International Artist – August-September 2019

STAGE 1 TONING THE CANVAS

I always try to tone my canvas in a bright (fine) gold or sunflower yellow

acrylic tone. I love the effect it creates in the finished piece, almost as if it’s

glowing from within. Next the initial drawing is put down, in this case, in

oil. Sometimes it’s just a series of dots and lines to mark compositional and

edge placement points, but every notation is important. With architectural

paintings, I use a straight edge at this stage to keep my lines neat and

exact. For more complex compositions, this “drawing” step may take more

time than the paint application itself.

Oil Demonstration 73

Surface
» Raymar Belgian linen panels toned with Golden Fine Bright Gold acrylic paint.
I always prefer painting on panels as it gives me the flexibility to “crop” a
painting once I’ve completed it if I feel it makes for a stronger composition and
presentation.
Brushes
» Rosemary & Co brushes, primarily brights. I use the same brushes regardless of
if I’m working in oil, acrylic or gouache and, as a result, my brushes get totally
abused. I feel Rosemary brushes stand up to the beating that I give them.

Paints
» Gamblin Radiant oil paints and M Graham & Co oils, acrylic and gouache.
I particularly like the M Graham gouache as they use honey in their paint that
gives the gouache an almost “oil-like” texture
Varnish
» Golden Archival Spray Varnish-Gloss

My Art in the Making Floating the Big Hole

WHAT THE ARTIST USED

On My Palette

» Mixed white, ultramarine blue, cobalt, violet grey, dioxinine purple,

olive green, viridian, chromium oxide green, burnt umber, quin rust,

golden ochre, quin rose, red, cad orange, transparent orange, Indian

yellow, cad yellow, Naples yellow, yellow grey and buff titanium