Research Point 5.0: Application of Paint

To begin this research topic, I decided to first try to find an almost exhaustive list of the different techniques used by artists and then consider these further, as well as some of the works of artists who use them in their works.

Techniques

Acrylic Painting

This technique is one I am rather familiar with, hence I will not go into too much detail regarding it, however, I was instantly reminded of the artist Mark Rothko, whose work created using this type of paint and which I had researched previously.

Action Painting

This type of painting was rather popular in the mid 20th Century and was mostly focussed on the process of the application of the paint. Artists would use different gestural strokes to apply the paint to the canvas, such as dripping or throwing the paint at the canvas.

Aerial / Atmospheric Perspective

Leonardo da Vinci is potentially the most renowned artist of all time for his aerial / atmospheric skills within his pieces due to his use of extremely minimal changes in the hues used. Aerial perspective has been heavily focussed on throughout my course and is something I feel I understand rather well, if not yet mastered.

Whilst not a landscape painting per se, the above painting is indicative of the skill da Vinci has with regard to creating depth within his pieces.

Airbrush

Airbrushing is a technique in which paint is applied to a support using a tool which uses air to spray the paint outwards in a smooth and equal consistency, in the same way a spray tan would be applied. The work generally has softer finish with less sharpness, almost as though one were squinting slightly. This can produce a rather dreamy and gentile effect.

Brunaille

This method uses only brown hues. It is strange to find that I have actually been using this method in a lot of my exercises without ever being aware of it!

Camaieu

This technique employs only two or three hues of the same colour to create a monochromatic piece. Again, this is something I have become rather accustomed to and which I have unintentionally been doing unaware of its true name!

Cangiante

This technique is the name given to the process of including separate colours to assist in creating shadows where a colour cannot be darkened enough on its own. For instance, when one is using green, a blue may be used to assist in creating the depth. This is something I have done for many years myself in my own work, again without knowing its true name.

Chairoscuro

Again, this is a technique I am rather fond of and have become rather accustomed to seeking out and exploiting within my own work. The technique includes the use of dark shadows falling on one side of the face, in strong contrast with the light on the other.

Craquelure

This technique involves the cracking of the paint’s surface which can develop as a result of aging, for instance, or created purposefully to create texture and another level of interest within a piece. If one were to consider Fig. 2 above more closely, they will see that this piece has sustained this effect through the aging process.

Divisionism

As researched previously, this was a style used by the Neo-Impressionists in which contrasting colours were placed in specific places in the form of tiny dots which when viewed from afar create the illusion of a 3D object.

Double-Sided Painting

This technique includes the painting on both sides of a canvas and was often used by artists who did not have access to further materials. The subject matter was generally related, but not always.

Drip Painting

This technique is rather closely linked to ‘Action Painting’ and was used by artists such as Jackson Pollock to create unique and expressive pieces of art. The technique includes dripping paint onto the support by using such things as twigs, straws and even swinging a bucket full of paint with holes in it over the support. This is something I think I will try as I like the idea that it bears minimal control of the medium and that is something I think I need to work on relinquishing!

Drybrush Painting

I rather like the idea of this technique, in which one applies paint directly to a dry brush without such things as water etc to thin the paint down for a fluid and smooth application to the support. This technique provides for texture and lack of finesse within a piece, leaving a raw and uncontrolled mark on the support. Again, this is something to consider more.

Encaustic Painting

This technique includes the use of pigment added to hot beeswax which is then applied to the support which is usually wood. This seems like a rather interesting technique to try and, again, I feel it would be difficult to control until one were to become a master. On a whim, this would be an exciting and tempremental technique to experiment with and one which would add intrigue and texture to a piece.

Fingerpainting

This is a technique I feel needs no introduction, but one I also feel can be rather underestimated and underappreciated. This is a technique I feel rather drawn to due to the infantile and naive responses it draws. When children, we first discover paint by putting our hands into it and then creating whatever shapes on paper our hands naturally create. This raw and intuitive technique is something I really want to consider again due to its control and also lack thereof simultaneously. I think this method of painting allows an artist to really ‘feel’ the paint and to become one with it in a way a brush between the artist and support cannot allow for and which simply acts as an invisible sheet blocking some of the creative process.

Foreshortening

Again, this is a technique I have researched heavily in the past and one I rather enjoy working with.

Grattage

I rather like this technique, in which one scratches at the surface of paint to remove the pigment and create depth and texture within the piece as a result. As shown in one a couple of exercises, I quite enjoy it and can see it becoming a regular occurrence within my work.

Grisaille

Similar to brunaille, this technique means the artist only uses grey hues.

