Like most kids of his generation
the artist grew up using poster paints.
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.
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.
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
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.
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.
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.
his working methods for painting fall into
the following categories >
- (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
- 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
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.
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
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.
"THE MAGIC BAG" - "WORKING METHODS"
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.
has a "magic jacket" but that's another story . . . . .
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