Lizet's materials
• Paints Titanium White, Scheveningen Yellow Medium, Cadmium Orange, Cerulean Blue, Raw Umber and Ivory Black, all Old Holland Classic Oil Colours •
Brushes Daler-Rowney Graduate synthetic flat brushes, various sizes; Rosemary and Co. Series 308 hog bristle long flat brushes, various sizes •
Support Wooden board primed with Golden Acrylic Gesso, 45x50cm (approx.)
• New Wave wooden palette
• Sansodor medium
• Odourless turpentine
• A dipper
• A palette knife
Alla prima can roughly be translated as “at first attempt”. It is a method of working directly into still-wet paint, which is very different to the commonly used layering approach, where one would be painting a layer and letting it dry, before working over it again. When painting alla prima, the picture is traditionally completed in a single sitting, which allows for a spontaneous execution that is incomparable to any other technique in terms of finish and boldness of brushwork.
A still life is a perfect subject for alla prima painting as it is infinitely patient and needs no breaks. I chose a pair of cowboy boots, lit by a single light source from the left, which provided clarity and made it easier to distinguish the tones. The latter is especially important for alla prima work, as it will make the process easier and more direct.
هذه القصة مأخوذة من طبعة October 2021 من Artists & Illustrators.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.
بالفعل مشترك ? تسجيل الدخول
هذه القصة مأخوذة من طبعة October 2021 من Artists & Illustrators.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.
بالفعل مشترك? تسجيل الدخول
Still life IN 3 HOURS
Former BP Portrait Award runner-up FELICIA FORTE guides you through a simple, structured approach to painting alla prima that tackles dark, average and light colours in turn
Movement in composition
Through an analysis of three masterworks, landscape painter and noted author MITCHELL ALBALA shows how you can animate landscape composition with movement
Shane Berkery
The Irish-Japanese artist talks to REBECCA BRADBURY about the innovative concepts and original colour combinations he brings to his figurative oil paintings from his Dublin garden studio
The Working Artist
Something old, something new... Our columnist LAURA BOSWELL has expert advice for balancing fresh ideas with completing half-finished work
Washes AND GLAZES
Art Academy’s ROB PEPPER introduces an in-depth guide to incorporating various techniques into your next masterpiece. Artwork by STAN MILLER, CHRIS ROBINSON and MICHELE ILLING
Hands
LAURA SMITH continues her new four-part series, which encourages you to draw elements of old master paintings, and this month’s focus is on capturing hands
Vincent van Gogh
To celebrate The Courtauld’s forthcoming landmark display of the troubled Dutch master’s self-portraits, STEVE PILL looks at the stories behind 10 of the most dramatic works on display
BRING THE drama
Join international watercolour maestro ALVARO CASTAGNET in London’s West End to paint a dramatic street scene
Serena Rowe
The Scottish painter tells STEVE PILL why time is precious, why emotional responses to colour are useful, and how she finds focus every day with the help of her studio wall
Bill Jacklin
Chatting over Zoom as he recovers from appendicitis, the Royal Academician tells STEVE PILL about classic scrapes in New York and his recent experiments with illustration
