MATERIALS
• Matisse and Atelier acrylics: Titanium White; Napthol Red Light for underpainting; Cerulean and Cobalt Blue; Pthalo and Sap Green; Hansa Yellow Light; Cadmium Yellow Medium; Naples Yellow and Raw Sienna; Red Gold; and Alizarin Crimson, Ultramine Blue and Burnt Sienna for mixing darks.
• Acrylic painting medium and retarder.
• Stretched and primed canvas.
Inspiration for this demonstration came from a very ordinary source – the hardy Banksia bushes planted by the local Council on our median strip. Armed with my digital camera and dodging heavy afternoon traffic, I took several shots of the Banksia flowers ranging from lovely new lime coloured cones to the daggy disintegration of the ‘old man’ flowers.
Next came the interesting part. I printed out my digital photographs, arranged them in front of me and tried to visualise an interesting composition or two. I asked myself: Should I choose landscape or portrait configuration? A stylised or realistic design? Could I increase the drama of the colours? What size canvas should I select?
STEP ONE
Using a charcoal stick, I drew a couple of rough “thumbnails’ to familiarise myself with my subject (and to try for an interesting composition).
STEP TWO
Having decided on a simpler design, I taped butchers’ paper to my canvas board – 24 x 30 inches in this case. Using a medium soft charcoal stick, I loosely drew my design onto the paper. When satisfied, I took a softer piece of charcoal and created a tonal pattern I could follow in my painting.
STEP THREE
Taping the right side of my drawing to a window, again using charcoal, I drew on the reverse side of the paper – following the original lines carefully. The glass reflected these lines very well.
STEP FOUR
I prepared my palette: Two layers of paper towel well moistened, topped with a sheet of baking paper on a large plastic tray. A second tray served as a lid which preserved my paints for as long as I required, providing that I sprayed the paint with water and acrylic retarder (ratio about 10:1) when not in use.
I covered my canvas with a transparent red (Napthol Red Light) very thinly. I welcomed the streaks and drips as an interesting background. When completely dry, I taped the wrong side of my drawing to the canvas, and traced the design using the pointed wooden end of my brush – checking that the design had been transferred satisfactorily.
STEP FIVE
Using a large brush (2.5cm), and no details at this stage, I blocked in my lights and darks – resisting any urge to use a smaller brush because I was only interested in achieving correct tonal values. This was also the stage when all my negative feelings came to the fore, such as: ‘Wrong design, looks a mess, can’t paint, should abandon project’. This was the time to walk away, have a cup of coffee, and turn the CD player on (a little reassurance from family or friends could also help).
All was well, and I was ready to pick up the brush again and overcome any problems.
STEP SIX
Changing to a 2cm brush, I moved over the whole canvas – strengthening darks and lightening lights where called for, but still avoiding details or highlights. It was important for me to establish the right value for my focal point (the fresh green flower) so I could keep all other values a little subservient. I toned down the bottom red brush to this end.
STEP SEVEN
I had been all over the painting, strengthening here and there, and toning down other areas. For me it was crucial to now walk away, preferably for some hours; then come back and take a fresh look. With a more objective eye, I turned the painting upside down and also viewed a mirror image – to check for a pleasing balance.
FINAL STEP
Right away, I could see that the leaves at the top right were too strong and needed quietening. Having adjusted this, I finally allowed myself to use a small brush; also a liner brush for details such as leaf veins, the serrated edges on the leaves, and the fine needles on the brushes. Then it was time to stop before the fiddling urge set in.
MASTER HINTS AND TIPS
• Paint what you know, understand and love – but always leave your mind open to new ideas and experiments.
• For artist’s block, try using mixed media … such as adding pastel or inks to watercolours or acrylic paints. Using collage is great, too. Don’t try to produce a masterpiece, just have fun.
• Always put out sufficient paint (and a bit more). A ‘stingy’ palette can result in a ‘stingy’ painting.
• My final suggestion concerns brushes. After all, they become an extension of your arm. Find those that work best for you, care for them, and they will serve you for many years. I have one that I do most of my painting with, which I have used for 20 odd years. Always clean your brushes thoroughly after every session, moving bristles back and forth over a cake of soap; rinsing until the water runs clean. Reshape before drying.
