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| August heat |
Wednesday, 24 August 2016
Slowly…
although it's not really the case. I've been busy with a set of commissions which will be installed into a newly refurbished Manor House. However, I've managed to produce a couple of pieces (one of which is below) from sketches I made from locations in North Essex, near to the border with Suffolk – a seriously pretty, although often ignored, part of the country – so all is well.
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ReplyDeleteHello. I teach fine art a level and was wondering if you could explain how you approach underpainting and how you determine what colours to use? I am going to introduce your work to some of my landscape painters and any advice would be fantastic. Thanks in advance.
ReplyDeleteHi D mac. There's two reasons why I underpaint: one, it's a layer where I can create some surface texture (via brush stokes); and two, it breaks the barrier of having a 'blank canvas'. I normally choose strong, warm colours (oranges, ochres or reds) for my underpainting, and where this layer is visible through the subsequent, opaque layers it really 'shouts' out and readily attracts the eye. Despite convention, reds on the far horizon will compel the viewer to look into the distance.
ReplyDeleteI just recently discovered your work and am absolutely smitten! I adore your style and colors and movement. I paint and have a similar affinity for movement and color but am a true novice and unprofessional. I loved reading your comment about underpainting previously listed and would be thrilled to read or learn any other techniques you have to offer. Thank you for creating such captivating art. I can't stop looking at it! Hope to purchase a print one of these days.
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