Dear Subscribers,
Above is the recording of the live painting class from 19th October.
The class was intended to explore aspects of abstraction, focusing on edges, brushwork, and tools. While I touched on these topics, I didn’t delve into them as deeply as I could have. In these live sessions, the subject often dictates my approach to painting, but I will certainly return to these aspects in the future.
I also mentioned a watercolor painter who, in addition to being a fantastic artist, has some intriguing ideas about composition and abstraction.
Below is a link to a demo he conducted for Art School Live, which is well worth watching:
Chien Chung-Wei
The next live class will be on Saturday, 16th November, starting at 5pm BST (9am PDT). The link is at the very end of this email for paying subscribers.
The classes are typically about 3 hours long. Zoom login details are below, and you can join or leave at any time. If you can’t join for any reason or miss part of the session, I will be recording it and publishing via my newsletter and Substack afterwards. For the next class, I am open to requests, so let me know in the comments if there is something you would be interested to see me tackle, either in terms of subject or an aspect of the painting process. I also invite you to paint at the same time if you want and share anything you are working on during the class if you like. The classes are informal and an opportunity to chat about any aspects of painting that interest you.
I hope you find the recording interesting and look forward to seeing you in a future class!
Happy painting,
Alex
Below is a summary of the transcript from the class. Please note that it may contain errors, as it is computer-generated; however, it should provide you with a general idea of the dialogue.
00:00-10:00
I open the class by welcoming attendees and explaining that it usually lasts around three hours, though they’re welcome to leave whenever they need to. Since my setup is primarily from life, I use a photo reference on the screen to show my pumpkin still life arrangement, as I’m limited in camera angles. The setup is illuminated by a strong LED spotlight with a natural colour profile, mimicking sunlight. My approach today will involve some abstract exploration, starting with a traditional blocking, then selectively deconstructing the work to add texture. For this, I have my typical palette of split primaries, titanium white, and various brushes and tools. I’ll be painting on a 3mm plywood panel coated with an acrylic primer and sealed with damar varnish, following a technique from plein air painter Marc Delassio. This semi-absorbent surface has a blue tint underpainting, a deliberate but experimental choice for this piece.
10:00-20:00
To start my composition, I’m using L-shaped cards as a viewfinder to outline my shapes and balance the composition. Though I’d typically spend more time refining, I streamline the process here to avoid delays. Using transparent oxide red toned down with Payne's Grey, I sketch out the major shapes on the panel. For proportional accuracy, I measure distances within my setup and translate them onto the panel. Since I’m not working exactly site-size, scaling is tricky. To help, I use adjustable calipers, which I set up to scale measurements accurately as I go along. I make minor adjustments for accuracy, marking my standing position to maintain consistent measurements and keep scale integrity.
20:00-24:00
Continuing with proportional adjustments, I use callipers and hold my position to ensure precise measurements of each object’s placement. I check that attendees are comfortable with the content and ask if the newsletter is meeting their interests or if there’s anything specific they’d like covered in future topics.
40:00 – 50:00
The conversation centres on the importance of background colour in rendering shadows and colour temperature. I explain that darker backgrounds obscure temperature shifts and subtle colour variations, while lighter backgrounds allow for higher chroma in initial layers. Working on a white ground, for instance, produces more vibrant colours as light reflects back through the paint layers, enhancing chromatic intensity. This approach is particularly useful in alla prima painting and especially effective for florals, where chroma and vibrancy are prioritised.
(00:50:00 - 01:00:00)
I delve into the process of setting up value and chroma relationships in a painting. This involves assessing dark values and ensuring they don’t completely obscure the colour beneath, even when shadows are deep. I discuss challenges in accurately gauging colour in very light areas, noting that colour perception is easier in mid-tones. To test hues and values, I occasionally use a palette knife to check against the actual painting under the same light. The goal is to establish a fluid, loose framework, allowing for adjustments in form, colour, and value as the painting progresses.
(01:00:00 - 01:10:00)
As I work through the painting, I focus on shaping and refining the forms and temperature relationships. The approach remains flexible, as I continuously check values and adjust them to keep the painting from becoming static. I emphasise that things may appear ‘ugly’ or awkward initially but accept this as part of the process. During this stage, the importance of adapting to different surfaces arises, as certain textures (e.g., absorbent vs. non-absorbent panels) can impact the handling of paint and medium. I explain that absorbent surfaces require more paint to achieve depth and richness.
(01:20:00 - 01:20:00)
Here, I explore using a mental model of objects as 3D shapes, such as cubes, to grasp their structure in space. This sculptural approach to visualisation aids in understanding how light and shadow define forms. The high chroma and value variations in objects like fruits can pose challenges in rendering them naturally without looking overly ‘bright’ or artificial. There’s a shift towards indicating the abstract relationships in the composition, balancing high-key values in the background with the more colourful focal objects in the foreground.
(01:20:00 - 01:27:00)
At this point, I confront difficulties with foreshortening and perspective, explaining how certain objects or poses can appear awkward without careful handling—similar to how figures might look in Renaissance paintings when highly foreshortened. Handling perspective, especially with oddly shaped objects or those viewed from unconventional angles, demands careful planning to avoid distortions. I use the metaphor of painting a peculiar cloud in a landscape, likening it to the risk of unintentionally ‘strange’ appearances in still life.
