My painting process is much like a conversation. I suggest something with brush strokes, tones and colours.  I squint to see the tones without the details. Thats what I paint. Leaving room for the viewers eye to complete the picture.

I prefer to go painting outdoors. ‘En plein air’ as the French Impressionist called it. Mostly painting small canvases so that the painting can be completed before the light changes too much. Painting directly what I see in the moment.

Imagine… a blank canvas, some colours and a few pigs bristle brushes. You look up and see a complex world. You see something that you would like to paint. The more you look the more you see. Like the clouds moving across an endless sky. There are infinite details, textures and colours. You know you have to work fast because the shadows are shifting and the light is changing too. Where do you start?

I begin by squinting at my subject and asking these questions… 

Size. Is something too big or too small? This is where I consider composition, scale and proportions. It is mainly about drawing.  I constantly make adjustments as I go. Always have courage to make the change.

Tone. Is something darker or lighter than what its next to? Squinting helps to seperate light from dark and tone from colour. Often different colours can be the same tone.

Temperature. Is a colour warmer or cooler than the one next to it? Considering temperature can add so much more to a painting and helps with mixing colours.

Edges. Is the edge harder or softer? Edges vary and are valuable for a painter to consider. It is helpful to decide which is the active and passive side of an object.

#getoutside