Wednesday, 29 June 2011

Busy Busy Busy Busy

I have had a pretty good morning so far. My talented disciple/student Alistair Walton was at El Studio Diablo picking my brains about his challenging new painting and his forthcoming debut at Pittenweem Arts Festival in August LINK. He is amazingly organised and the work looks fantastic. Please try to get up there to check out this unique event. Artistic luminaries such as Helen Denerley and Kate Downie are the star attractions but there will be a wealth of artistic nourishment to be taken. ACE!

Here's a recent painting from Alistair Walton that will be on show at Pittenweem Arts Festival. I love this.

The studio is getting a bit warm again. As I said last year it becomes a furnace in the summer and I often resort to painting in my underpants. Sexy! That is not the only hot thing about The Devils Studio at the moment. I am building momentum and I would go as far as to say I am on fire! Here's what's occuring.

I have tightened up my technique on this piece. Using as much of the over-washed drawing as possible, I have applied Paynes grey to the cusp of the chiaroscuro and then painted into the highlight areas with burnt umber and titanium white. This is the second stage of underpainting. I will subsequently reinforce the highlights using burnt umber and white and then apply a velatura of french vermillion and yellow ochre. I will then work into this with opaques. I have left the areas of reflected light unpainted until I have applied the velatura. These areas will be painted opaquely in muted and cool tones.

Tonally, the sheet that the model is resting on is correct. I am reluctant to paint it red at the moment as this may confuse my eye and my judgement of the tonality and inherent warmth of the piece (this is the reason for the warm burnt umber underpainting). The warm underpainting adds a unity to the work where it shows though in the less opaque areas. I would even go as far as giving a finished painting an Indian yellow glaze to unify the colours. I feel that separating the the volume and overall tonality of the figure from any decisions of colour at the beginning is important in this style and method of painting. A limited palette is also very useful in unifying a painting.

 I will post the next stages once I have finished this stage.

Be mindful

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