Painting process

Feature in The Artist Magazine by Michele Del Campo

The Fall series of paintings are featured in the latest edition of The Artist Magazine April 2016, p. 14-17. In the article titled “Falling for art,” I share a bit about my philosophy of using painting as a medium to communicate meaningful messages. The article then covers the specific ideas behind the The Fall series –the human experiences and emotions that the works reflect. If you are interested in the preparation and process of how I came up with the compositions, the article also includes a section on this. The specific details and narrative of the individual paintings reveal the interconnectedness between the concepts and ideas and the elements of design and composition. On a practical note, I also include the details of the materials used for these paintings.

The article is available in print and can be purchased online.

My oil painting technique by Michele Del Campo

I was invited by Cass Art and Winsor and Newton to give two workshops in October, in Cass Art Islington and Cass Art Hampstead. Moreover I was invited to write a blog post showing the process of an oil painting of mine. You can read it now in the Cass Art blog:https://www.cassart.co.uk/blog/michele_del_campo_how_to.htm

  My technique demonstration in the Cass Art blog

My technique demonstration in the Cass Art blog

 

WORKSHOP: If you would like to learn my technique, I invite you to attend a weekend workshop on 19-20 March in my London studio, here you can read about it and buy your ticket:https://www.eventbrite.co.uk/e/figure-oil-painting-workshop-19-20-march-2016-tickets-21636356926

  Some students in my last oil painting workshop

Some students in my last oil painting workshop

  Detail of “Sunny Time”

Detail of “Sunny Time”

The Fall - Lady with Flowers by Michele Del Campo

michele del campo, The Fall - Lady with Flowers ENGLISH:  Another one of my paintings for "The Fall" project, Lady with Flowers takes inspiration from the burden of a life experience of an elderly lady. She falls while carrying flowers, and the delicate flowers end up scattered on the floor. The focus of interest of the painting is on her face, perhaps not hurt by the fall in itself but by the weight of that burden, which suddenly, in the shock of the fall, acquires all its clarity like a revelation. With big thanks to Helen, a very dear friend, for kindly posing for me.

ESPAÑOL: Otra obra de mi serie "La Caida", Mujer con flores toma inspiración del peso de la experiencia de vida de una mujer anciana. Ella cae mientras lleva unas flores y estas, bonitas y delicadas, terminan espargidas por el suelo. El foco de interés del cuadro, como en todos los de la serie, es la cara. Su expresión quizás no es de dolor por la caida en si misma si no de asombro por el repentino shock de la caida, tras la cual adquiere consciencia de ese peso de su existencia, como si hubiera tenido una revelación. Con un gran agradecimiento a mi querida amiga Helen por haber posado para mi.

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The Fall - Skater by Michele Del Campo

michele del campo, the fall- the skater, 65x85cm The Fall

26th October - 7th November 2015

Artist’s talk & Q&A: Wed 4 November 6 to 8pm

Westminster Reference Library 35 St Martin's Street Wc2H 7HP 020 7641 5250 R.S.V.P rblack1@westminster.gov.uk

ENGLISH: Today is the Private View of my solo exhibition "The Fall", at the Westminster Reference Library. In a series of posts I would like to share with you the process for some of the paintings on show. This is "The Skater". I saw this young guy falling over while skating in Barcelona and I wanted to portray him suspended in that moment when he is thinking, not yet ready to get up. I asked him if he could pretend to "fall again" for some photos and he kindly agreed, while his friend was waiting for him. In the painting I changed the colour of the T-shirt from black to red, in order for him to stand out, and the letters on it, substituting "Roma", clearly a touristic souvenir piece of clothing, for "Rebel". This introduced a new concept and an association of ideas. I then built up the whole environment based on various photos and my imagination.

ESPAÑOL: Hoy se inaugura mi exposición individual "La Caida", en la Westminster Reference Library. En una serie de capítulos, iré compartiendo mi proceso de creación de estas imágenes. Este cuadro es "The Skater". Vi a este chico en Barcelona caerse del monopatín y, tras levantarse y seguir patinando, le pedí si podía posar para unas fotos fingiendo de caerse de nuevo. Fue muy amable y posó para mi, mientras su amigo le esperaba. En el cuadro cambié el color de su camiseta, de negro a rojo, para destacar más. También cambié las letras, de "Roma" a "Rebel" (rebelde), y eso para introducir un nuevo concepto y una asociación de ideas. Luego construí todo el ambiente basándome en varias fotos y en la imaginación.

