Page 76 - Australian_How_To_Paint
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DEMONSTRA TION
ARTIST’S
HINTS AND
TIPS
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in a basic understanding of
perspective for it is present in
everything we see and not just
in the obvious like buildings. I
STEP FOUR
have seen many just throw up
their hands and refuse to believe
STEP FOUR
are added. Most look a bit odd but they can learn it, but I believe
I continue adding detail to the I nail a good one now and then. that we must overcome our
background buildings and thickening own self-imposed mental brick
some of the foliage (some layered ZDOOV WR OHDUQLQJ *LYH LW D JR
STEP SIX
on with a chisel ended palette knife). 3DLQWLQJ DQG WU\LQJ WR GR LW
:LWK WKH URXQG , XVH /LJKW 5HG The painting has survived long enough well, is not in any way relaxing.
Crimson, and Cadmium Red with with a white sky and as it happens it I face a continuous challenge
minor Zinc White mixes to flesh out was quite pale on the day so I keep to get things happening to my
the main building. The light parts are it light with some colourful greys of VDWLVIDFWLRQ 2Q ODUJHU FDQYDVHV
5DZ 6LHQQD DQG RU D WRXFK RI $XVWUDOLDQ Crimson with Turquoise in Titanium (not my board works) I do a
5HG *ROG LQWR 7LWDQLXP :KLWH White and hint of some greyed purple complete block in of colour and
cloud. The #12 long flat is used for in this stage I have the most
getting some cloud forms. I employ a IXQ 2QO\ D VPDOO DPRXQW RI
STEP FIVE
smaller flat brush for cutting around this underpainting will remain
Time to rescue the road and I abandon some of the building details. visible in the finished work.
my quest for shadows. It is always a $ERXW RI SDLQWLQJ WLPH LV
difficult prospect to invent strong light taken by the block in. The next
FINAL STEP
from nothing. I found the lighter road LV D ORQJ KDUG VORJ RI VKHHU
surface on the right side sufficient Finally the details of the Melbourne perseverance in building layers
to express a variety of interest. I tram wires. I do them wet into of paint; some easy, some very
used a #10 short flat brush for larger wet with palette knife edge and FKDOOHQJLQJ 7KH ILQDO LV
strokes than elsewhere in the painting. rigger brush, difficult as it is, but finishing off detail and correcting
Details like poles, wires and road they look more immediate than niggling errors. The whole
lines are added using techniques the option of waiting for the sky process can be exciting but also
such as the edge of the palette to dry where a very different and mentally and physically draining.
knife, rigger brush and scratching less appealing effect results. 3DWLHQFH DQG SHUVLVWHQFH DUH \RXU
back to white. These details start In some paintings a little more work best friends on this journey.
WR EULQJ WKH SDLQWLQJ WR OLIH 3HRSOH is completed after it has dried, like )LQDOO\ FRORXU PL[LQJ :HDNQHVV
in this aspect needs addressing;
not all at once but over time.
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sketchbooks, keeping them for
later reference. Do small practice
colour sketches for intended
larger works and have fun trying
to perfect a colour scheme.
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realise most colour is a greyed
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colours by adding a touch of
their complementary colour.
STEP FIVE
76 Australian How to Paint
