Experimental Nature in Acrylics E-Book

Paul Bailey

• Herausgeber: Batsford
• Kategorie: Geisteswissenschaft
• Sprache: Englisch

Seitenzahl: 101

Veröffentlichungsjahr: 2023

Beschreibung

New and experimental ways to capture landscape in acrylics. Landscape artist Paul Bailey's fascination with the natural world is sensationally conveyed in his colourful and semi-abstract paintings. In Experimental Nature in Acrylics, he reveals his techniques for the first time – making it simple for readers to produce their own work that is abstract, evocative and full of vivid colour. Through easy-to-follow explanations and step-by-step demonstrations, Paul describes how to manipulate the medium in surprising – yet often simple – ways. Readers will learn how distil craggy cliffs, rolling farmland hills, tidal rivers or flat, open-skied wilderness in striking and unusual colour palettes. There are tips on how to paint organic shapes and using abstract elements in the natural landscape as the basis for a painting, and how to create a compositional sense of rhythm. Paul's beautiful and contemporary work appears throughout the book and acts as a masterclass in scraping, pulling, weathering and splattering the paint. As well as showing how to build layer upon layer, the process of construction and how to tease a sense of movement from a static image. This essential guide is a must for anyone wishing to augment their understanding of the acrylic medium and appreciation of composition and colour, and to liberate their own beautiful paintings.

Leseprobe

Previous page

Field abstraction one

25 x 30cm (10 x 12in)

A painting built upon multiple layers providing an underlying complexity, yet balanced by a simple composition that is not fussy. Utilizing my favourite, but sadly now rare, colour, Benzimidazolone Orange.

Opposite

Trees at Ty Gwyn

40 x 50cm (16 x 20in)

A painting revised and reworked. The odd thing is that I originally painted the vertical stone wall, decided to remove it, and a year later put it back as originally intended. Yes, it is easy to overpaint with acrylics.

CONTENTS

INTRODUCTION

The abstraction mission

My inspiration

My paintings and general musings

Demonstrations

GETTING STARTED

Paint brushes and other tools

Fat applications

Demonstration: Woodland

Washes

Masking and scratching

Splats, spots and spray

Brushwork

Other marks and effects

Demonstration: Indigo hills

COLOUR AND TONE

Colour selection

My favourite colours

Greens

Skies

Colour tricks

Shifting light and seasonal colour

Limited palette

Demonstration: Wave

Iridescent colours

COMPOSITION

Thinking in thirds

Balance

Rhythm

Reading

Demonstration: Llangrannog primary

Minimalism

Conclusion: Reflection

Gallery

Index

Acknowledgements

Introduction

To explain things as simply as I can, my artistic process is all about removing the traditional constraints that can bind our self-expression. I want to paint in a free and an interpretive way. I think of the great efforts that landscape photographers need to undertake to capture that all-elusive shot: they rise before dawn, haul their heavy gear uphill through the darkness and cold so they can catch the first oblique rays of sun and the magical effects this light has to transform the scenery. And yet, naïvely, artists like myself when I began to paint are compelled to render the view exactly as we see it. Observing the world, breaking it down, abstracting, distorting, but bringing forth a piece of art that still relates was my goal, but how did I achieve it?

Almost every painting I produce is an experiment, an exploration and an indulgence. However, I do feel there is, sometimes, the need to exact a modicum of control, and rein in my compulsive temperament. I like my pieces to be slightly coherent, at least so the viewer can understand and appreciate the scene I am trying to portray. I do not necessarily want to depict something in the landscape that gives it ‘place’. I want to render the temperature, the elements, the wonder or the apprehension.

Over many years of practice, I have found strategies to anchor my experimentation. I think my best works are a balance between control and expression. Also, the process of producing some of my best work has often been a tortuous affair, and those works have flirted with failure. I try not to give up.

Fortunately, I have found acrylics are the most flexible and most immediate medium for this experimentation. I feel acrylics are controllable, forgiving and, ultimately, fun. I will endeavour to show you how to harness acrylics in my own individual way.

River Ithon at Brynthomas40 x 50cm (16 x 20in)I strongly believe that my paintings do not need to accurately reproduce a scene. I doubt if many people have even visited this bend in a tributary of the River Wye. The water here is shallow and slow in the summer. The weeds are tall along its banks. The water is almost hidden and the surrounding hills behind rise gently from the river’s edge. This afternoon was overcast and the atmosphere was hot and heavy. I relaxed in the company of the river. The subdued colours and the lack of definition are my attempt to capture the scene and emotions as they were on that afternoon. My paintings are deeply personal.

The abstraction mission

Acrylics are a wonderful way to explore experimentation freely without too much fear of making mistakes. The medium is almost endlessly flexible and allows the use of a vast array of techniques and methods.

It’s my mission to show you how I manipulate acrylics in surprising, yet often simple, ways to create organic shapes and marks that almost paint themselves. I will describe how I scrape, pull, weather and splat the paint, how I build layer upon layer, my construction process and how I tease a sense of movement from a static image.

An understanding of the fundamental rules of things like colour theory, composition and aerial perspective are, of course, very helpful, but I will show how these rules can be bent and manipulated, so as to produce a unique interpretation that will both confound and attract the viewer’s attention.

This book is a compendium of the techniques, strategies and processes I have developed over the past decade of practice and, I hope, will augment your understanding of the acrylic medium, your appreciation of composition and colour, and ultimately liberate your painting.