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Video of my painting process by Michele Del Campo

[embed]https://youtu.be/bDz80edEBng[/embed] ENGLISH: I have made available this quick time-lapse video that focuses on my painting process for the portrait of the redhead girl that appears in my painting "The Sunny Time". This portrait (the head and the hair of the girl) is the work that I did in one session, working "alla prima", while the painting was still wet. The effect is more fresh and spontaneous in comparison with the techniques applied on dry paint, where the painter needs to wait for the layer to dry first and advance at a slower pace. As you can see, I use almost always big brushes, also for the details, while I use a small brush only for the retouches in the hair. This allows me to focus on the painting as a whole instead of losing my attention in the details, as these are then created in the eye of the observer in any case.

ESPAÑOL: He publicado este breve video time-lapse donde se muestra sobre todo el proceso de retrato para la chica pelirroja del cuadro "Tiempos de sol". El retrato lo hice en una sesión, trabajando "alla prima", o sea, mientras la pintura al óleo está mojada, para un efecto más espontáneo y expresivo en comparación con las técnicas de pintura por capas, donde el pintor necesita esperar que la capa de pintura se seque para luego poder avanzar a un paso más lento y gradual. Como verás, utilizo casi siempre pinceles de gran tamaño incluso para los detalles, mientras utilizo un pincel pequeño solamente para los retoques del pelo. Esto me permite focalizar mi atención en el conjunto y no preocuparme demasiado por el detalle, ya que esto lo construye el ojo del observador.

A great workshop in my studio by Michele Del Campo

_MG_5033-1 Yesterday was the last of my 3-day workshop "Figure Alla Prima" in my London studio. I enjoyed very much the experience and I am so happy that everybody was very enthusiastic with their experience too, in fact all of them are interested in attending future workshops or a part II of this same workshop. The available places were limited to only 5 painters, so they could be working on big canvases and get individual attention, and I had a great group of lovely people, mix of professional and amateur artists. It was a very peculiar workshop because I gave my students the task to do the same painting that I am doing, and they progressed alongside me watching my demonstrations, looking at my painting in progress and listening to my advises. I started every day demonstrating on my canvas, explaining in detail my methods and then letting my students do the same work under my constant guidance, demonstrating on their canvases too when it could be useful for a better understanding. I was very pleased at the end with the results

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of each of them. I taught many aspects of my technique, but the highlights of my workshop, according to most of the painters, have been my teaching about colour mixing, colour theory to achieve clean and bright colours, and how to use the brushes to achieve all possible effects with very few touches. My next workshop will be from 15 to 17 May and it's already bookable here.

ESPAÑOL: Ayer fue el último de los 3 días de taller "Figura alla prima" en mi estudio de Londres. Me ha gustado mucho la experiencia y estoy muy contento que todos los participantes estaban contentos también con la suya, tanto que me han convencido a organizar pronto otro taller y quizás también una continuación de este mismo taller, la segunda parte. Los puestos disponibles eran tan solo 5, para que todos pudieran trabajar en lienzos grandes y tener atención individualizada. Ha sido un taller muy peculiar porque di a los participantes la tarea de realizar el mismo cuadro que yo estoy pintando, así que ellos progresaron junto asistiendo a mis demonstraciones cada mañana y repitiendo lo que habían aprendido en sus lienzos, con mis constantes consejos y ayuda teórica y práctica. Enseñé muchos aspectos de mi técnica, y los puntos más atractivos de mi taller, según me han dicho los participantes, han sido la teoría y la mezcla de los colores, y la utilización de los pinceles para conseguir todo tipo de efectos con pocos toques. Mi próximo taller será desde el 17 al 19 de abril y se puede reservar aquí.

