paintings prints books

Painting techniques


Like most kids of his generation the artist grew up using poster paints.
This continued until he met his art teacher Robert Spearman in his final school year in 1969 and who influenced him to try oil painting and who taught him the basics of classical oil painting.
This meant that as he entered art school and subsequently the world of professional illustration for clients his painting style, and indeed entire picture making approach, was distinct from the typical tempera and gouache techniques of the day in the UK. As he became exposed to other illustrator's ways of working and saw works by artists such a Bruce Pennington and Chris Foss, whose techniques and styles were utterly different from his own, he experimented with combining, often risking failure of a painting through incompatibility of materials, and subsequently finding ways to combine such materials, both water-based and oil-based. This involved developing a thorough understanding of the possibilities and limitations of both.
Then one day in 1980 he was standing in the public library in Wimbledon and idly perusing the spines of various art books picked one entirely at random that seemed as though it might have something to say about historic painting techniques. Opening a page entirely randomly there was a section about the Dutch Renaissance artist Jan Van Eyck.
Thus it was (and still is) Invariably, from 1980 onwards, paintings by Peter Andrew Jones were rendered in oil and acrylic using a technique extrapolated from that used by Jan Van Eyck and sometimes referred to as "the mixed technique". This was traditionally an interleaving of Tempera and Oil layers, perhaps using a resin based oil paint that would suck-in the oil to the Tempera layer and allow overpainting again with Oil allowing quick completion of pictures, especially useful to an illustrator who never missed a commercial deadline and for which he was much relied upon by his clients and in certain markets, such as TV where deadlines can be extremely tight, this skill of meeting deadlines with a very flexible technique did much to keep his studio always busy.
In Peter's case the tempera was replaced by Acrylic, and in the very early weeks of his career, Plaka, a casein tempera, in order to make for a very robust painting, and one which would withstand the rigors of being transported to a publisher, then a photographer and even to the printer if need be, and back again. To this very day we have pictures from this era that have not altered in appearance at all, saying much for the physical longevity of his works.

He found ways to also paint in acrylic OVER the oil paint, a technique which is quite possible even if some Internet web page texts will say it cannot be done successfully.
In 1999 when he became self-published and ceased to create work for "other publishers" his technique began to broaden as a result of a deliberate policy ("I felt I'd "done my bit" for my clients so to speak and now it was my turn!") as he has been able to set his own deadlines and publishing schedules which allow for greater time periods in creating pictures if required. A typical painting of generous size may take, for example, up to a year to complete.
Currently his working methods for painting fall into the following categories >

Oil paintings - (with a dash of acrylic here and there)
Watercolours - these are actually greatly thinned-down acrylic and kept in special reusable plastic tubes in a steel pencil box both of which he found in a "one pound shop" in Ealing Broadway in London and are probably originally intended for children or teenagers, not professional artists!
Tempera - yes, but as you'd expect if you've read this far, this is "a bit different" from the norm. Probably, it's nearest recognisable term would be "oil tempera" or "Tempera Grassa".
Airbrush - hardly ever, but now and then, when a picture calls for it, a bit of airbrush work creeps in to what is otherwise very much a classical technique.
Electronic (digital) imaging - there may possibly be more discussions in Internet art and photography forums about "photoshop" than anything else when it comes to the "but is it art?" issue. In Peter's case, after quite a concerted effort in mastering digital techniques he took a different view in that he is, and at the same is not, a "digital artist" - simply put, he is only interested in what the image is he is making and the point it is communicating. So, as with the airbrush, if electronic imaging is needed, in part or in whole, to get the point over, then he uses it, but probably it is most accurate to say that it is in the fusion of the two techniques that he excels. In the same way that he "interleaved" Tempera/Acrylic and oil, so he now can oscillate layers of "paint" in the same painting, from digital, to oil, and back again if need be.

