|Friday 10 June 2005
Roy Lang has been interested in the sea all his life. Despite having a mass of marine photo's he paints entirely from his imagination.
He only started painting a decade ago, first with fine fibre pens (too slow, and he decided he couldn't draw), then in watercolour (too difficult) and then, prompted by Alwyn Crawshaw's Oils demonstrations on the TV, he found his metier.
After his very early successes in SAA competitions and exhibitions he has got himself an envied reputation as a seascape artist and demonstrator.
Roy uses a standard set of colours: Titanium White; French Ultra; Cobalt; Cerulean; Burnt Sienna, Yellow Ochre, Cadmium Yellow, Alizarine Crimson and Sap Green and works on Loxley Canvas Board.
|A useful tip is to use a white pallette so that spreading the paint
thinly with his knife (he uses no thinners), shows what will result when you
add white. By the way, the paper was white too - I must have
got the colour temperature wrong and didn't realise before I had saved
everything :Sam Dauncey
Roy tends to go for a composition that leads the eye in a flat S-shaped path.
Starting with pencil outlines to define the edges of the areas of rock, water and foam he had completed the sky and distant water before the demo started. The basic blue colour (French Ultra and Burnt Sienna) had been applied in vertical strips with varying amounts of white and touches of yellow and then blended with a big soft brush to get the final appearance.
Touches of Sap Green and nearly white were added to the sea.
|Roy starts with a large pile of colour on the pallette and splits
it into separate ones, each of which is then modified (generally first with
white) and possibly split again. Sometimes this results in almost homeopathic
dilutions (and wonderfully subtle shading).
Whitened green give transparancy to the water and blown spray is flicked in with very slightly yellowed white.
Streaks and spray are applied in what seems a very stark way but very gentle use of the (frequently cleaned) big soft brush gradually softens everything just the right amount.
|Subtle variation in the strength of colour across a narrow line (of
white water, for example) is achieved by rolling a "strip-liner" (rigger?) as
the paint is applied.
The same background blue mix is modified with burnt sienna for the rock grey. Texture is added by "chattering" the edge of a heavily-loaded strip-liner across the flat background colour of the rocks and also by dabbing a different shade of paint in with a badly abused 1" domestic paintbrush.
The same techniques were used in the foreground as the 9:30 deadline approached and we began to realise why the sky had been pre-prepared - Roy knew how much he could do in the time and wanted to have the picture in a saleable state by the end (it was successfully sold by auction).
|Friday 5th October 2007
With his lovely soft Cornish burr (undiminished by "electrocution" lessons!) and tremendous humour, Roy gave another really enjoyable demonstration of seascape painting using oils. His rendering of waves crashing onto rocks is so miraculously realistic that one feels in danger of being splashed if too close to the painting. The delicacy of his technique belies his early career as a shipyard welder which he had to give up for health reasons.
He is entirely self taught and his accurate depiction of wild seas is down to his having studied the sea, the rougher the better, at first hand over many years. His work is represented in many galleries and he has several times been voted Painter of the Year by the Society for All Artists (SAA). Gerry Seward won the auction to buy the finished demonstration painting. (Brian A Richardson)
Top of Page - Home - Programme of Events - Gallery - Contacts - FCSA Site Map