Learning objectives
- Howto look objectively at your work
- Whatmakes a successful painting?
- Followa process from on-site sketch to studio painting
Materials
- Heavy carvable modelling paste
- pointedRoundfordrawingand three short flats Nos. 4, 6 & 10
- A double video case and palette paper
- Mini easel
- Handmade canvas carrier
- Handmade palette holder
- A limited palette of primary and earth colours
- Coco Bella Wallace Seymour thinner
- French ultramarine
- Cobalt blue
- Indigo
- King's blue
- Cadmium yellow
- Lemon yellow
- Naples yellow
- Cadmium red
- Alizarin crimson
- Venetian rose flesh
- Burnt sienna
- Raw sienna
- Payne's grey
In this article I will be looking at the scenes trom the Derbyshire dales (seen on this page and opposite). I will discuss the merits of each sketch and why I chose the one I did to create a studio painting. I will also look at how I make these oil sketches, and the equipment I use to put them together. Finally, I will discuss the process I use when putting a studio painting together from a sketch.
