In the lull before I start a new work this weekend, I thought I would talk about the painting that is on the frontpage of my website, http://www.michewatkins.com. I spent 5 years in Cape Town and came to love, like the rest of the world, Nelson Mandela, known as Madiba locally. I particularly liked his eyes (like one of my other portraits of Amy Winehouse) and the gentleness, but also steely resolve, which I wanted to paint to the best of my ability. I used a photo from the internet of course, not having recourse to getting to him to sit for me(!) and think I managed to achieve my objective. For some reason I have a dislike of using brown paint and avoid it as much as possible. Obviously for Madiba’s skin colour I had to use some, but I added in shades of pinks, purples and violets wherever possible. These days with a bit more confidence and experience, I would also have added in some of my beloved Kings Blue Deep (Michael Harding) to add interest. Often the best part of a painting for me is putting in the delicate highlights at the end, the little white in…
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I am almost sorry to have finished this painting as I have much enjoyed the working of it. I think it has been the contrast of lights and darks which have, as always, drawn me in. The end result is a much more interesting composition and one which I will return to in my next work. I added in touches of one of my favourite Michael Harding paints, Kings Blue Deep, right at the end which I feel rounds off the painting. Yes, I know the girl does not have blue cheeks, but doesn’t it look more fun this way?! Michael Harding paints are certainly dearer in price, but the pigments are out of this world and I use less of them as the paint is thicker. I would also recommend Rosemary & Co’s brushes which are again, slightly pricier, but so much better and last longer (I think). The wedding ring is back on the table to, hopefully, make the viewer think and hopefully make up their own mind as to what is happening. This is why I so like painting narrative figurative works as opposed to straight portraiture which is what I used to do. There is a…
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So the best part begins for me, going down to smaller brushes for adding in the detail. Whenever I start a painting, after a week or so, I look at what I have achieved with bigger brushes and much looser work and think I should leave it like that. But the fine artist in me always wins out and I go for the detail. Maybe I should try and stop at the early stages with a painting – feedback welcome here ? I have been putting in highlights to the left of the painting as the composition is lit from a window which I felt did not help the work by being put into the picture. I have softened the light from the overhead lamp by introducing more muted shades of yellow ochre to compliment the purple shades above the girl’s head – complimentary colours always work by the way, Google the colour wheel for more on this aspect of colour. Next week should see the final details of the wine glass, mirror etc., and of course the gold ring! I have added in some detail on the shoes but am not sure whether I will keep that bit of…
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