Step by step oil painting: Step 2

Step 2 is the lay-in, or first general application of oil colour. With this method the whole canvas is covered in a general way, which is then refined with more detail. An alternative method is to work up detail on small areas at a time (e.g. as used by the Pre-Raphaelites). This requires an accurate underdrawing and can result in sacrificing the whole to the detail, as was sometimes the case with the PRB. I digress.

Since I was going for a glazing approach I used a medium consisting of linseed oil, Liquin Light Gel (Winsor & Newton) and low-odour thinner (Sansador). The Liquin Gel speeds drying (so you don't have to wait ages before applying the next layer) and is good for glazes. The Gel dissolves and mixes with the oil. I also used a white palette (one of the tear-off disposable types) as this shows up the transparent colours. (For the dark background I used a mixture of Burnt Umber and Ultramarine Blue. This gives a transparent 'black' that is much better than using black paint, which sucks light in. I also used this mixture with Titanium White to give opaque greys that were used for the fabric. For the lemons I used a good Lemon Yellow (Mussini), a semi-transparent Permanent Orange, a little Cadmium Yellow Deep (with is semi-transparent if applied thinly), Raw Umber, Ultramarine Blue and a violet, as well as a bit of the transparent black mix. I probably didn't need all these colours. I also cheated a bit an used a bit of Titanium White to lighten the highlights. This is OK at this stage as I will glaze again, but you should try to avoid white as it will kill the transparent effect. Violet (mixed with the 'black' mixture) was used for the dish.

OK here it is (click on image to zoom):

Step 2. Initial lay-in with oil colours

By the way I was working from the image on the screen on my laptop (set up at the same height as the easel). I have worked from the actual set-up in the past, and this is probably the best method, however there are drawbacks. The subject has to be lit correctly and consistently, and it can be difficult to also light the painting. The easel has to be set up at the correct height. The subject can change over time (particularly flowers and fruit - lemons are not too bad). Also, as I mentioned, I have manipulated the image on the computer. Anyway my method is maybe not for the purists, so forgive me.

I need to let this painting dry a bit before the next step.

Step by step oil painting: Step 1

I thought I would record progress on a new oil painting as I go along for you good people. To get the subject I set up a still-life in the studio and took photographs. Actually several different set-ups. I then transferred photos to my laptop. I chose what I thought would make a good painting and did some editing in Pixelmator on light levels, cropping, colours etc. I won't show the photo just yet as this would spoil the surprise. I then printed out at the size I wanted (to fit on a 8x10" canvas board).

To transfer to the canvas I traced main shapes from the printout on tracing paper. I covered the back of the tracing paper with compressed charcoal and retraced over the front to leave faint charcoal lines on the canvas. I then painted an underpainting using Acrylic paint. This is really quick and dries almost instantly. It is fine to paint oils over Acrylic and is basically a shortcut. This also means that I have a coloured ground to work on rather than the white canvas. See Figure- Step 1.

Step 1 - Acrylic underpainting

I used a leaf green/yellow/white mix for the lemons (you guessed!) and a grey (black/white mixes!) for everything else. I then added white highlights to the lemons. I plan to glaze over the lemons using transparent oils, so the underpainting needs to be high key (light), as glazing can only darken. Already the painting is taking shape and it would be easy to make big changes (or scrap altogether) at this stage without too much heartache. A trick is to look at the painting from afar. If it already looks good then the general composition and lights/darks are working and you could be on to a winner. I'm happy enough with it. There is sufficient border to take a frame rebate without squeezing the main subject (which is often overlooked when you first start painting). This underpainting could be worked on straight away, but I'm taking a break.

Life Drawing - Stamford

Last week's life drawing at the Stamford Arts Centre. I used a Koh-I-Noor Hardtmuth Negro pencil. Which is a black wax-based (I think) carbon pencil. It gives good blacks, but is quite difficult to erase. This drawing was more of a battle, but fortunately the paper (Fabriano Ingres) can take a lot of rework. I get this paper from Shepherds in London. It's a laid paper hence the 'stripes' can be visible in the drawing - but I like this effect.

New painting: Hallaton, Leicestershire

Just completed an oil painting (click on image to zoom). This is based on an old B&W photograph of Hallaton that I found in a book about Leicestershire villages in the local pub. I guess the photo was taken around 1900. I was (and am) intrigued by this image. There's something slightly surreal about it that hopefully I've captured in the painting. I've used a very limited palette and given a cold but bright Winter feel. In preparing the painting I visited Hallaton and took a photo in the same place. Not much has changed in 100 years - mainly the appearance of motor vehicles, and the disappearance of the tree in the churchyard. Hope you like the painting. Hallaton is famous for the annual bottle-kicking match.

Hallaton, Leicestershire. Oil on canvas board (2010). Mike Todd

Hallaton, Leicestershire (detail)

Hallaton, Leicestershire. Photograph (2010). Mike Todd

Cottesmore hunt painting

Just completed a oil painting based on a Nico Morgan photograph of the Cottesmore Hunt. Canvas size is 40cm x 60cm. Available for sale soon!

Dancer drawings - Stamford

We had a beautiful model at the Stamford Art Centre this week, who is a professional ballet dancer. She held poses for 30 mins. Drawings below (click for larger image).

Graphite pencil on Ingres paper (c) Mike Todd 2010

White conte pencil on green Ingres paper (c) Mike Todd 2010

Carbon pencil on Ingres paper (c) Mike Todd 2010

Charcoal pencil on Ingres paper (c) Mike Todd 2010