Article in The Artist magazine by Michele Del Campo

the-artist ENGLISH: In the April issue of The Artist Magazine I have a four-page article where I share my approach to painting. In it I describe each of my painting as a journey, exploring the possibilities in form of sketches, modifying and adapting my ideas along the way, experiencing reality and dealing with the creation of an image that reminds of reality but it is not purely taken from reality, even when painted from life. The magazine can be bought in kiosks or online here

 

ESPAÑOL: En el número de abril de la revista The Artist se publica un artículo mio de 4 páginas, donde comparto mi enfoque en la pintura. En ello describo cada una de mi pintura como un viaje, donde exploro las posibilidades a través de bocetos, modifico y adapto mis ideas, profundizo en la experiencia directa con la realidad y trato de crear una imagen que recuerde la realidad sin que sea tomada directamente de la relidad, aun cuando pinte del natural. La revista se vende en los kioscos o online pinchando aquí

 

I will teach "Figure Alla Prima" Workshop in my studio by Michele Del Campo

march-workshop-del-campo1I could not foresee that my workshop would be so successful from the first day that I published the information, so there is now only one ticket left! I was going to post about it tomorrow in this blog but now I feel obliged to advise my blog followers as soon as possible, in case any of you is interested. Here is the poster for the event, by clicking on it you will get all the information and will be able to buy the last ticket (if you arrive late and are interested in the workshop, please message me and I will inform you if I organize another one later on).

A short video to show my "alla prima" painting technique by Michele Del Campo

http://youtu.be/a9aXolRJXBk ENGLISH: There is nothing better than a video to show the process of painting with oils. My technique is "alla prima", so I concentrate on a certain area of a painting and I finish it while it is still wet, generally in the same day. The video of this painting, "The Reading" (150x200cm), which I partially made during my demonstration in Art in Action, concentrates especially on the portraits of the two girls. I had no underlying drawing for these faces, but, as you will see, I represented them improvising directly in painting. This method allows me a more intuitive approach and a more personal interpretation. For a written account of the whole process you can read the Artists and Illustrators magazine, February 2015 issue.

ESPAÑOL: No hay mejor manera para mostrar mi técnica de pintura al óleo que a través de un video. Mi técnica es "alla prima", es decir, me concentro en ciertas áreas del cuadro y las acabo mientras estén mojadas, normalmente en el mismo día. El vídeo se concentra especialmente en las fases del retrato de las dos chicas en el cuadro "La lectura" (150x200cm), que hice en parte en mi demonstración en Art in Action. No tenía un dibujo para las caras, sino que, como verás, las pinté improvisando directamente en pintura, lo cual permite una aproximación más intuitiva y una interpretación más personal.

My creative process in Artists And Illustrators magazine by Michele Del Campo

January issue A&I 2 ENGLISH: A few months ago Artists and Illustrators, one of the most popular art magazines in UK, commissioned me to write two articles about my whole creative process, from the development of the ideas through sketches and photos to the painting work on canvas. It was not an easy task, as my creative process can be quite complex, but I liked the idea of putting my experience into words and images for the readers. From there these two articles were born, published in the January and February issues. Both issues are now available.

February issue A&I

ESPAÑOL: Have algunos meses la revista Artists and Illustrators, una de las más populares revistas de arte en Reino Unido, me encargó la redacción de dos artículos para explicar mi completo proceso creativo, desde el desarrollo de la idea a través de bocetos y fotos, hasta la realización de la pintura en el lienzo. No era tarea fácil, ya que mi proceso creativo puede ser muy intricado, pero me gustó la idea de ponerlo en palabras e imágenes para los lectores. De allí surgieron estos dos artículos, publicados en los meses de enero y febrero, y ambos ya están disponibles en quioscos y librerías de arte.

Painting tomorrow at the ROI Art Event Evening! by Michele Del Campo

Michele De Campo  and his Prize winning painting Tomorrow evening from 6-9pm I will be honored to be painting a model from life along with some very talented and well-known artists at the Mall Galleries for the Royal Institute of Oil Painters Art Event Evening. If you have the possibility, this is such a good chance to see great artists in action, creating a portrait in less than 3 hours. The entry fee is £8.

More information here:

http://www.mallgalleries.org.uk/whats-on/events/roi-art-event-evening

A painting demonstration by Michele Del Campo

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ENGLISH: I started this painting in a 4 days demonstration in Art in Action, some of you who have visited the fair have seen it half-way through. As it always happens to me, when I don't finish a painting in one go I might take an incredibly long time to finish it, or I even abandon it. That is because I always find that I have more urgent paintings that I need to work on, or administrative work that cannot be delayed, and time always runs too quickly. But luckily I did go back to this painting!