Haboku

Similarly to the technique above, this Japanese technique allows for only splashes of black, white and grey to create abstract landscape pieces which was actually extremely ahead of its time in the 15th Century. I do think this is a technique I could take a lot of guidance from in relinquishing control and perfection within my pieces.

Impasto

This technique is also one I am rather fond of and which entices me to create more of myself. I really enjoy thick application of paint and being able to see the textures created by the tool used to apply it.

Imprimitura

This technique includes the use of a stain of colour on a support before the application of the subject matter depiction. The process then allows the light to reflect once the piece is complete This could be useful to me in my future pieces as I tend to draw my subject matter first and then fill in the background afterwards. perhaps building on a prepared ground will help free me from the desire to structure everything specifically and allow me to work more instinctively.

Leaf Painting

I found that this technique literally does what it says on the tin – painting on and with leaves. It is interesting to me as I have actually been considering collecting some autumn leaves to see whether I could cipher some of their pigmentation to use within a painting or to include their texture within them instead perhaps.

Masking

Again, I am familiar with this technique and have used it in some of my works previously. Perhaps it is something I ought to consider reusing.

Mogu

This ancient Chinese technique involves creating form with ink and colour washes without relying on the creation of outlines, but leaving the wash application’s edges to become the outline in itself.

Papier Colle

I have used this technique previously unbeknownst of its proper title. This is definitely something I am drawn to. I also like considering the possibility of creating depth to a flat support in a papier mache style and then painting over it to create a more dynamic piece.

Plein-Air Painting

Again, this is something I have only recently come across the correct term for, but have been aware of for many years. There really is no comparison to the colours of the real world and the brief intensity to be found in pieces created in this manner in order to capture the fleeting light as best as possible. Again, this is something I rather enjoy but think will be much better suited to the warmer months!

Prestezza

Now this is one technique I really need to attempt to consider and practise to improve my vision and only picking out the key information and ignoring the surplus. To carry out this technique, one uses rapid brushstrokes to create the impression of a face.

Pulled String Painting

This is a technique which is, again, precisely as stated; the artist simply uses paint soaked string to create unique paintings. The string is placed in whatever position the artist prefers, covered with another support and then pulled downwards, creating pieces resembling flowers. This is something I think I could have a lot of fun with and could perhaps then even glue down the string within the piece.

Sfumato

This is a technique in which the artist will create a ‘smoky’ blurring of outlines and division of colours beyond what the human eye can see. This was a technique which was used regularly by Leonardo da Vinci and which features heavily in the piece shown in Fig. 2..

Shaped Canvas

Again, this technique is as described and means the artist simply creates their pieces on canvases or other supports shaped differently to the usual square or rectangle, such as a circle or hexagon shape. By doing this, the artist adds another level of substance and intrigue to the piece.

Speed Line

In this method, the speed of a moving vehicle or running person for instance is shown by the use of lines. This technique is used a lot in such things as comic strips and cartoons.

Speed Painting

This technique is used by artists with only a very small allotment of time. The artist below allows themselves only 10 minutes to create their pieces. This type of piece is usually created upside down as the painter is less likely to be misled by their beliefs of what they should see and to focus solely on the key information needed to create their piece. The works are also rather raw and effective. This is definitely a technique I feel I should attempt as I feel it would free me of my determination to create the ‘perfection’ I feel I should be applying but which does not suit my expressive style.

Spray Painting

Spray painting has been around for a long time and some artists create some phenomenal pieces this way, such as the one below. One thing I think I really like about this technique is the fact it can be used to create a ‘speckled’ or ‘blurred’ effect rather easily. It is also rather simple to use templates to mask off areas to keep the original underneath colour intact. I rather like this technique and would definitely like to consider it in future works.

Tachism

This is a form of abstract painting similar to action painting and includes the creation of instinctive brush movements and paint application methods. The piece below really does resonate with me. I just love the movement created and contrast within the darker areas placed next to the light areas. There is a sense of texture within the piece too which also really appeals to me. It makes me think of bandages scattered and painted over.

Texture

This is something that really does draw me to artwork. I really like seeing texture created in a dark and sombre way, with tonal contrasts on the flat and raised areas. This is definitely something I want to delve deeper into.

Underdrawing

I think I have used this technique more and more as this course has progressed and find it really does help with getting proportions accurate and correctly placed.

Underpainting

As with underdrawing, this technique has also served me well throughout my course and is something I think will just become more and more refined with the progression of my artist’s eye and my natural accuracy developing constantly.

