Reminiscent of Christian Arnould, who uses a photo reference of an outdoor scene. I would use my Kodak camera and photo holder to paint from reference on oil paper in the same manner.
He really is playing off the pliability and the forgiveness of oil paint. Granted, Christian is a master of color and stroke. These two talents command the outcome. Christian is allowed grace and forgiveness on the piece, because he knows his limits and his strengths, but most of all Christian knows his medium and the tools that dictate each outcome throughout the painting process.
I need to work in the same manner. My thought is to work on the D’Arches Huile oil paper. Begin by toning with Winsor & Newton Griffin Alkyd Cadmium Red Light Hue. Then work in earnest with my standard set of colors in Winsor & Newton Artists’ Oil.
Materials are Helix Ultra-Lite Core Plain Edge Board with Huile paper attached, solidly secured onto my French easel. Tone the paper, then start right away painting direct with no preliminary drawing to assist.
Try using more medium in my paints. Do not fear this addition. The Groves Copal Varnish mixed 50/50 with turpentine. Work all along the painting as if you’d paint a watercolor. Have at hand at all times the John Fabian Carlson’s sky color traditions. Use this at all times.
Christian uses a very thin black under drawing placed very rapidly … Most likely either Ivory Black or a mixture of Alizarin and Hookers Green. Either way… Thinned down with turps.
The more I work from photos in the studio, the more my selection of photos or photo reference will improve, along with my method of painting or approach.
I need to squint more to perceive the subtle different tonal range across the work I’m producing.
Christian Arnould is a genius, because of the accumulated work he has amassed over the course of a lifetime. He has proven without a shadow of a doubt his significance in the art world. He is a titan and an icon.
Check Christian Arnould out on Instagram https://www.instagram.com/christian_arnould/
