40 artistMarch 2020 http://www.painters-online.co.uk
OILS
TAI
tried many different approaches to
painting on location and it took me
six years finally to find a way that
worked for me. I have been through
many different styles and approaches
and made a conscious decision to work
the way I do.
I love painters such as John Singer
Sargent and Constable, in particular the
sketches Constable made outdoors.
What I love about these is that you read
all the details but when you get close
it’s just like looking at random marks.
I am left dazzled by how much detail I
am reading into them. They never get
boring in the way that a photorealistic
style does.
I want to suggest detail without
painting detail; perhaps it sits
somewhere between Impressionism
and Expressionism. I find that theTimeless landscapes
Colin Halliday demonstrates a plein-air landscape in oil, revealing
how he captures the energy and colours in the scene
more detail you include the more the
painting loses feelings and emotion.
Contemporary art seems to be all
about the meaning and once you’ve got
that there seems little left.
For me its all about the application of
paint and its power to look beautiful.
I paint landscapes because that’s
what I relate to most. I don’t reference
anything of the modern world and
avoid putting people in, in the hope
it gives the work a certain timeless
quality.
I feel it’s important to follow your
heart when choosing subject and style
and these things take time to consider.
Following your heart gives you energy
and the urge to work; when you’re not
following your heart you don’t want to
work – but all the clues are there, just
listen to your instincts!My painting kit
I paint outdoors as I find it is the
best way to get the true colours; this
is something that you can’t get from
photographs and also the stimulation of
responding directly is second to none. I
paint from life wherever possible, rarely
using photographs.
I have stripped my colour palette
right back to the basics and I can mix
any colour I need from this selection.
I transfer the paint into Tupperware
containers so that I can put back any
unused paint at the end of the session.
I use a picnic table as my palette as it
is light and easy to carry and gives me
enough space to mix colours without
ending up with a muddy mess. Too
often I have seen artists end up in a
mess because quite simply they are
using far too small a palette on which to
mix. I put large amounts of paint out as
it encourages me to be generous with
the paint and creates a more interesting
surface. My top tip is to use a large
palette!
Mostly I work standing up but for this
demonstration I had limited space on
the jetty, but I would encourage you to
work standing up as this encourages
more expressive mark making and it’s
easier to step back and consider what
you have done.
I carry my easel and painting kit in
a large rucksack and carry my canvas
in one hand and fold-up picnic table
in the other. I wear wellingtons and
jogging bottoms over my jeans, and
also wear rubber gloves so that I have
clean hands and don’t get paint on
my sandwiches! If it’s raining I wear
waterproofs. It is usually possible to
carry on working if it rains, as long as
you can cover your canvas with paint
before it gets wet.
If you feel your painting has gone
wrong I recommend just going for
it – get wild with your application as
you have nothing to lose. It’s in those
moments that you can sometimes
produce your freshest work.t River, oil, 39½ 39½in (100 100cm)