Velvet Painting

This is a technique I was unaware of, but which I can see actually really suiting my style. To create works in this manner, the artist simply creates a piece in the dark to light method on dark pieces of velvet. The piece below is simply stunning and the finish is rather warm and bold. This is something I will definitely try because it seems right up my street!

Verdaille

This technique involves only using shades of green to create a piece. The piece below is rather beautiful and mystical. I feel it would still have an air of magic even if the girl did not have antlers, as the green just seems to give it that lure.

Wash

This technique can be used to create a background base colour for a piece and can also give substance to a simple sketch. It can also be used in layers to create depth within a piece.

Wet-on-Wet

This technique seems rather self-explanatory. I really like the fact the artist, if using acrylics, would have to work quickly, thus reducing the amount of detail and information included in their piece. I also like that the colours can merge as a result, either mixing to create new colours or simply slide across into the opposing colour’s space.

Working in Layers

This is something I have found really does assist in creating depth within my pieces and I like the fact you can sometimes see the brushstrokes of the previous layers, creating texture also within the piece.

List of Illustrations

Fig. 1. Pollock, J. (1948) Number 23 [Unknown] At: https://www.tate.org.uk/art/art-terms/a/action-painters (Accessed on 11 December 2020)

Fig. 2. da Vinci, L. (c. 1503-1506) Portrait of Mona Lisa del Giocondo [Oil on poplar wood] At: https://commons.wikimedia.org/wiki/File:Mona_Lisa,_by_Leonardo_da_Vinci,_from_C2RMF_retouched.jpg (Accessed on 14 December 2020)

Fig. 3. Macey, B. (Unknown) Airbrush Art Fox Wall Art [Airbrush painting] At: https://airbrushartist.co.uk/project/airbrush-art-fox-wall-art/ (Accessed on 14 December 2020)

Fig. 4. Magnasco, A. (c.1730) Burial of a Franciscan Friar [Painting] At: https://commons.wikimedia.org/wiki/File:Allessandro_Magnasco_-_%27Burial_of_a_Franciscan_Friar%27,_c._1730,_El_Paso_Museum_of_Art.jpg (Accessed on 14 December 2020)

Fig. 5. Van der Buch, J F. (Unknown) Grande Chinoiserie en Camaieu Rose [Painting on canvas] At: http://www.artnet.com/artists/jacques-fran%C3%A7ois-van-der-buch/grande-chinoiserie-en-cama%C3%AFeu-rose-WagUTzQo6Buoy7vL7d9C8A2 (Accessed on 14 December 2020)

Fig. 6. Fitzgerald, K. (Unknown) Boca Dawn [Oil on canvas] At: https://www.pinterest.co.uk/pin/348747564868015155/ (Accessed on 15 December 2020)

Fig. 7. Fosson, J. (Unknown) Dutchmans Creek Trail [Encaustic on panel] At: http://www.juliafosson.com/# (Accessed on 15 December 2020)

Fig. 8. Scott, I. (2019) Cephalopod [Oil finger paint on canvas] At: https://www.irisscottfineart.com/blog/cephalopod (Accessed on 15 December 2020)

Fig. 9. Deluigi, M. (1973) Grattage [Oil paint on panel] At: (Accessed on 16 December 2020)

Fig. 10. Marriage-Song, H. (2008) Grisaille of a Seated Female [Oil on linen] At: https://www.artistsnetwork.com/art-mediums/oil-painting/what-is-grisaille-and-why-do-we-care/ (Accessed on 16 December 2020)

Fig. 11. Tōyō, S. (1495) Haboku-Sansui, Splashed-Ink Style Landscape [Ink on paper] At: https://commons.wikimedia.org/wiki/File:Sesshu_-_Haboku-Sansui.jpg (Accessed on 16 December 2020)

Fig. 12. Elley, L. (2019) Bay Area Wildflowers [Painting] At: https://www.lisaelley.com/store/p1081/bay-area-wildflowers.html (Accessed on 16 December 2020)

Fig. 13. Montaut, E. (1879-1909) Grand Prix de I’A.C.F [Lithograph] At: https://www.artcurial.com/en/lot-ernest-montaut-1879-1909-grand-prix-de-lacf-2085-49#popin-active (Accessed on 22 December 2020)

Fig. 14. Burkman, A. (Unknown) Audrey [Painting] At: https://amyburkman.com/portfolio/speedpainting/ (Accessed on 29 December 2020)

Fig. 15. Unknown. (Unknown) Ballerina [Spray paint] At: (Accessed on 29 December 2020)

Fig. 16. Jovanovic, B. (2010) Bird [Painting] At: https://fineartamerica.com/featured/bird-branka-jovanovic.html (Accessed on 29 December 2020)

