Translucence #2

 

Oleifera - oil on panel

.....and another one.

Studies in Translucence

  

Galliano - oil on panel

Not sure if translucence is even the right word, but here are a few studies where I'm just trying to get the jewel-like quality of the light as it passes through coloured liquids.

Faustino (for "The Routledges")

 

A bottle of fancy Faustino dedicated to "The Routledges", I suppose you can have it back now!

...and another one - Pink Converse #2

Pink Converse #2 - oil on panel

Here's the second converse. A bit tighter this time.

More Converse - Pink Converse #1

Pink Converse #1 - oil on panel

 Following on from an older converse painting - and still keeping with the loose approach (this time probably to the extreme).  Here's the first of two more converse.

Linseed Oil - Staying Loose

 

Linseed Oil #2 - oil on panel

Occasionally - either accidentally or deliberately - I revert to a much looser style of painting, allowing a large amount of the ground of the painting and the canvas to show through. For me, this is usually a raw umber tone. When using the stained canvas itself as a major unifying value within the painting, I'm always surprised by how little actual painting work needs to be done to make the painting work.  When I do this, I do no real underpainting - using a fairly dry brush to just block in the basic shapes and suggest the structure of the subject, as quickly as possible -  whilst allowing the stained canvas to hold the piece together in a unified way. The umber ground acts a middle tone for the entire piece and does the bulk of the work. All that's really needed are the darkest darks and the lightest lights, along with some suggestion of structure and mass in the middle range. I suppose the key is to put just the bare minimum onto the canvas to make it look like the subject. The painting comes together surprisingly quickly and, when it works out, I think is much more interesting to look at - warmer and more dynamic.

Anders Zorn was a master of this technique in his looser work as well as Sargent in most of his portraits….

Anders Zorn - Antonin Proust

Anders Zorn - Coquelin Cadet

John Singer Sargent - Robert Louis Stevenson

I know this isn't a new or surprising technique, but I'm always aware that I don't do it often enough. Staying aware of this approach and keeping it in mind is the challenge, and like most people I never know when to stop and usually end up overdoing it and spoiling the simplicity of the painting. 

Keeping this in mind I picked up the old linseed oil bottle again and had another shot at it, trying to stay simple and let the underpainting do most of the work.  The result is above.

Four Fruit Studies - #4- Strawberry

Strawberry - oil on panel

Four Fruit Studies - #3- Tomato

 

Tomato - oil on panel

Four Fruit Studies - #2- Two Cherries

 

Two Cherries - oil on panel

Four Fruit Studies - #1- Orange Segment

 Orange Segment - oil on panel

Hello?

..…Nearly two years since the last post?!  Suppose it'll be time for another update!
Since signing with a publisher it seems like I've been doing a ridiculous amount of work over the last 18 months - around twelve to fifteen paintings a month, which is ALOT for me. I suppose it's less than many of the "Daily Painters", but for me this kind if volume doesn't sit naturally with my painting technique. As much as I've tried, I have never been able to finish a painting in one session and have resigned myself to a kind of three-stage attack - which works for me, but is time consuming.  As a result the blog has become a bit neglected. Same goes for my website. I'm onto it though!