(01:27:12 - 01:29:40)
I begin by measuring the distance and noting that it would have been nice to include a hair in the composition to provide a boundary and break up the shape. I feel that the piece needs more definition in this area. Adjusting elements is part of the process.
(01:31:51 - 01:37:04)
I contemplate the segments of the piece and consider giving it a clean lease if it doesn't align with my vision. I note that opinions on this vary among artists. Increasing the lights allows me to define shapes better, particularly a pumpkin that has a reddish tint. Working on a white cloth allows for interesting environmental reflections.
(01:40:49 - 01:44:38)
I focus on the shadows' shapes, making comparisons that may not be evident in photographs. While I originally aimed for abstraction, I find value in the current state of the painting and remain open to changing plans as I work. I don’t want to overcommit to a highlight on the rim of the pumpkin since it might need alterations.
(01:47:04 - 01:53:25)
Now that I see the light and shadow shapes, I begin to introduce subtle temperature shifts in the colors. Finger painting might add an interesting abstraction at this stage. I pay attention to lost edges and consider using various tools, such as a baking spatula, to achieve the desired texture without pulling off too much paint.
(01:54:00 - 02:05:24)
I explore the use of different tools like a palette knife for lifting paint and creating interesting textures. I'm careful to maintain enough thickness in the paint to allow for manipulation without losing too much detail. I also discuss the need to step back occasionally to evaluate the painting's progress.
(02:06:36 - 02:12:43)
I reflect on how much reality versus abstraction I want in the painting. I appreciate the shapes of the leaves and consider the balance between abstract and representational elements to create drama and tension. I focus on the primary shapes and how their abstraction enhances the overall work. Highlights will add dimension once applied.
(02:14:27 - 02:22:04)
I emphasize hard edges with thick paint, playing with chroma while maintaining value. I analyze specific areas for high and low chroma, planning to add highlights that match the light's color. I remember the principle that "light reveals and shadow conceals," guiding my approach to texture and detail.
(02:32:29 - 02:42:58)
I’m focusing on incorporating specific details in the painting, particularly the stem of a leaf. To achieve this, I need a brush with a sharp edge. If my brush looks ragged, I might struggle, but I’ve discovered that reshaping synthetic brushes can be effective; just dip them in boiled water. I'm attempting to capture small details that can greatly enhance the overall composition, especially since they contrast sharply against the white background.
I appreciate questions during the session; they keep me engaged. I’m considering how much longer I’ll work on the painting. I can easily pause and continue tomorrow, especially since the thick white paint won’t dry for weeks. I'll share my progress on social media as usual once I finish.
Someone mentioned that the last 5% of a painting is when it truly comes to life, so I need to stick with it, even through the rough patches. I remind myself not to overdo the details in shadows, as light reveals more detail than shadow does. It’s important to remember that sometimes less is more.
(02:42:58 - 02:52:11)
I’m trying to address an area that looks odd, and I’ve been avoiding it during class. I’ll need to focus on it after I finish the current details. I explain my proximity to the still life setup, emphasising that I prefer being close to see both the subject and the painting simultaneously, although this setup has its drawbacks regarding measurement and perspective.
I’ve received positive feedback about my painting process and the questions asked, which I find helpful. I mention a light source I purchased from AliExpress, inspired by a YouTuber's DIY project. The lamp has a high colour rendering index, providing a light quality that mimics sunlight, although it can overheat and requires some assembly. I offer to share the link to the light in my next newsletter.
I’m pleased with the execution of my painting thus far, and I express gratitude for the participation in the session. As I wrap up, I plan to continue working on the painting and share the completed version, particularly addressing a tricky pumpkin detail.
(02:52:11 - 03:05:30)
I notice the lighting is different now compared to the previous session. I want to refine the shapes and areas that need work, aiming for a balance between abstraction and defined forms. I plan to establish the bowl's shape to improve the overall composition and three-dimensional feel.
I decide to use leftover paint mixed into a pile from previous sessions and switch to a better-shaped brush to manipulate the still-wet paint. Getting the ellipses right is challenging, so I approach it tentatively rather than attempting to get it perfect in one stroke.
(03:05:30 - 03:13:26)
I'm mindful of the adjacent shapes, using them to define the overall form and colour temperature in my painting. I remind myself to squint to focus on the larger shapes, as it helps prevent getting lost in minor details. I aim to ensure the relationships between the shapes are correct, which should become clearer as I progress.
(03:13:26 - 03:22:51)
At this stage, I believe I have laid down the major shapes, and it should be a matter of ensuring their relationships are right. I’m focused on maintaining clean mixtures while mixing, preferring to use a palette knife rather than a brush for this task. I’ll need to adjust the shadow shapes, ensuring they complement the rest of the painting.
(03:22:51 - 03:49:12)
I’m approaching the detailing stage, carefully navigating around existing highlights and shadows to enhance the painting. My goal is to maintain the integrity of the forms and details while making necessary adjustments. I acknowledge some elements may still look odd, but I trust that adding specific details, such as the stalk, will help pull the composition together.
Here are the links to the LED lamp I mentioned in class, as well as the YouTube video on creating a lamp that mimics sunlight:
100W LED
DIY sun lamp
Please note that the LED requires cooling with a heatsink and a current limited power supply. While purchasing an off-the-shelf lighting solution is likely to be much easier (and safer), I can share more details in a future email on how I rigged this setup to illuminate my still life arrangements if there’s interest.
