The Artist - UK (2020-03)

34 artistMarch 2020 http://www.painters-online.co.uk

PALETTE-KNIFE PAINTING

create bespoke surfaces on which to
paint.
Wooden panels, mountboard and
MDF board are other possible supports.
My MDF and wooden panels are cut to
size at my local DIY centre – safer and
less hassle than doing it myself. I lightly
sand the side I’m going to paint on as
the gesso holds better with a little tooth
and it gives a bit of surface texture too.
Mountboards are easily cut to size
in the studio; they are absorbent so
need to be gessoed fi rst. If you use
a coloured mountboard as your key
colour, use clear gesso; black gesso
offers something different.
I enjoy painting with palette knives
over under-paintings on paper,
especially collage work. My preferred
papers for this are Canson Heritage and
Moulin du Roy, 300gsm and 640gsm. I
fi nd 100% rag content paper is stronger
than wood pulp paper and suits my
expressive painting style. Different
surfaces and papers give different
results so experiment to fi nd what suits.

Working practice

Choose your palette knife according to

the size of mark you want to make. The

edge of the blade will be your working

edge. Spread the colour evenly on your

palette before picking it up with the

knife.

By holding the handle of a loaded

painting knife sturdily in your hand

and keeping your wrists loose you can

use gestural arm movements to paint

expressively. Think of how a conductor

would hold a baton to direct the

orchestra! Create different marks by

varying the angle of the knife – the goal

is to physically engage with your work

and subject and to let the palette knifes

do most of the work for you.

A fl at smooth surface is best for mixing

paints on in the studio, such as large,

rigid plastic or smooth wooden painting

palettes – those with the thumb

hole are great as you can have your

mixes really close to your canvas for

quicker, energetic ways of working and

transferring mixed paint to the surface.

When painting it is a good idea to

wipe the blades and necks clean

periodically to avoid applying colours

you don’t want. After each painting

session clean your knives to avoid a

residue of dried old paint – they should

Palette knives, soft hake brush and Wallace
Seymour Liquid Charcoal, mixed with a little
water on a smooth surface

 Seasons Change along the River Nidd –

Nidderdale, Yorkshire, Royal Talens Amsterdam

Expert and Standard Acrylic with auxiliaries

on Royal Talens linen canvas, 2424in

(6161cm).

The interplay between brilliant greens,

warm colours and deep shadows re ected

in tranquil and slowly moving water is

immensely uplifting. I applied a gesso and

textured ground using Royal Talens light,

medium and course pumice before painting

with the Standard and heavier-bodied Expert

acrylics, glazed and layered using palette

knives and brushes