Fig. 17. Cannarozzo, V. (2020) Felix Velvet [Velvet painting] At: https://www.artmajeur.com/en/valentin-cannarozzo/artworks/13521953/felix-velvet (Accessed on 29 December 2020)

Fig. 18. Finn, S. (Unknown) Spirit [Oil painting] At: https://www.etsy.com/sg-en/listing/125086799/spirit-oil-painting-limited-edition (Accessed on 29 December 2020)

Fig. 19. Henri, R. (1902) Snow in New York [Oil painting] At: https://drawpaintacademy.com/alla-prima-painting-tips/ (Accessed on 29 December 2020)

Bibliography

Britannica. (Unknown) ‘List of Painting Techniques’ [Online] At: https://www.britannica.com/topic/list-of-painting-techniques-2000995 (Accessed on 11 December 2020)

Estebanhufstedler. (2020) ‘Pulled String Art’ [Online] At: https://estebanhufstedler.com/2020/05/04/pulled-string-art/ (Accessed on 18 December 2020)

Moe Art. (Unknown) ‘Encaustic Painting’ [Online] At: https://www.moeart.org/encaustic-painting (Accessed 15 on December 2020)

Wikipedia. (2020) ‘Action Painting’ [Online] At: https://en.wikipedia.org/wiki/Action_painting (Accessed on 14 December 2020)

Wikipedia. (2020) ‘Brunaille’ [Online] At: https://en.wikipedia.org/wiki/Brunaille (Accessed on 14 December 2020)

Wikipedia. (2020) ‘Camaïeu’ [Online] At: https://en.wikipedia.org/wiki/Cama%C3%AFeu (Accessed on 14 December 2020)

Wikipedia. (2020) ‘Cangiante’ [Online] At: https://en.wikipedia.org/wiki/Cangiante (Accessed on 15 December 2020)

Wikipedia. (2020) ‘Conveying the Sensation of Speed’ [Online] At: https://www.joshuanava.biz/illustrating-battles/conveying-the-sensation-of-speed.html (Accessed on 22 December 2020)

Wikipedia. (2020) ‘Craquelure’ [Online] At: https://en.wikipedia.org/wiki/Craquelure (Accessed on 15 December 2020)

Wikipedia. (2019) ‘Double-Sided Painting’ [Online] At: https://en.wikipedia.org/wiki/Double-sided_painting (Accessed on 15 December 2020)

Wikipedia. (2020) ‘Drip Painting’ [Online] At: https://en.wikipedia.org/wiki/Drip_painting (Accessed on 15 December 2020)

Wikipedia. (2020) ‘Drybrush’ [Online] At: https://en.wikipedia.org/wiki/Drybrush (Accessed on December 2020)

Wikipedia. (2020) ‘Grattage’ [Online] At: https://en.wikipedia.org/wiki/Grattage (Accessed on 16 December 2020)

Wikipedia. (2020) ‘Grisaille’ [Online] At: https://en.wikipedia.org/wiki/Grisaille (Accessed on 16 December 2020)

Wikipedia. (2019) ‘Painting Techniques’ [Online] At: https://en.wikipedia.org/wiki/Category:Painting_techniques (Accessed on 11 December 2020)

Wikipedia. (2020) ‘Sfmato’ [Online] At: https://en.wikipedia.org/wiki/Sfumato (Accessed on 22 December 2020)

Wikipedia. (2020) ‘Speed Line’ [Online] At: https://en.wikipedia.org/wiki/Speed_line (Accessed on 22 December 2020)

Wikipedia. (2020) ‘Speed Painting’ [Online] At: https://en.wikipedia.org/wiki/Speed_painting (Accessed on 29 December 2020)

Wikipedia. (2019) ‘Tachisme’ [Online] At: https://en.wikipedia.org/wiki/Tachisme (Accessed on 29 December 2020)

Wikipedia. (2020) ‘Underdrawing’ [Online] At: https://en.wikipedia.org/wiki/Underdrawing (Accessed on 29 December 2020)

Wikipedia. (2020) ‘Underpainting’ [Online] At: https://en.wikipedia.org/wiki/Underpainting (Accessed on 29 December 2020)

Wikipedia. (2020) ‘Velvet Painting’ [Online] At: https://en.wikipedia.org/wiki/Velvet_painting (Accessed on 29 December 2020)

Wikipedia. (2020) ‘Verdaille’ [Online] At: https://en.wikipedia.org/wiki/Verdaille (Accessed on 29 December 2020)

Wikipedia. (2020) ‘Wet-on-Wet’ [Online] At: https://en.wikipedia.org/wiki/Wet-on-wet (Accessed on 29 December 2020)