Wall presence - brush strokes lesson by William Whitaker
4-2 PAINTERLY 2
William Whitaker writes: 'Like everybody else whose worked at painting a long time, I've tried
everything. I've learned that Art Leads, I just go along. I didn't consciously set out to be a
certain kind of painter, it just evolved. I don't believe there is any one true way, but I'll tell you
what I like best. I start loose and juicy. I rarely paint alla prima anymore and I try to smooth
out the paint at the end of a session. I dislike the effect when I paint over a textured layer
whose texture is in the wrong places. I have a very old, sharp palette knife (sharpened from
years of scraping.) I'll carefully scrape texture off a dried surface with it. If I'm working on a
panel, I'll often sand the fuzz, texture and grit off the dried paint surface with wet or dry fine
sand paper, sanding wet, before painting the next coat - a technique I picked up from house
painters.I'm very aware of what I call "wall presence" or the lack of it. A lot of my best buddies were
successful illustrators before they became even more successful gallery painters. They all were
smart enough to know and understand that the single most valuable characteristic in a painting
on display is the spiritual wall presence. It is easier to achieve this quality with oil paint than
with other mediums. This is due to inherent pigment strength and natural body.It is very hard NOT to have texture even when
you try. I believe it's best not to worry one way
or another. I think it's a kiss of death to be
thinking consciously about technique in the
middle of the painting process. One must really
love to paint, to be driven as it were, to put in
the time necessary to really get proficient.Many people would like to paint, but not enough
to paint those endless failures necessary to get
to the good work. If it were otherwise, we'd be
overrun with painters.If there is to be texture in my painting, I want it
to be in the last layer. I'm aware of the vast
range and intrinsic beauty in oil paint. Using thin
paint and thick paint, glazes and opaques, one
can create a feast for the eye.http://www.geocities.com/~jlhagan/advanced/painterly2.htm (1 of 3)1/13/2004 3:36:42 AM