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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

central oval, which rests onthe bottom third of the frameThe opposite groups of lily‘islands’curve around theand have a much more natural feelcomposition look too symmetricalThe reeds were placed top rightso as not to make the whole

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

SI14p34_37_Dutton_Layout 1 09/06/2014 15:11 Page 36

http://www.painters-online.co.uk

PRACTICAL

Join RobertNorth Yorkshire this summerpaint with him outdoors: at three venues in to

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

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

the planning stages and stickChoose yourIMPORTANT key colours at

temptedas you go alongstick out likewith them. Do not be to add other colours a sore thumb – they will

and the painting will lack harmony

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

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

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

pad from thetoo dominant andonly noticed this when viewingthe reverse image of the painting centre, drew as they the eye. I were

in a mirror; this isfor checking whethercomposition is working asit with fresh eyes. a great The a device you see

introduction of morethe centreand thethe painting. eye now added vital interest The square format is moves around koi carp in

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

the water

WATERLILIESWORKSHOPJoin Robert for a The Artistworkshop

on NovemberNEC, Birmingham and paintcolourful pond and pool paintingusing Daler-Rowney and 6 at Art Materials Live, System a 3

acrylics worthprovide easy-to-follow referenceworkhis expert guidance throughout. See from and over you will benefit from £30. Robert will to

page 62 for details.

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