My approach to painting in oils.
My approach to painting in oils.
I prefer painting in an impressionistic style. What I
refer to as
interperetive, or stylized realism.
Why paint an image when we have cameras? Both mediums
offer
the opportunity for creativity. With photography, creativity
is
expressed via subject selection, cropping, exposure and
lighting.
With paint, it is a little more complicated.Consider the
shape of the
canvas: What size best suits the subject and the effect
visualized?
Should it be a horizontal or vertical composition?
And the shadows—warm, or cool? Complementary accents,
or
analogous? Will the best background effect be abstract,
or illustrative?
Palette:
I find that a limited palette is easiest to manage and
the combinations
possible are endless. There is also less room for confusion,
and the end
results more cohesive.
You may want to choose the palette you are most comfortable
with.
Mine consists of eight colors, plus Titanium White and
Winsor & Newton Liquin:
Cadmium Yellow Light
Cadmium Yellow Hue
Cadmium Red Hue
Phthalo Blue
Ultramarine Blue
Cerulean Blue
Permanent Green Light
Sap Green
Method:
I have always felt that a blank canvas is a challenge,
and the sooner
it was covered with pigment, the better. The color is
not that important.
I do try to consider where I visualize ending up, i.e.,
light and bright;
dark and heavy shadows; warm, or cool, etc.
Shadows are filled with color. They're not simply grey,
they are comprised
of reflections of all the other colors in your painting.
Don't be afraid to
experiment and discover what exciting effects are possible—purple
lawns,
green skys, red oceans, and the multitude of colors in
skin tones and their
shadows.
I like to combine Liquin and pigment with varying degrees
of paint
thinner. With these elements, I can control the flow
of paint and the
desired effect. I use Liquin as an extender, and thinner
as a modifier
for the extender. Liquin is also a quick drying medium.
What is painted
at night, can be glazed, or overpainted the next morning.
Overpainting:
Overpainting—or layering—is the technique I like for developing
a
dramatic effect and visual excitement. The idea is to
allow the underlayer
to randomly show through the upper layer. This creates
a vibration between
layers, and can be particularly effective when combining
complementary
colors. The tension between the extremes sets up a unique
tension and
contrast that gives life to the painting.
Glazing:
Glazing—or overpainting with a transparent gel which
has a touch of
pigment—creates depth and subtleties of tone. Shadows
and surface
shading can be adjusted with this method,i.e., fine tuning.
I've always liked Winsor & Newton's Win Gel, but the
price has
climbed dramatically in recent years, and it is not readily
available.
I now find that Winsor & Newton Liquin is very effective,
and much
more affordable.
If this approach is new to you, I recommend experimenting.
Many
satisfying effects are possible. And, because Liquin
drys overnight, it
allows rapid development of the finished painting.
Have fun, and I look forward to your comments in my guest book.
Robert
