Dunamase – Time Lapse Painting



A prominent feature of this painting is the glow in the sky. The obvious contributors to this effect are the darker tones placed around and over the area of lighter colour. This is easy to understand and therefore easy to plan when composing the painting. Dark clouds and dark silhouetted trees were part of my plan for this painting.

However having said that, the lighter colours in the sky have a brightness which would nearly work without the help from the darker contrasting tones. The accompanying video shows how I achieved that light yellow glow.

I have found it almost impossible to mix these shades on the palette. One of the biggest difficulties is in mixing very light colours. The colour on the palette is isolated from the painting and there is no way of knowing if it is right until it is placed in situ. Then you realise the tone is not right.

In this painting I painted a layer of pure Cadmium Yellow, with solvent only, into the area of the sky where the light will be. The Prussian Blue is added in a similar way in the appropriate areas of the sky. When the solvent has evaporated, a mix of this blue and white is added, with no medium or solvent added, on top of the previous layer of blue. This is dragged into the gap between the yellow and blue  and there is a little bit of overlap onto the yellow. Pure white is placed, without brushing, on top of the yellow, heavier in the centre and less so the further out from this centre. When the white is in place, gently brushing it with a flat brush will make it pick up the yellow underneath. The more you brush the more yellow it becomes. Similarly, with the blue. This allows you to adjust the colour relative to the rest of the sky.

An important part of this process is the use of only 2 colours, Cadmium Yellow and Prussian Blue. Too many colours in a mix reduces the chroma of the resultant colour. Have a look at the video to see how this works in practice. See you soon.

Dunamase – Oil Painting



This impressive ruin is all that remains of the Norman fort of Dunamase in County Laois. A natural outcrop of rock, this most certainly would have had a role to play in pre-historic times, but the current structural remains date only to the 12th century. There is an historical record of a Viking raid on the fort in 845ad. It was assumed that these raiders came from Dublin, the closest known Viking settlement at that time. However, recent research suggests that there was a huge inland Viking fort at Dunrally not too distant from Dunamase and from here its more likely the raiders came. There is a short history in Wikipedia (here) and Dunrally (here) if you are interested.

Dunamase Photo

Dunamase Photo

I include here the reference photo I used to create the painting. As is usual, a photograph really is only a reference. The construction of the painted landscape always needs that bit more to connect with the viewer. A single viewpoint is so limited in telling the story. In the painting I’ve included what I remember of the landscape. The historical background and the sense of former glory add a drama not conveyed in a photograph.

My next post will include a video of the painting process. I’m trying to get back into the habit of using larger brushes to avoid getting tied up in too much detail. This approach is a faster method of painting. The painting was completed in about an hour and a half.

See you in a few days.

Woodland Deep – Time Lapse Painting

Woodland Deep

Woodland Deep

The attached video illustrates the difficulties with glare from the surface of a wet oil painting. Using an easel with overhead lighting is no problem, if the top, of the almost vertical painting, is tilted slightly forward.

If you are familiar with YouTube videos of oil painting you will realise that this may be perfect for the artist but impossible to video record simultaneously as the painting is executed. Basically the camera and the artist cannot be in the same place at the same time and many videos have the camera to one side giving an obtuse angle of view.

My painting ‘on the flat’ is a legacy of my watercolour days and continued when I went back to oil painting using very liquid paint. The problems of glare from this horizontal surface are more pronounced with lighting overhead. This is probably the greatest drawback to painting in this way.

My workaround is to have, on each side of my painting table, two photo studio lights set barely above the level of the canvas and shining horizontally across the surface. If the lights are not horizontal my downward view will have glare. The camera, in front of my face and pointing down, has more or less the same viewing angle as myself and also avoids the glare. So this arrangement happens to be good for videoing the process.

This works fine when the layers of paint are flat, as they are when so much liquid is used in the paint mixes. However, when dryish paint is used (as in this painting), the ridges left by the brush bristles will glare as white lines along the stroke of the paint. The strokes most affected are those at right angles to the light sources, ie the downward strokes. I don’t notice this as I unconsciously shift position to counter the effect as I work. Unfortunately the camera does not move so the glare is there as a fixed series of white lines very noticeable in darker colours.

The last time this happened was in this still life, painted in April 2011 using a similar dry paint technique.

Here is the video and please excuse the glare.

Woodland Deep – Oil Painting

Woodland Deep

Woodland Deep

This is an exercise in painting without the fine brush drawing which I’ve been doing lately. The difficulty is in not doing the things I’m comfortable with. There are no fine lines of branches or grasses, just blobs of paint representing these details. Its a photographic approach and a comfortable image. I occasionally paint in this way to keep in touch with the visual world as opposed to the ‘Gothic’ world of lines constructed from what I know to be there and not what I see.

