Magnolia Diptych - tracking the process

During one of the recent workshops in my studio , I showed the artists how to transfer a drawing to a canvas without using a grid. Since I planned to do a couple in a series, and hadn't photographed the first steps, when I started the second painting I decided to document the process more carefully.

There are two approaches depending on the image. If the subject is complex then a careful line drawing is required. 

If the painting will be loose and gestural, there's no need to be too precise, the oil line transfer can be rough. In the case of the Magnolia Diptych I used the second option.

• Sketch to establish the basic composition. If the drawing isn't large enough for your canvas, the main sections can be scanned and enlarged to fit. If I don't want to visit an office supply shop for larger photocopies, I print cropped sections, enlarge these and join them together.

• Turn the drawing over and using oil paint directly from the tube, paint over all the lines with a round brush - #4 or #6, leaving a generous amount of paint on either side of the lines so if you want to change the position of the lines you can. Choose a colour that will be featured in the painting.

• Place your drawing on the canvas with the painted lines facing down (the canvas is already primed with gesso and completely dry) and fix in position with some tape. If you're using a deep edge canvas some magazines can be placed under the canvas to provide a support for the transfer of the image. This gives a firm base to draw on.

• Using a coloured ballpoint pen draw over the drawing firmly, altering any lines if necessary. The paper can be lifted occasionally to check that the drawing is correct.

The images below show the process of transferring the drawing to the canvas.

Now the painting can begin - these four photos show how the painting progressed.

                  

Once each separate canvas was almost finished I place them on adjoining easels to work on them as a whole. Some adjustments were needed to allow colours to flow from one side to the other. A single twig connects the two halves.

Here's a photograph of the completed Diptych:

Magnolia Diptych - oil on canvas 2 x 500mm x 500mm

NOTE: This method is suitable for use with oil paint, acrylics will dry far too quickly for the process to work.

Carbon paper can be used instead but I enjoy the flexibilty of being able to wash out any unwanted lines with solvent.

Deja` Bru Cafe` has a new Alfresco area.

My local café has some exciting changes. There is a new roof over part of the café.

This creates a lovely cool alfresco dining area. There is shade and coolness during these steamy days. Then, when we are lucky enough to have some rain, no-one has to scramble for cover.

In keeping with the décor of the Café, a coat of bright red paint enhances sections of the walls of this new area. I have done three paintings of Paris, The Arc De Triomph, The Eiffel Tower and Notre Dame de Paris. 
I made good use of Google Earth street view. It's the next best thing to being there in real life.This photo shows the three paintings all together.

These paintings have the same colour palette as the large interior mural and keep to the Parisienne theme of Deja` Bru Cafe`. There’s a difference though, these three paintings are for sale.
If you are interested in purchasing any of these paintings please contact me or the Cafe` staff.

Arc De Triomphe - Acrylic on canvas 600mm x 600mm © 2014 Carol Lee Beckx

Eiffel Tower Paris - Acrylic on canvas 600mm x 600mm © 2014 Carol Lee Beckx

Notre Dame de Paris - Acrylic on canvas 600mm x 600mm © 2014 Carol Lee Beckx

And here's a reminder of the interior painting...

Deja` Bru Cafe` acrylic on canvas 1200mm x 3600mm

Deja` Bru Cafe` McDowall Village corner Hamilton and Beckett Roads, McDowall.

Phone: 0438 794 398

Abstract painting - the process

Recently two commissions for abstract paintings led me to explore a couple of different avenues. I returned to look at the American Abstract Expressionists and  Franz Kline in particular.  

Given a superficial glance these paintings look so simple - a couple of dramatic lines dashed across the canvas with a loaded brush and the painting is done - or is it?

Is it really so simple? 

Acrylic study for Grey, Silver Black & Pink

The reality is somewhat removed from that simplistic assumption. Start flashing a brush around and see what happens - usually the canvas turns into an uncontrollable mess. Try flicking just one splash of colour on to a monochromatic painting and disaster lurks. The consistency of the paint is crucial. 

If there’s too much turps in the mix, when it’s splashed over thicker, more oily paint that layer will crack when it dries . If there’s too much oil in the mix, the paint will take forever to dry. While the paint is drying the beautiful spots can turn a into ugly wrinkles. Then one understands exactly why Kline continued to use house paint instead of artists paint which his dealer wanted him to use. The viscosity of industrial paint is perfect for splashes and dribbles. This video gives some insight to his process

I started by doing a number of acrylic studies in my sketchbook.

Acrylic study for Grey, Silver black & pink

Once the right image was decided upon I worked directly on the primed canvas. I started with  shades of grey and white in large areas, applying the paint with brush and palette knife to add surface tension to the canvas. I have added a few detail photos at the end of this post to try to show this.

Once this layer was dry I painted the black lines with fast broad strokes. 

Black lines are added and other areas have been simplified.Then, with fingers crossed, because I’m not really a splashy kind of painter, a few splashes of shocking pink added the colour. The silver leaf was the final touch - and difficult to photograph well as the silver leaf simply looks white.

The initial sketches have a rawness and vitality that is hard to translate to a large canvas. The sheer size tends to make one more careful. However, I am pleased with the way the surface of the canvas has become more complex, adding substance and vitality to what was a casual sketch. 

 Grey, black, silver & pink - oil on canvas 1000mm x 1000mm

Carol Lee Beckx  © 2012 Collection Transform Hair

Detail

 Detail

Detail

Portraits

I have added a portrait page to my website. Commissioned portraits now have a separate page. These paintings almost always have a story attached to them. Some I have done as a memorial for loved ones, such as the portraits of Margie and also Rajesh’s Mother.




Margie - oil on canvas 505mm x 405mm

©2009  Carol Lee Beckx

 

Another was painted to commemorate a 21^st birthday. Jordy Smith is a World Champion surfer from South Africa. Initially, I was commissioned  to do a conventional portrait.

Jordy Smith - detail - oil on canvas

©2009  Carol Lee Beckx

However, the client wanted to highlight the different stages of his career, so the painting eventually became a complex composition. In addition to the head and shoulders portrait, he is shown as a boy on a skateboard, when he won his first competition, and riding the waves.  An added challenge was that the painting was to be a surprise so I had to rely on family photographs to do the painting.

A favourite of mine is the one of my friend Zelda, a talented artist and always so elegant. I painted her seated in the studio where we painted every week.

There are more images on the Portrait page of my website.