The lessons learned in painting are the same as those learned in living. With the knowledge and tools that you currently possess, you make a plan and move forward toward a goal. You must also be perceptive and flexible enough to alter or adjust your plan when you discover new information.
For this demonstration, I painted a pot of chicken noodle soup – I call the painting Sick Day. I wanted to show you how I balance strategic plans, based on my training and current level of skill, with intuition-based alterations of those plans, based on discoveries made while painting.
A note on materials: I use white spirit (or odorless mineral spirits, as we call it in the US) and linseed oil mixed together as a medium, but I started with just white spirit for the thin passes in the first three stages of this demonstration.
Felicia’s materials
•Paints
Ivory Black, Ultramarine Blue, Phthalo Blue, Cobalt Blue, Phthalo Turquoise, Brilliant Pink, Transparent Oxide Red, Cadmium Red, Cadmium Orange, Yellow Ochre, Cadmium Yellow, Bright Yellow Lake and Titanium White, various artists oil colours
•Brushes
Princeton Ashley 5200F flat hog bristle brushes, sizes 1-6; Rosemary & Co. Series 7320 pure sable one-stroke flat brushes, sizes 1/8 and 1/4”; Rosemary & Co. Series 81 pure sable domed filbert brushes, sizes 2 and 4
•Cradle birch wood panel, 30x30cm
•POSH Wood Grey Table Top Palette
•White spirit
•Linseed oil
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Denne historien er fra September 2020-utgaven av Artists & Illustrators.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
Allerede abonnent? Logg på
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
