d e m o n s t r a t i o n d e m o n s t r a t i o n Acrylics and Impasto M AT E R I A L S The Guitar Man By Gillie and Marc ‘Who draws the crowd and plays so loud, Baby it’s the guitar man..’ Final Step 26 Artist’s Palette • Canvas: We use 100% pure cotton canvas triple primed with acrylic gesso primer with premium pine stretcher bars with gallery bracing. We generally use a 10-12 oz canvas which stays tight and can handle the gesso modelling paste we apply before we paint. We also use good quality linen for larger artworks as it is the most durable fabric and has strength and resistance to handle heavy modelling paste on a larger surface area. We stretch a range of different sizes, so that we always have plenty of blank canvases on hand. • Brushes: We use a range of brushes and palette knives. We apply the gesso modelling paste using a palette knife. Once this has dried, to apply the paints we mainly use the stiffer Filbert brushes and a range of Flat brushes, which allows us to apply large areas of colour. We use a selection of sizes in these 2 brush types, # 6-10. For the very detailed areas such as the black outlines on the faces and body, we use a ‘sable’ Round brush (#0-4). The conical shape makes a perfect point and so it is easy to control the paint in delicate areas. Afterwards for spattering paint, we use the Round brushes #5 or #6. • Paints: We like Atelier acrylic paints. The colours are intense and mix and apply well. Colours we use a lot are: – Cadmium Yellow Medium – Cadmium Orange – Crimson – French Ultramarine Blue – Cobalt Turquoise Light – Permanent Green Light – Indian Red Oxide – Raw Umber – Burnt Umber – Carbon Black – Silver – Rich Gold – Copper • Mediums: White gesso modelling paste before we apply the paint. This gives our paintings a 3D effect. Step one ‘O nce we started painting together, we discovered our styles didn’t just complement each other: they merged. We created our own visual style and language, so that eventually people couldn’t tell our work apart. After 20 years of painting together it still works because we’re a great team. We’ve found a way to turn our passion into something we can share and do together, and we just feel so lucky that it works.’ STEP ONE We spend a lot of time brain-storming together to work out the idea we want to paint and then we do rough sketches on paper until we are happy with the design. This is an extremely important step in the process, as this forms the base for the entire artwork. We like to have a very clear idea of what we are doing and even work out the colour scheme before we begin painting. Then we draw it up on the canvas. We do this with a charcoal pencil and we are precise so that we know exactly where we will be applying the modelling paste and after this has dried, the paint. STEP TWO Next we apply the gesso modelling paste with a palette knife. We lay the paste down thickly to match the contours of the body and any form so that a 3D effect is created. We like to leave the background flat, so we do not apply any modelling paste in this area. The intention is to give the painting extra dimension and texture and make it jump out at you. We leave this to dry for 1-2 nights, so that it is completely set before we move onto the painting stage. Artist’s Palette 27 d e m o n s t r a t i o n d e m o n s t r a t i o n STEP THREE As we have already discussed and worked out the colours we will be using in the design phase, we are well prepared. We mix all the colours we need and stand on opposite sides of the canvas, Gillie on the left being left handed and right handed Marc on the right. As our styles are now identical, we can paint any part of the canvas and still the overall effect will be perfectly consistent. We apply the blocks of paint to the canvas using the Filbert #6-8 sizes and #3 for smaller areas. We blend the colours to give the characters shape and form. After we have filled in all the colour we then leave it to dry overnight. Step two Artist’s HINTS AND TIPS • If you want a very textured painting without having to use a tonne of paint (which can be very costly), apply gesso modelling paste before you start painting onto the primed canvas. Build the canvas up with thick strokes using a palette knife and then allow this to dry. Now when you apply the paint the texture is there and a huge amount of paint is not needed. • Brushes will last longer if they are looked after so don’t stand your brushes head down in a container whilst working as they will get bent and damaged this way. Keep acrylic brushes rinsed whilst working so they don’t dry hard as once they are hard they are no longer useable. • For those with busy lives who like to have the flexibility to come and go, yet want to use 28 Artist’s Palette the same paints without them drying, cover the palette with cling film to keep the paints moist. • To extend the working time of acrylic paints in hot climates, have a pump spray bottle of water handy and spray the area of the painting that you’re working on regularly so that it stays damp and easy to work on. • For spattering paint at the end of the painting, to give the artwork a looser feel, mix the acrylic paint with a lot of water so that it is very watery and drips easily off the paint brush. Keep these watering paints in air tight re-sealable containers. This way, it will last longer and you won’t have to throw the paint away. The dripping effect can also be achieved by taking a pipette, sucking up the watery paint and then slowly dripping on the canvas at an 80 degree angle. Lay the painting flat at the point you want to stop the dripping otherwise it will continue. A lot of movement can be achieved by splattering paint on the areas you want to show gestures. • Pick your colours carefully in a well lit room so that they all complement each other. A good way to see if colours work together is to match them on a separate piece of paper first. Black is a very important colour because it gives contrast and dimension. White is great for highlights, especially in the eyes. • Plan your painting well before you begin by working out the idea, and then sketching it up on the canvas so that you know exactly what you are doing and what the design is. STEP FOUR Using a Round brush ranging in sizes from #0-3 we now outline everything with black paint to give definition and contrast to the painting. We also use a Filbert #3-5 with black paint to do shading for the darker areas. Adding the black to the painting gives it depth and punch. We use solid black in the darkest areas of shadow and with a dry brush a thinner layer of paint in the mid-tones. FINAL STEP When the black outline is complete, we begin spattering the painting with very watered down acrylic paints and a #6 Round brush to give the painting movement and looseness. This is done by holding the brush over certain areas and tapping lightly so the paint creates delicate spatters in the desired areas. Whilst holding the canvas at an angle a dripping effect can be created easily due to the watered down paint. The canvas is then laid flat when it is finished so that it can dry. The painting is now complete and all it requires is our signature bottom left hand corner. The last and probably most important step is thinking of a title. We always do this at the end, so we can really look at the painting and take in what we have created. We like our titles to really reflect the mood of the painting and to tell a bit of a story. We decided to call this after the song by Bread ‘Who draws the crowd and plays so loud, Baby it’s the guitar man..’ We just love this song and the lyrics are so meaningful. n Step three Step four Artist’s Palette 29