masterclass
1
SELECT YOUR PALETTE When colour becomes your principle driving force it reflects
in your palette. I’ve replaced versatile pigments such as
Ultramarine and Crimson with Process Cyan and Process Magenta. Convenient colours such as Burnt Umber, Naples Yellow and Payne’s Grey have also been dropped in favour of more vibrant colours to produce richer combinations of similar shades. I’ve opted for System 3 heavy body acrylics as they produce interesting impasto effects and have a longer drying time than similar paints.
2
LAY IN A BASE I always start a painting with a base colour that is anything
but white. In this case I thought a mix of Cadmium Yellow,
Sap Green and Titanium White would soften the contrast with the reds and oranges. Once the base is completely dry, I sketched in the vital diagonals and figures in Process Magenta, using a 1” long flat brush. I always try to restrict the time spent on the outline to around 10 minutes so I become less precious about the line work.
3
BEGIN ASSERTIVELY The initial applications of paint are quite important as this
sets you up for the rest of the work. I started as I meant to
go on with a loaded 2” long flat brush and applied very positive and assertive marks. Layers of Coeruleum Blue and Phthalo Green are blocked in using downward strokes for the figure in the left-hand corner as he fills up quite a large proportion of the space.
4
VARY THE SHADOWS Deep Violet and Process Cyan were applied to the
original mix for the shadows around this figure and other
combinations of colours, including Burnt Sienna with Process Magenta, were added for the insides of the shops. More Coeruleum Blue is added to block in the other figures and the surrounding shadows. While painting these first layers, I don’t clean my brush or dilute it with water at any point – this keeps interesting variations of colour on the brush.
> Artists & Illustrators 63
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84