How to paint in the dark

We’re been experiencing some dreadfully gloomy days of late, where even in the middle of the day it’s been incredibly dark, which makes painting by natural light impossible. It’s hard to see what colour you’re using at times. Switching on an ordinary light will produce a warm colour cast which can often end with strange results when eventually you view the finished work in natural daylight.

For as long as I remember, I’ve been using the marvellous lamps produced by The Daylight Company. The lamps come in many forms – some like a normal angle-poise light, some as short strip-lights as you see in the photograph, some with large magnifying glasses incorporated in the structure – I have several, and their bright, cool light is an ideal substitute for daylight. It’s also invaluable when you have to work well into those dark evenings. Another great asset is that when your eyesight is not quite what it used to be these lights do help enormously. For the artist they are a real boon, and The Daylight Company is a pleasure to deal with. Check out their website to view their full range. Craft stores, knitting shops and of course art shops are places to find them, but make sure you see their full range first to make sure you get the lamp that suits you best. Don’t let those mid-winter blues get the better of you!

Breaking up monotonous features in a coastal composition

Where you have strident blocks of cliffs or rocks on the coast they can appear both monotonous and overwhelming unless you break them up somehow. An excellent way to do this is to watch for those dynamic splashes of boisterous surf hitting the rocks and use them to break up the mass of solid rock. I often exaggerate these to a degree so that they can be more effective. This is not cheating as I often come across the most enormous and sometimes terrifying waves smashing up against the shore.

The illustration shows wild waves crashing against a long rib of rock on the west coast of Pembrokeshire. effectively breaking it up so that it appears as two different blocks of rock. Although it is an original sketch carried out on the spot with a water-soluble graphite pencil, the technique applies equally to a painting in any medium. I had just scrambled down the rocks on the left after exploring the bay on the far side, without getting too wet. The gulls added further dynamism and life to the composition.

Whether you enjoy working outdoors on location as I do, or prefer to stay indoors, it is worth breaking up features that might otherwise dominate a scene, as in this case. You don’t need to completely obliterate the central part of the feature, but it really is worth doing a small thumbnail sketch before you carry out a full painting. That will help you decide how far to go with any changes to the scene.

Atmosphere

Little Langdale

Little Langdale

To painters, atmosphere has two meanings; the emotions conjured up by the image you are creating or the effect of the weather on the scene.

In this painting of Little Langdale the esoteric atmosphere I was trying to create was of an isolated farmhouse, surrounded by the mountains, abandoned and slowly decaying, there are no animals, the roof is beginning to sag and the wilderness is returning to the fields. All is not lost though, the roof is intact. Perhaps someone will make it a home once again.

The other meaning of the word atmosphere in this painting is created by the use of colour, tone, and detail. These are the three essential ingredients to help you create a sense of recession in your painting, and I make no apology for referring to them time and time again. Keep the distant features cooler in colour, lighter in tone and with less detail than the foreground and middle distance features and you will be well on your way to inviting your viewer into the picture,

You can read more about this aspect of painting and many other tips in my book, Painting with Pastels, published by Search Press. There is also a DVD of the same name to accompany the book and a special offer on the two together.

Lost & Found technique in a painting

In a painting, when you overstate detail you will detract from the impact the work imparts on the viewer.  The answer is to simplify matters by leaving out much detail and lessening the effect of what remains in what we call a ‘lost and found’ method. This technique is seen quite clearly in the section of a painting of the wall at the home of Witch Coarsecackle, as illustrated below:

The stonework is only revealed in places, and by washing a transparent glaze over it the otherwise stark edges of the stones have been softened. Also note how the window has been rendered, losing strong detail lower down to stop the whole becoming rather boring. I used the negative painting technique here, but masking fluid might well have been an easier technique. Ignore the rather strange-looking creatures in the top right-hand corner as they add more to the narrative than to the aesthetic appreciation of the lost and found method.

You will find the ‘lost and found’ method featured in all my art books, but for further information on Witch Coarsecackle and her amazing abode you can check out The Grog Invasion on my website. It is the first book of the Chronicles of the Llandoddies, the legendary water-folk of Llandrindod Wells, and a great tonic for those who need a good laugh and escape from the realities of modern life, aimed at kids from 9 to 99. Coarsecackle is herself a portrait artist of some renown and a film on her methods is under preparation.

Having fun with your old paintings

What do you do with those old paintings that end up in a mess and clearly have not worked? Turn them into paper darts? Use the backs for another painting? Frame them and give them to your least favourite aunt for Christmas? Whatever you do, don’t tear them up or throw them away as they are more valuable than you may imagine.

If you keep your old ‘failures’ in a folder the time will come when you will find them extremely useful to practice techniques. In this scene of Tideswell Moor in the English Peak District you will see a dark cloud on the left with a rain squall beneath it. This was achieved with a glaze – a transparent wash laid over an already-painted part of the composition, once it had completely dried. In this case it was done by wetting the paper first so that a soft edge would be achieved on the falling ‘rain’.

Most inexperienced artists find this glaze technique rather daunting, and of course it is easy to mess up an otherwise competent painting. In order to gain practice with this technique there is nothing better than to do it on your old ‘failed’ paintings. You have nothing to lose and you might end up with a really good painting after all. The glaze method can be useful for warming up or cooling down a painting or an area within that painting, or for creating shadow or falling rain as in this case where you wish to suggest a film of atmosphere in between the viewer and part of the composition. Have fun with your old paintings!