The Artist - UK (2021-03)

http://www.painters-online.co.uk artistMarch 2021 33

PRACTICAL

w

For my subject matter, whether it is a
landscape, portrait or figure, I always
have the same visual approach. I think
firstly about the drawing, then the values,
the colours, and the edges. For me the
symbolism is not part of the artistic
process. The subject matter and symbolism
come before the painting has even begun,
but at the moment I have put paint to
the surface I am immersed in my abstract
world of values and colour. So for each
tip, I will consider first the broader artistic
element (A) and then the specific technical
approach (B).

l Design and drawing
A Like the background and hair, clothing
can add amazing shapes and design to the
painting. In my painting of Lily (below left),
the large ruff was such a fun way to add a
dynamic angle to the pose.

B Even though the drawing seems more
arbitrary than the portrait, getting the
shapes right is so important. There is a
skeleton under the clothing that needs to
be explained. Good draughtsmanship and
design are as important in the clothing as
on the portrait. The stance and gesture of a
person is represented as much through the
head shoulder connection and the way the
clothes sit on the figure.

l Values, lights and darks
A We can use the values in the clothes to
help accent the portrait. This is especially
obvious in my painting of Lily, where the
white ruff and black dress had amazing
value contrasts but also helped enhance the
values in the portrait. The variety of colour
is really very limited in the clothing. I liked
the fact it was the values that supported the
portrait and not the colours.

B Be very specific about the value patterns
on the clothing. The shapes and value shifts
indicate the type of fabric and the figure
under the clothes. Be really geometric in
your approach to the value shifts. This will
give your figure more sense of volume and
mass.

l Temperature
A Again, the Lily painting is much more
about temperature and value than colour.
Lily whitened her face, which added
many more cools to the portrait. It was so
interesting to add the cools to the portrait
and see if the ruff would help accentuate
them. I tried to push the temperatures in the
ruff as much as possible.

B When painting the clothes, the hue is the
easiest way to see the colour, but then really
look to see what temperature it is, and how

MY TIPS FOR PAINTING CLOTHES

the temperature changes as it moves from

the lights to the darks

l Colour

A The portrait of Owen (below) is much

more about colour. He arrived for the sitting

wearing this wonderful outfit of balanced

colours. I think it is really interesting to be

experimental with colour and try to use

unlikely colours in the portrait. When a

model wears a fantastic medley of colours

I find it much easier to see those colours in

the portrait. I was able to draw on the blues

and purples from the cravat and jacket and

pull them into the portrait.

B Find more colours both in the portrait and

the background by borrowing from those in

the clothes. This can make the effect become

much livelier.

l Texture

A We can use the varying textures of the

fabrics to contrast and enhance the portrait.

Owen, oil on linen, 24 3 16in (61 3 40.5cm)