Methods 
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| Methods
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This page on my website is meant to be an opportunity for me to explain my techniques and how I work. I will also try to answer some of the more often asked questions I get from people. Please consider this page a "work in progress".
I hope you are inspired to make comments and ask questions. Email bderrickart@comcast.net I paint in an indirect manner, the finished painting is made up of thin rather than thick applications of oil pigments with both Tonalist and Velatura influences. The colors are muted in intensity and the values are closely related. Reflected light, backlit objects and the effects of halation are commonly seen. I currently work out of my home. I have three rooms which have different uses. One I use as an office and library. One I use as a framing storage and varnishing room. And the third as a painting studio. My painting studio has north light from 2 large windows. I use a Richeson BEST wall mounted easel. I stand to paint- hence the mats cushioning the floor. I have overhead track lights plus extra photo lamps for taking photos. |
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My palette at the moment consists of: Daniel Smith: Sepia, Mixed White Gamblin: Hansa Yellow Medium Mussini: Raw Sienna, Yellow Sienna, Translucent Yellow, Atrament Black, Raw Umber, Cobalt Blue, Helio Green Deep, Translucent Red Oxide. Old Holland: Madder (crimson) Lake Deep Extra Various Brands: Alkyd Titanium White |
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| I start with a value underpainting developed using Sepia and Alkyd TitaniumWhite and only OMS with large brushes. I work with this method in layers until I am happy with the composition. I avoid any hard edges. I then seal the underpainting with a mixture of Gamblin Neo Megilp, OMS, Yellow Sienna and Translucent Yellow and let it dry thoroughly. |
 
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At this point I determine whether the palette choices will be based on whether blue, sienna or transparent red will act as the unifying hue. I usually decide on sienna, although I am in the process of completing a series of paintings where there is more sky and water than land and I am using more blue.
The process then proceeds in alternating layers of glazing and scumbling. I use Grumbacher Pale Drying Oil thinned with OMS as a medium, cleaning my brushes off with OMS. I use soft large mural brushes and firmer synthetic small brushes. Each of these layers need to dry to the touch before another is applied. The amount of time in drying is dependent on the weather. I have to protect them in between from dust. The number of sessions or layers varies but averages 20.
At first, I keep everything as vague and light and thin as possible with scumbling veils of a yellow mixture of Hansa Yellow medium (Gamblin), Raw Sienna (Mussini) and Mixed White (Daniel Smith) followed with applications of pure color using the translucent or semi-transparent pigments which I love from Mussini.
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When an area needs to be corrected as to value, I use either straight raw sienna if the value is correct, or a layer of Sepia mixed with the yellow mixture and then color it later with a glaze. |
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When I am happy with things I start really concentrating on where there will be detail in the focal points. I use Madder Lake and Sepia or Transparent Red Oxide and Helio Green Deep for the darkest glazes. I would love to find a Mussini substitute in the future for the Old Holland Madder Lake as it was quite expensive. It is very beautiful but I would like to reduce the amount of brands when I can.
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The final stages of the painting are the most difficult and require the most concentration. The amount of detail revealed or added is important. There is a limitation to how many layers can be done without overworking. The addition of even a small stroke can alter the balance and flow of the eye. I want the viewer to linger here or there on form that fits the abstract relationships of natural forces, without any obsession with unnecessary detail. The going back and forth between layers of scumbling for form and glaze for color continue. Each use of scumble for value is tricky as the subsequent layer of glaze will always darken the form- how much depending on the pigment used in the glazing layer. What is particularly effective at the end stages is to "discover" details through the use of negative space: especially the trunks and branches of shrubs or trees in the shadows. I often use a color shaper at this point as it is useful to both remove and apply very small and precise amounts of glaze. |
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I have been using two different types of supports. One in linen and the other panel. I enjoy using both. The pattern of the woven surface of the linen is very attractive to me and I tend to leave areas where you can clearly see it. At one time I was a weaver and now often I feel I paint in somewhat of a woven way intertwining the layers of glaze and scumbles. |
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The other surface, the wood panels, I either totally prepare myself with oil priming and sanding layers or already prepared and primed panels which I then apply a layer of oil priming. I enjoy this surface because I like the effect of the brush marks of the priming showing up. Also the paint adheres and lifts off in a different way and the layers quite dynamic. I especially like using it in compositions with a lot of sky or atmospheric movement and can take advantage of the sweeping brush marks of the priming layer into account in the composition. |
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I am looking forward to your questions and comments on this web page! to be continued…………….. |
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