In this week's Vlog I have made a small painting in my sketchbook following my process of building up layers. But what it demonstrates as well as building an interesting surface, and the introduction of the use of stencils is how to give strength to the hero's in the painting. Prioritizing the colour heroes as well as the shapes and elements in the painting that are important to the success of the composition.
Using Collage in a painting adds an element of surprise and also gives you the opportunity to explore design options. The skill of the technique lies in the integration of the collage so that all the pieces work together and the collage is secondary to the whole painting. In this demonstration, I talk through the decision making process explaining what I look for when using collage and how I integrate the pieces into the whole composition while still maintaining the element of surprise and difference.
In this demonstration, I drew some plants picked from my garden. First establishing what it is about the plant that I want to capture. Using pencils loosely and closely observing the subject, I then did a series of studies on a variety of plants. Next, I created a painting, laying down a background with a couple of layers of paint, and then loosely creating the plant forms with paint and pencil. Practicing studies like this in your sketchbook will hone your observational skills and ability to use a variety of media to translate what you see in a free and loose style of drawing and painting. Soon, you’ll be able to integrate plant drawings with a range of media into your paintings.
Watch this demo to see how I use a range of techniques in wet and dry media to create an imaginative painting incorporating abstract elements and representational references. Spoiler Alert: Anything goes here - freedom in markmaking and media to create a painting straight from your intuitive imagination. Give it a try!!
What can we learn from Picasso’s Sketchbook Drawings?
In this video I talk about using Drawing to find the structure in your composition. By reducing your painting down to basic lines and shapes you can start to see how you can improve the design. I also show examples of different styles and techniques that Picasso used when drawing and planning his work.
Following these techniques and methods we can discover new directions to take our work and get clarity around improving the design. We can also just have fun creating simple compositions with line, shape and basic tonal value.
Who needs Still Life, a Nude or a Landscape when you can create a painting from your thoughts and dreams? In this demonstration I build a painting by using colours, imagery, words and shapes that come straight from my subconscious. It results in a strange world, yet is somehow familiar to me and includes my pets, favourite colours and patterns. It also includes a lot which makes no sense but is somehow pleasing to me.
Watch the video and then create your strange and beautiful world.
Great Art has clarity. The viewer is instantly drawn to it because it doesn’t confuse or overwhelm. It’s strong in message, even if the message is only “look at this gorgeous colour” or “look at this lovely combination of shapes”. In this video I demonstrate by using one of my own paintings, showing how I improved it by getting very clear on what are the HEROES. Once I could identify these I could eliminate the distractions and make them stronger. Watch the video and then take a look at your own work with fresh eyes and a new perspective.
In this video, I demonstrate in my sketchbook how I combine my favorite shapes with my favorite mixed-media painting techniques. I like to contrast different shapes with lines and also contrast a range of surface effects by using mixed media with a variety of techniques. This creates a painting that offers so much more on close inspection but also demands attention with emphasis on strong design and shape.
What to do when you love parts of your painting, but not all of it. In this video I talk about how I solved this problem with a painting of mine. I didn’t want to lose what I loved, but I had to make some changes. This can be daunting and involves taking a big risk - but if you’re game, the rewards are worth it. Let me show you how…
I love creating ghost marks in my paintings—shapes that appear somewhat smudged but are still recognizable. These marks maintain strong contrasts but also fade into the underneath layer. In this video firstly I create an interesting surface on which to place the ‘ghost’. Watch as I demonstrate in this video how I create these ghost shapes and marks.
How do you know when your abstract painting is finished? In this video, I take you through the process with one of my paintings, showing you what I didn’t like about it and how I fixed it and finished the work. I talk about what I focus on and what questions I ask the painting in order to gain clarity around what steps to take next.
1. Make a big move to disrupt the work and make a big change
2. Rotate the work so you see it differently
3. Ask: What have I got?
4. Look for repetition and ask: Do I need this? Have I already got this somewhere else?
5. Is my eye led around the composition?
When you have worked through these questions, and you’re happy with the work, stand back and walk away. Look at it again after a few days to see if you still feel the same.
The contrast of two opposites - Simplicity and Complexity always fascinates me. In this video I demonstrate how I create a complex surface and then create a composition by using simple shapes.
Using Collage, Paint, Acrylic Ink, and Paint pens, I build the surface in layers and then go about finding a composition made of simple shapes. Once the complex surface is created in this demonstration, the focus switches to simplifying to create an interesting and integrated composition.