I’m very aware of the fact that this is a primitive approach. Children paint outlines of what they think objects look like, not what they actually see. In a way this is what I do and I’m aware of it. A tell-tale sign of this is in the amount of time I spend ‘constructing’ bits of a landscape which will never be seen in the final painting because they are obscured by later  additions to the scene.

The initial layer was more or less a featureless flood of ‘solvent only’ paint. When most of the solvent evaporated, the later additions of paint had neither solvent or medium added. The paint did not flow and the application was in short strokes. This effectively ‘disabled’ the drawing technique which was the object of the exercise. The palette was limited to three colours as usual. These were Cadmium Yellow, Burnt Sienna and Prussian Blue.

I will post the video of the painting process in a few days. See you then.

Woodland Lake – Time Lapse Painting

Woodland Lake

Woodland Lake

In the last post I mentioned ‘oiling out’ with a vegetable oil if Liquin or a similar medium is used in a painting. Its a long time since I was discussing this issue so if you are new to this blog you might be wondering why I would recommend this treatment.

I have a page called ‘Varnishing Oil Paintings‘ and its the varnishing which is the kernel of the issue. The manufacturers of Liquin are cautious about varnish being applied to a paint surface containing this product. Windsor & Newton recommend that the uppermost paint layer should not contain Liquin if you intend to varnish. As ‘alls prima’ paintings usually have only one layer the implication is that it should not be varnished if Liquin was used. Unfortunately there is no reason or explanation given by W & N as to the reason for this recommendation. I can only assume its because Liquin will bond with the varnish regardless of how dry it is. My workaround is to ‘oil out’ with a pure vegetable oil, like Linseed or Poppy, which time has proven does not bond with a varnish. This vegetable oil places a barrier between the layer containing Liquin and the varnish.

Remember there are other instances where varnishing causes problems. Low grade solvent, for example hardware grade white spirits or turpentine, can contain waxes or resins. These never fully dry and harden, and solvents in a varnish can dissolve and mix with the paint layer.

All of this is purely academic as the problems occur if the varnish has to be removed, in cleaning the painting, at some time in the future. Paintings under glass will not be subject to the same accumulations of dust or grime as those exposed to the atmosphere. I’ve had to clean paintings and remove old varnish and its impossible to proceed without damaging the painting if some colour is seen in the varnish removed. In these instances I would just remove as much dirt as possible with a damp wad of cotton wool, allow to dry, then use an aerosol temporary varnish to disguise any uneven glossy/dull patches. Reframing under glass will stop any further accumulations of dirt.

Here is the video of the above painting process. See you soon.

Woodland Lake – Oil Painting

Woodland Lake

Woodland Lake

I used Yellow Ochre in this painting, as the only yellow in a palette of three colours. The other two are Alizarin Crimson and Prussian Blue. Its similar to my last painting in subject matter and also its a three colour painting with the difference of Cadmium Yellow replaced by the Ochre. In retrospect, I think the Cadmium would have been better in terms of variety of colour and vibrance. I’m pleased that I’ve managed to include a lot of Crimson without it dominating the painting as it did in ‘Winter Stubbles‘. I will have to decide to stick with a set of strong colours, or weak colours and not mix them unless for a very specific reason.

In recent months I had stopped using a medium in paint mixes. These paintings are ‘oiled out’ now and I’ve noticed a definite lack of ‘body’ in the paint layer when compared to previous paintings. The ‘oiling out’ does correct the problem to an extent and so to ‘beef up’ the paint layer I’ve started to introduce Liquin, in tiny amounts, to the mixes. At the moment this means using a second container with a very dilute solution (25%) of Liquin and White Spirits which is added a few drops at a time as I mix the paint. The other container has White spirits only. Even this small amount of Liquin makes the paint flow better than with solvent alone especially in fine lines. It does make painting easier.

Remember if you use Liquin or a similar medium be sure to ‘oil out’ with a pure vegetible oil like Linseed if you intend to varnish the painting. I will post the video of this painting in a few days, see you then.

Borderlands – Time Lapse Painting



I had a query from Annie regarding making oil paint flow like liquid without loosing its colour intensity. I was reminded of my own efforts in producing an oil paint which behaves more like watercolour (see here).

If you are familiar with my videos of the painting processes you will notice how much time I spend ‘mixing’ the paint. I am, in fact, making the paint liquid. It is something I do without thinking, so thank you Annie for drawing my attention to this very important part of my technique.

I don’t like painting with ‘paste’. This is the form the paint is, in the tube. Picking up a bit of paint on the brush and dipping it into the medium and then applying it to the canvas is NOT what I do. I rarely ever dip a paint covered brush into either the medium or the solvent containers. I transfer the liquids using a pipette into the paint mixes on the palette. Using a firm but flexible knife, I press the paint and added liquid against the flat surface of the palette. This ‘mulls’ the paint, similar to the process used in the manufacture of the paint (using a ‘muller’). This reduces the ‘paste’ nature of the oil paint and makes it more liquid, the way I like it.

Check it out in this video. See you soon.