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36 Summer issue 2014 http://www.painters-online.co.uk

DEMONSTRATION:This photograph (left) wasjust a starting block. Lots ofReflections of Light

colours, shapes andelements were changed, leftout and added as part ofthe painting process.

Sketches and colour studies,particularly of the fish, werealso used to make the finalcomposition work as a

square formattSTAGE ONE

I applied two coats of gessoto completely cover a 3mmMDF board. The paintingbegan with several glazes

of thin acrylic, one over theother, blocking in the mainelements during theprocess with a build up of

more and more opaquepaint as I worked. Leavingthe white gesso showingthrough helped to keep the

glazes wonderfullytransparent

pI continued to define shapes and intensify thecolours in layers. Quite often I change andadapt a planned design as I work as aSTAGE TWO

painting develops – such is the freedom ofacrylics. Some left-hand side lilies werereduced whilst those on the right were madeslightly larger and reduced in number to

balance the painting

DESIGN, CONCEPT AND COMPOSITIONLooking for a balanced composition within my series of lily paintings (iesymmetrical groups of objects) I searched carefully until I found what I waslooking for. You can use the proportions and divisions within your chosen

arrangement to create really interesting groupings of objects and a strongdesign, which in turn gives your painting strength. Eye level and perspectiveplay a vital part in any painting along with depth of field. The diagram (right)next to the pastel painting, below,Towards the Light,shows how this

painting was designed and constructed to create a strong composition.

The composition is divided into quarters (white lines)and equal thirds (red lines)

The fish were placed almost equally in the composition –if too equal the painting would have looked forced

the bottom third of the frame‘islands’curve around thecentral oval, which rests onThe opposite groups of lilycomposition look too symmetricaland have a much more natural feelThe reeds were placed top rightso as not to make the whole

pTowards the Light,pastel on Clairefontaine Pastelmat, 1622in (40.556cm)

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PRACTICAL

Join Robert at three venues inNorth Yorkshire this summer topaint with him outdoors:

Ripley Castle Gardens,North Yorkshire, on June 30; Gardens,July 11; Bolton Abbey, near Ripon, North Yorkshire, onYorkshire Dales, onnear Harrogate,Newby Hall

July 14 For further details of Robert’s summercourses visit http://rdcreative.co.uk/art_workshops

Choose your key colours atthe planning stages and stickIMPORTANT

tempted to add other coloursas you go along – they willstick out like a sore thumbwith them. Do not be

and the painting will lack harmony

p Using different sizes and widths of Winsor & Newton Galeria and Pro Arte Acrylix Series 204 OneStroke brushes, I continued to define shapes and intensify the colours in layers, particularly inthe middle section of the painting, using the warmer colours of burnt sienna and naphtholSTAGE THREE

crimson mixed with other colours from my chosen palette. I added the white lilies andintroduced more fish – their orange colours working to complement the intense blues

u Reflections of Light,board, 25I removed the half-submerged lilyFINISHED PAINTING25in (63.4acrylic on MDF63.5cm).

pad from the centre, as they weretoo dominant and drew the eye. Ionly noticed this when viewingthe reverse image of the painting

in a mirror; this is a great devicefor checking whether acomposition is working as you seeit with fresh eyes. The

introduction of more koi carp inthe centre added vital interestand the eye now moves aroundthe painting. The square format is

well balanced, with a centralpassage of light and darkerreflected trees either side, and theright amount of lilies floating on

the water

WATERLILIESWORKSHOPJoin Robert for a The Artistworkshop

on November 6 at Art Materials Live,NEC, Birmingham and paint acolourful pond and pool paintingusing Daler-Rowney and System 3

acrylics worth over £30. Robert willprovide easy-to-follow reference towork from and you will benefit fromhis expert guidance throughout. See

page 62 for details.

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