When working from life, I’m painting the effect of light on my subject. Light moves fast and I must be quick to capture it. Most times I get it in one sitting; occasionally I’ll have to finish back in the studio. How do I prepare for this? After setting up my easel I always take a photo of the subject. This is a record of the light effect and a handy reference for later.
I love painting the fresh, bright greens of early springtime. With the first sniff of warmth in the air and a hint of green on the trees, I pack up my oils and favourite brushes from Rosemary’s Ivory Range and head to the woods to paint the bluebells. A couple of long filberts and a no.4 rigger are all I need for working on location.
Studying at the Florence Academy of Art, there are many painting techniques to be mastered through intense practice and through following the methodology of the school. But there are also many things to be learned concerning one’s materials. For example, a great variety of edge qualities can be achieved in a painting simply by varying the kinds of brushes used—i.e. sable versus hog-hair.
This is a brush with unique properties which can be used as a tool for painting winter and summer trees.