The Artist - UK (2021-03)

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

OILS

I liked the crisp edges of the ruff in Lily and
I really wanted to build it out. I have used a
huge amount of impasto to build up the ruff.

B I think the best way to convey different
textures is through the edges, and the
crispness or softness of the transitions.
Buttons are also a fun extra element of
accents that we can use.

l Character
A Most obviously your choice or your
sitter’s choice of clothing completely helps
characterise the painting. The way we
choose to dress really tells a lot about who
we are and our tastes.

There is a sartorial choice that we both
wittingly and unwittingly make every day
we get dressed and this translates into the
iconography of the painting.

B Encourage your sitter to wear clothes that

most represent them. Ask them what their

favourite colour is so you can use it in the

background, and ask them to bring different

outfits, as what works in a painting can be

very different to what works for a photo

shoot.

l Mannequin

A If you have a mannequin it is a really good

idea to use it for your sitter’s clothing. If they

have a limited amount of time available

to give you, it is best that you focus on the

portrait when they are in the room. You can

then place the clothing on the mannequin

and work at your own pace.

B Getting the drawing and shadow patterns

right on the clothing really helps to add

structure to the figure underneath. With

the clothes on a mannequin you can really

design how the shadow patterns work and

spend time constructing the drawing. Make

sure the light source is the same as in the

portrait.

l Patterned fabrics

A It can be great to use patterned fabrics to

help with perspective and shapes. They can

also add a fun element of design.

B In the painting of Carla (above) I tried to be

really loose with the fabric pattern. You don’t

want the design of the fabric to overtake the

painting, so don’t be too literal with it. I think

it can help you loosen your brushstrokes by

not being too literal with the actual design

of the fabric.

EXERCISE PAINT A STUDY

OF FABRIC
Spend a while designing the composition. Make
sure the light source is strong; if you don’t have a
window, use a table lamp to make it really clear.
In the painting (below) my artist friend Jill Hooper
has painted white fabric. For a fabric study use a
stiff fabric like linen so you can get some really clear
folds. It is also good to use white, so that your main
focus is the shapes and values and you can see the
transitions more clearly.
Try painting two pieces of fabric that are the same
colour but different textures, such as a silk and a
cotton, and see what makes them look so different.
Is it the edges or the value shifts?
When you are painting linen fabric on a linen
canvas, try to keep the paint quite thin, as the
surface you are painting on is the fabric itself.

p Jill Hooper Drapery Study, oil on linen, 12 3 10in
(30.5 3 25.5cm)

p Carla, oil on linen, 18 3 14in (45.5 3 35.5cm)

TA