Artists_amp_amp_Illustrators__July_2016_

MASTERCLASS

CREATING LIGHT

IN OILS

When creating a landscape painting in which light is the

primary subject, what are the fi rst things you are looking

to establish on the canvas?

Usually I start with a few drawing marks to establish where

I am on the canvas and begin to get a sense of the scale of

things. It’s very easy to get this wrong, especially if I’m

making a big adjustment from sight size, but a few carefully

plotted drawing marks can be very helpful. Once this is out

of the way, I can begin to block in tonally. Curiously, at this

point when I see the image emerging in terms of tonal

blocks, I’ll make adjustments to the drawing and how the

subject fi ts on the canvas. This sort of shuffl ing process will

continue to some extent through the early stages so

nothing gets nailed down too early.

MEMBER OF THE NEW ENGLISH ART CLUB RICHARD PIKESLEY ANSWERS YOUR

QUERIES ABOUT INTRODUCING LIGHT INTO AN OIL LANDSCAPE

I keep seeing unexpected colours refl ected in the light, should I add these, or ignore them?I keep seeing unexpected colours refl ected in the light, should I add these, or ignore them?

Light bounces around within the subject and developing a sensitivity to this is a real milestone in your growth as an Light bounces around within the subject and developing a sensitivity to this is a real milestone in your growth as an

observational painter. Recording these colour refl ections will give a strong sense of spatial unity to your work.observational painter. Recording these colour refl ections will give a strong sense of spatial unity to your work.

YOUR QUESTIONS

ABOVE

Morlaix,

Light Comes and

Goes, oil on board,

30x33cm >

Artists & Illustrators 63

63 Your Questions_Pikesley.indd 63 12/05/2016 12:48