

and modern ferent

in scale

doesn't have n> be

on unprimed canvas, unlike thi<

k paint or build

thin layei

s.

Move on

to

up an

oils.

and work

Trj glazing

entire picture in

more experimental

tech-

niques. Incorporate collage into your work, for instance, or create a monoprint, which

is

a cross

between painting and printmaking.

When ing

you

striking

instructor

finish this course, you'll

pictures

so

good

that

be paint-

even

would be impressed.

I Sterling Publishing Co., Inc. \( w Voi Printed in Singapore

an

ART/CRAFTS 'his lavishly illustrated .

having your own private tutor

side. Easily

as

workbook

master painting

you develop your

skills

at

at

like

your

your own pace

through practice.

Each project teaches you a new an

Start by observing as

is

skill

artist

hands-on.

and using

color to describe the things you see.

A

series

of questions helps you evaluate your work. Refine your style as you create a likeness,

work with

a theme,

and

from nature,

abstract

among other approaches. Then decide which painting medium suits you best, from traditional favorites such as oils

and

more experimental approaches

acrylics to like

collage

and monoprint. Interviews with experts in the media explain working methods that you can adapt.

Become accomplished well

as

at the

communicate your

mechanics

artistic

as

vision

irough painting.

ISBN O-flQL^-MMZ?-? 9 0000>

Sterling Publishing Co., Inc. New York

Front rover photograph by

7808

72

Nancy

Palubnial;

Ik9725"04427ll

2