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‘Pointsettia in Motionwas quite a spontaneous watercolour. I paint very quickly
and this piece took around 20 minutes. I always look for lines of direction,
something to add movement and vitality to the image. I study the reference
then paint from the mind’s eye – it doesn’t restrict me so much when I’m in full
loose mode. Finding the light is vital and considering how it affects each
element of the composition is key.
‘After applying ample amounts of water to the areas I want to work with I get
the colours on quickly and let them do their own thing. The magic for me is in
these moments: the swirling, the mixing and the settling, and also the
unexpected accidents that happen with amazing regularity. When the colours
are in position I add and subtract colour strengths with my brush, usually a
large round size 16, a No. 4 rigger and kitchen tissue, which is the best lifter of
liquid paint I know of.
‘After letting everything dry a little I go back in with the trusty rigger, a
beautiful brush that allows me to add long liquid strokes and lines of direction
without fiddling. With this I can tailor the painting and add points of interest
to draw the eye, although overdoing this can lead to over explanation of the
painting and remove the need to interpret and enjoy the work. The colours
used in this work are lemon yellow, gold ochre, cadmium red, alizarin crimson,
Winsor violet, sap green, pereylene green, burnt umber, sepia and indigo.’artistApril 2016This month’s editor’s choice from our website gallery is by Andrew Geeson, who comments:
http://www.painters-online.co.ukEDITOR’S GALLERY CHOICE
t Andrew Geeson Pointsettia in Motion, watercolour on Arches 140lb Not, 8^3 ⁄ 4 61 ⁄ 4 in
(22 16cm). On show in our online gallery at http://www.painters-online.co.ukhttp://www.painters-online.co.uk
To upload images of your own work and receive valuable feedback, go
to our website and click on the link to the gallery. This is a free service.There’s still time to catch the latest in a series of
exhibitions celebrating the work of Royal
Academicians. Husband and wife Diana Armfield and
Bernard Dunstan have worked in each other’s
company for over 65 years and ‘paint what they love,
and love what they paint’. Bernard, who is an editorial
consultant to The Artistmagazine, prefers to capture
the structure and atmosphere of interiors, and the
world of musical performance; nudes are also a theme
in his work.
Academicians in Focus: Diana Armfield and Bernard
Dunstan, Painting from Life – Painting their Lifeis in
the Keeper’s House at the Royal Academy of Arts,
Burlington House, Piccadilly, London W1 until April 24.
Admission is free. If you are not a Friend, Patron or
Corporate Member of the RA, ask staff at the Keeper’s
House for access to the exhibition before 4pm.
Telephone 020 7300 8000. http://www.royalacademy.org.uk.CELEBRATING
OUR RAs
t Bernard Dunstan Sitting by the Window, 2000, oil,
131 ⁄ 2 141 ⁄ 2 in (34 37cm)lReaders who have been following Glyn Macey’s painting challenges and the exercises set by Paul Talbot-Greaves each month
will doubtless be interested to see how they have been interpreted. Glyn is commenting on the individual entries, whereas Paul
is selecting one painting from each exercise for a full appraisal. You can see how others have risen to Glyn’s challenges at
http://painte.rs/1kLqC5Q, and coped with Paul’s exercises at http://painte.rs/1jSXMAf.April TAW fromBrenda_Layout 1 15/02/2016 11:31 Page 10