I do not restrict myself to just one brand of paint. Generally, as with many things in life, you get what you pay for. Expensive grades have a higher and a purer quantity of pigment compared to less expensive grades. Cheaper paints often contain more than one pigment and may make use of colour fillers to try and mimic traditional and more expensive paint (as denoted by hue), and this adversely affects their brightness and mixability. However, I have found that some of these lower grades of paint do possess some useful individual properties due to their formula (I will explain this in more detail later), so experimentation with these ‘student’ grades should not be dismissed too readily. There is magic, and sometimes more affordable magic, within these less expensive grades.

The paintings in this book are mainly made on stretched canvas, or canvas board – the latter being my preference. Canvas boards are amazingly robust and can take serious abuse. I probably score deeply into the card support during my more aggressive mark-making, but canvas boards take it in their stride. I have also used heavy-weight (300gsm or heavier) watercolour paper in both cold and hot pressed varieties, although these days I rarely paint on paper.

Birches and tall grasses25 x 30cm (10 x 12in)

My inspiration

This book features my best and most innovative paintings. The accompanying captions reveal the thought processes, methods and techniques behind them.

As the pictures are not displayed in chronological order, I feel it’s important to explain how I got to this point, what influences my work and what subjects provide my inspiration.

First, my main muse is the land, and this is the reason why: I am very lucky to live in a beautiful and varied part of Wales. I have the wild and windswept moorland of the Cambrian Mountains close by to the west. To the east is the picturesque, rolling farmland of the Herefordshire and Shropshire Marches. The dramatic coastline of Ceredigion and Pembrokeshire are within easy reach via an awe-inspiring journey over the Cambrians. I could not have a better source of inspiration. I observe constantly and internalize everything I see in the landscape.

My approach to art is built on my experience and idiosyncratic preferences. I grew up trying to learn how to draw comic book-style illustrations, hence my use of outlines. I adore bold, minimalistic abstract paintings, and thus I like a sense of space and simplicity. I have a fondness for street art, so I favour jarring colours and modern pigments over traditional ones. I adore large, interlocking geometric shapes, taut lines, distorted perspectives and tonal inversions. I express myself in two ways: a freestyle, graffiti, illustrative style (mainly reserved for seascapes and tree work); and a ‘serious’ semi-abstract style. To be honest, my freestyle work is a great release when long periods of ‘seriousness’ become a little overbearing – there is a little tip to rejuvenate your own creativity!

Still55 x 45cm (22 x 18in)This piece was composed from my memories of winter farmland in Essex. To many it is a flat and prosaic landscape, but it’s from these East Anglian vistas that I developed my love of geometric landforms and echoing motifs.

Porth Henllys40 x 50cm (16 x 20in)A typical seascape for me. I have developed a colourful freestyle approach to my Welsh seascapes. I feel it’s appropriate to express the tumble of rocky cliffs, sea spray, windswept grasses and racing clouds in a loose, dynamic fashion. Also, and most importantly, I associate the seaside with my happiest times, and I want those happy feelings to resonate in my coastal paintings.

My paintings and general musings

The majority of the paintings featured throughout this book have been produced relatively recently. I feel it has only been over the past five years that I have really honed the way I paint. A few of the paintings here precede this time, and I think of these older works as outliers, showing the style I ultimately left behind. I consider these older pieces as important stages of development, which have both taught me a lot and have shaped the direction of my art, thus making them worthy of inclusion.

I have placed some paintings within certain sections as they are examples of the theory, strategy or technique that is being explained. The captions also contain personal notes explaining either the technique or the inspiration.

As mentioned earlier, I work in two distinct styles; an austere minimalist and a free-form illustrative style. Producing different work is helpful for two reasons: the change in styles maintains a creative freshness – I like doing both kinds of work and I do not want to restrict myself. There is also another reason for this ‘switch’: I associate fun and exhilaration with the seaside, whereas the interior landscape provokes a more thoughtful and moody response. My tree paintings tend to be on the illustrative side. It is, I feel, important to develop a personal strategy to overcome the inevitable point at which you either are bored with what you’re doing, or things are just not working.

Another strategy, which is extremely helpful when I am in a creative rut, is to take a break from painting and to conduct a bit of research and consider how to improve one’s work. By ‘research’ I mean to find inspiration. Getting out into the countryside is one way and going to a gallery and browsing the work of different artists is another. Once I have absorbed the inspiration I go back to the studio and try to render it. Don’t expect changes to come quickly, or be dramatic, but subtle improvements do come with perseverance.

Obviously, a landscape artist draws their inspiration from the land itself. When I am out in the landscape I feel a compulsion to wander and explore the terrain, which leaves little time to make thorough sketches. To compensate, I take many photos, make quick rough sketches and compile mental notes. These references have served me well and the use of these ‘notes’ has impacted on my style in a positive way; in fact, my ‘mental notes’ are my most important source of reference. These are just simple observations that help inform the final composition; they form motifs (such as distant headlands, cloud shapes, etc.) that often, subconsciously, recur in my more abstracted work.

Low clouds over Twizzlefoot50 x 60cm (20 x 24in)This is an older piece and an important stage in my development: a bridge on a quiet lane, near to where I lived in Essex, with a delightful name. Before an open studio weekend, I was looking for a subject to illustrate the geometry that I had seen in the local landscape. I found this scene far out on the Dengie Marshes during a break in the storms. This marshland is akin to fenland in Lincolnshire – completely flat with huge skies. The fenland landscape contains brutal shapes, angles and unnatural straight lines. In this composition the position of the electrical poles and drainage ditch was altered to maximize the austere, abstract character of the terrain. The sky was ominous and overbearing. To balance the sharp angles and heaviness, the hard elements were softened by subtle colours, a low light and suggested textures.

Demonstrations

To properly communicate my painting processes, I have created four step-by-step demonstrations. All these examples were created with the purpose of illustrating the techniques and strategies I usually employ for that particular subject.