Ah well, now you wouldn't expect we'd tell you all his secrets would you? Magic medium is a studio-made medium that defies accurate description but for what it's worth this is perhaps the best that can be said: Does it have the same properties as Maroger's medium (or the so-called "Jelly of Rubens)? Yes. But is it transparent like that? No. Is it self-leveling like Stand Oil? Yes, but it doesn't "spider" around the edge or run if used too thickly. Is it thin and watery like the basic drying oils, Linseed, safflower and so-on? Yes, but it is slightly more viscous like walnut Oil than that but then can be thinned to be watery, too. Does it dry of its own accord or does it have a metal drier in it? Well. It "sets up" like Maroger's so it can be immediately painted over but dries in a short time "from the inside out" as well. In short - it is designed, by the Artist to behave exactly as he needs it. It's lean, but it's "chewy" it's leveling but it's workable and it is entirely his own concoction.

Good old fashioned, thrashed-out in the studio oil paint. Handmade, tubed and made to demand. What makes this different though is that the Artist employs a "secondary and tertiary" colour wheel that retains the last parts of a tube and mixes it with another, thereby creating an endless array of coloured greys that, eventually, become indistinguishable. It creates a "harmonious colour system" that is the bedrock of his colour use.

He has a studio. It is located at the foot of the Long Mynd Hill in South Shropshire in the UK. It has been very carefully organised to facilitate the production needs of his publishing company, deeply involved in all its activities, paper making, book making, greeting card production, frame making and last but not least the paintings themselves of course. But that is just one part of what goes on in the creative day of this Artist.
Much is talked on the Web of "en plein aire" and this is, in part, what happens. Then again, it is often more like an Art School project, that of "outside drawing". It works like this: He has a rucksack. It is a wonderful Barbour design but specially modified to allow him to paint "on the hoof" as he puts it. Or "in public" as others might. Largely this consists of placing himself in the most obvious places, a cafe, a bar, very obvious places, but in a way that is not high profile. It's the bag you see. It has a specially rigged box set inside that contains a highly rationalised studio. All that he needs. One box has everything from oil paint to watercolour in it and his drawing implements, even his metalpoint tools. Palette too. The whole thing, stripped right down rationalised so that it fits a plastic box. A second box has a "live" painting in it. The rucksack has evolved in shape to house these boxes as time has gone on and so this quite big, but thin, 2nd box houses a full piece of wood panel for his "medium sized works" as he puts it. A third box is a document box that is an "on he hoof office" accompanied by an iphone and a laptop. Using this approach enables him to "do a Martini" as he puts it - "any time, any place, anywhere" he likes and "nothing is off limits" to his creativity, which is how he wants it.
He also has a "magic jacket" but that's another story . . . . .

For the web spiders DEFINITIONS (including industry) sometimes used could well be >
Painter. Painting & paintings. Oil painting.  Oil painting reproduction (as a print). Oil painting for sale.  Original oil painting.  Landscape oil painting. Art graceful oil painting. Oil painting technique. Oil painting artist. Wholesale oil painting. Oil painting lesson (we are looking to do this in a blog or an "on line art school" at some point). Oil painting frame. Art oil painting. Discount oil painting (if a Snap! Deal is offered). Contemporary oil painting. Retro oil painting (about the 70's onwards Science Fiction). Framed oil painting. Oil painting gallery. Buy oil painting. Famous oil painting. Fine art oil painting. Realist oil painting. Large oil painting. Wildlife oil painting. Oil painting instruction. Oil painting tip. Painter & oil painting tutorial (in the blog). Oil painting picture. Fine oil painting. Animal oil painting. Realistic oil painting. Custom oil painting (when it is a private commission). Oil painting dealer (us or our agents and/or affiliated and stockists online and off). Erotic oil painting (now and then). Art gallery oil painting (on and off the web). Original oil painting for sale.
Painting. Landscape painting.  Art painting. Tempera painting. Watercolor painting. Painting technique (in a book and in the blog). famous painting. Acrylic painting.  Painting idea. oil painting reproduction. Artist painting. Painting painter. Oil painting for sale. Painting gallery. Painting drawing. Still life painting.  Landscape oil painting. Painting picture. Modern painting. Airbrush painting. Famous painter. Artist painter.  Painting painter. Oil painter. Art painter. Famous artist and painter. Modern painter.

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