photo e

photo f

I build most of my own canvases. Most commercially-made stretched canvases are not as tight as I like, and since my working style can be heavy-handed at times (more on that later), they have to be sturdy. I prefer a heavy cotton duck with decent sizing and 3-4 coats of an oil primer base. For a smaller painting, I might use Belgian linen with a finer weave, but for anything larger than 20 x 30, I like my work surface practically bulletproof. (If I anticipate that a client may have doubts about a composition, I'll do a small color study of oil on paper. In this case, I'll use 300 lb. Winsor & Newton watercolor paper with 3-4 coats of acrylic gesso.)

After the oil primer is completely dry, I transfer the drawing onto the canvas. At this point, I can already visualize the finished painting. Now, it is just a matter of putting what's in my head onto the canvas.

After countless semesters of color theory, a background in watercolors and studies of Old Masters, I've settled on my own style of transparent oil painting. I chose oils over all other medium, not only because of durability and texture, but because no other medium has its range of color and depth.

photo g

I refine my underpainting with carmine and a variety of blues and greens. These colors may not be apparent in the final painting. As a former instructor once said, "Viewers may not notice the foundation colors when you use them, but they'll notice if you don't".

Using a variety of glazing techniques, I start layering color upon color, always allowing the light from the canvas to shine through and illuminate the colors. It is not uncommon for me to have 40 or 50 layers of color in some areas and because each layer must dry before going on to the next one. It is not a process that can be rushed. (PHOTO F)

When using this glazing technique, it is very important to use the finest materials available. Only the purest pigments can be thinned to the extreme and still maintain clarity and intensity. I have found that the earth tones of Holbein and Winsor & Newton are unsurpassed. Sennelier also offers some unique colors at a very high quality.

After the large areas of color are done, hardware such as a halter, bridle or saddle are painted in with opaque colors in varying textures. (PHOTO G) Fine details in the eyes, metal bits and reflective surfaces are finished off using Series 7 watercolor brushes. Yes, these brushes are expensive, but they're worth it.

After the painting is dry to the touch I varnish it very lightly and give them a good coating of Damar after six months.

Return to Part I

Copyright © 2005 Joy Aoki. All rights reserved.
Website Developed by Gennia Cui.