|
7th Sept 2024: Painting Beach scene in Oils with Tom Stevenson
Thanks Chris, for these photos and for the write-up. Tom Stevenson, an elected member of the Royal Institute of Oil Painters (ROI), is based in Devon where he works from life to create paintings that follow a path between figurative and abstract styles to explain the light and colour of his surroundings. In his paintings Tom relies upon the uncontrollability of oil as a medium to build a fresh and organic surface. He works from life and is drawn to subjects such as the coast, figures and the dramatic skies seen over the surrounding countryside. His work is underpinned by strong composition and is often constructed around a simple compositional idea or collection of colours which form the starting point and focus of the painting. Tom often works alongside his partner, Marie Rose [see June 2024 demo] |
|
Working in plein air requires finding a versatile yet limited palette, in Tom's case typically titanium white, cadmium yellow, lemon yellow, yellow ochre, cadmium red, quinacridone rose, veridian hue, chromium oxide green, ultramarine blue, phthalo blue [a little goes a long way!], umber and burnt sienna.
Tom prefers not to use photos as reference but rather to depend on sketches made in situ.
He uses sketches to formulate compositional ideas, often using these as the basis for more detailed works. Composition is top of his list of considerations, followed by drawing [especially if referencing a recognisable subject such as a known building], tone, then colour, and finally 'surface' - i.e. are the paintmarks physically interesting - a component of oil painting that is not shared by all art mediums.
Since this demo was not in plein air, Tom brought the following selection of beach studies and referenced them to create different elements of a beach scene.
Tom prefers not to use photos as reference but rather to depend on sketches made in situ.
He uses sketches to formulate compositional ideas, often using these as the basis for more detailed works. Composition is top of his list of considerations, followed by drawing [especially if referencing a recognisable subject such as a known building], tone, then colour, and finally 'surface' - i.e. are the paintmarks physically interesting - a component of oil painting that is not shared by all art mediums.
Since this demo was not in plein air, Tom brought the following selection of beach studies and referenced them to create different elements of a beach scene.
|
|
Tom began with some very sketchy marks with thinned paint, often smeared with a rag. This was progressively built up upon, creating realistic impressions of people and scenic features with economical strokes.
Tom commented that painting is a surprisingly tiring process since it requires intense concentration and a huge number of decisions while seeming to be a relatively passive activity. Most OVAS members would probably agree! Tiring yet rewarding.
Tom also observed that a second or subsequent version is often much quicker and easier since many of the decisions about composition, light effects, colour and tone have now been resolved.
Tom commented that painting is a surprisingly tiring process since it requires intense concentration and a huge number of decisions while seeming to be a relatively passive activity. Most OVAS members would probably agree! Tiring yet rewarding.
Tom also observed that a second or subsequent version is often much quicker and easier since many of the decisions about composition, light effects, colour and tone have now been resolved.
|
|
A fairly early stage ...
... and the finished work, a fairly modern take on the impressionist tradition.
