The High Road – Oil Painting

The High Road

The High Road

I’m making a conscious effort to draw with paint but not loose the connection with realism. Its all too easy to get involved with the luscious paint and revel in its interactions. Speaking of which, I did introduce a colour I don’t normally use in landscape, Alizarin Crimson, and had a bit of fun playing with this intense colour. The need for staying in touch with reality prompted me to distribute it in every area of the painting. This gave a ‘pinkish’ look to the painting. But it was uniform and not on its own in an area which would become isolated from the rest of the scene. This harmony of colour is a natural part of landscape.

I’m using Liquin and this makes the drawing with paint a lot easier. Its only introduced in the later stages, when I need lines of paint to sit cleanly on top of the wet under colour. There are times when lines are too fine to paint individually, as in the leaves of the tree in the last post. In this painting I was able to suggest the fine branches of the trees by using the flat of a filbert brush. Liquin in the paint mix makes this possible as the ‘sticky’ paint on each bristle of the brush is transferred as a fine line. The filbert shape (dome shaped flat) helps the overall tree shape. I am careful not to over-use this technique as mentioned in the last post.

Here is the video of the painting process. The total time was under two hours. The size of the painting is about 16″ x 10″. See you soon.


8 thoughts on “The High Road – Oil Painting

  1. This is very interesting to me. I’ve always disliked painting because it’s so far removed from drawing. If I could find a method of amking painting more like the physical act of drawing, I’d be more interested in doing it. I first heard of Liquin in relatio to Howard Hodgkin’s work, but wasn’t sure what it is. Thanks for another interesting blog.

      • Because I use so few colours the mixing of two to produce a new colour is important. Let me explain like this. Yellow Ochre and Burnt Sienna when mixed produce an ‘orange’ shade infinitely variable depending on the proportions of each constituent. But its a different new colour to its parents. Alizarin Crimson is crimson, crimson, crimson then dirty brown as a colour is added in stages. In ‘Winter Stubbles’ the sky is crimson, regardless of blue, yellow, black, Raw Umber or white added. Because its mixed with these colours. Had I used crimson in the mid or lighter tones of the ‘ground’ part they would also be shades of crimson. I avoided this by initially putting down a little crimson wash with solvent and allowed this raw colour to peep through the unpainted areas. I still got crimson to harmonise with the sky without crimson ‘contamination’ of all colour mixes. This may sound like crazy talk but I hope you get what I mean.

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