 

ESPAÑOL: Empecé este cuadro durante una demonstración de 4 días en Art in Action (Oxford), quizás algunos de vosotros lo hayáis visto allí a mitad. Como siempre me ocurre, cuando no acabo un cuadro de un tirón, podría acabar estando un tiempo larguísimo en mi estudio hasta que lo acabe, o, peor, podría abandonarlo del todo, ya que siempre tengo cuadros y tareas más urgentes, el tiempo corre demasiado deprisa. Pero afortunadamente volví a retomar este cuadro!

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The creative process, 4 by Michele Del Campo

ENGLISH: Another complicated and long elaboration of an idea through various stages, sketches, research for places and models and finally the painting. The idea in "One of Them", which is the title of this painting, was to portray a common girl from the middle class, who would represent a generation of young people who have been deprived of their future in the wake of the crisis in the past few years, and I see this situation of anger and impotence in my frequent travels to Spain, for example. The models are friends of mine that kindly offered to pose for me, some of them in a separate session. I found the building after a long search wandering around old industrial London and through internet, and I discovered this jewel of factory architecture in East Tilbury, it's the old Bata Factory, which I went to visit. Curiously, the same day that I was taking pictures of my friends pretending to through stones, in a North London District, Tottenham, many young people started to actually through stones and bottles to the police, and the situation soon degenerated in what is now famously remembered as the 2011 "London Riots", that spread across the UK main cities...  

ESPAÑOL: Otra complicada y larga elaboración de una idea a través de bocetos primero, luego búsqueda de modelos y ambiente, fotos y finalmente la pintura. La idea en el cuadro "Una de ellos" fue de retratar a una chica muy normal y corriente que representara a toda una generación de jóvenes que se ha visto de un día a otro privada de su futuro por el estallar de la crisis, y esta situación de rabia e impotencia la veo mucho en España por ejemplo, donde viajo frecuentemente. Los modelos son amigos que se han prestado a posar con mucha amabilidad, algunos de ellos en sesiones separadas. Encontré el edificio tras una larga búsqueda por el viejo Londres industrial y a través de internet, donde descubrí la existencia de esta joya de la arquitectura moderna, la vieja fábrica de zapatos "Bata", que fui a visitar en tren en East Tilbury. Curiosamente, el mismo día en que tomé las fotos a mis amigos fingiendo de tirar piedras, en el barrio pobre de Tottenham, en el norte de Londres, estallaron los famosos "Motines de Londres", el 6 de agosto de 2011, donde los jóvenes emarginados se rebelaron contra la policía y el órden social, y el levantamiento se extendió por las ciudades principales del Reino Unido...

 

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"Una de ellos" (One of Them), oil on linen, 140x200cm

 

The creative process, 3 by Michele Del Campo

ENGLISH: If you have been reading my last two posts, you know by now that a realist painting can be the realisation of a complex process of immagination mixed with intention.  Here goes another example. I took photos to people that I met in the street and invited to pose for me and I found the landscape picture looking through internet, as well as the pictures of each crows.  

ESPAÑOL: Si has estado siguiendo mis últimos dos posts acerca de mi proceso creativo, sabrás  que una pintura realista puede ser el resultado creativo de un proceso muy complejo de imaginación mixta a intención. Aquí va otro ejemplo. Tomé fotos a personas que encontré en la calle, y que invité a posar para mi. La foto del paisaje la encontré buscando en internet, así hice también para cada uno de los cuervos.

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"The Coming Storm", 2010, oil on linen, 100x150cm

 

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The creative process, 2 by Michele Del Campo

ENGLISH: After showing my reference photographs and my sketches, in the previous post, now I should show you the painting process, from the white canvas to the finished piece. However I thought that a video would show better the complete stage-by-stage process of creation of a painting, so you can see everything about the painting "The Other Side" in it. I hope that you enjoy the video!  

ESPAÑOL: Después de mostrar mis referencias fotográficas y bocetos en el post anterior, ahora tendría que mostrarte el proceso pictórico, desde el lienzo en blanco al cuadro acabado. De todas maneras he pensado que un video podría explicar mejor todas las fases de la creación de un cuadro mio, desde los primeros bocetos desde la imaginación, hasta las fases de mi pintura. ¡Espero que disfrutes del video!

 

[embed]https://www.youtube.com/watch?v=4yO9Zodazeo[/embed]

 

The creative process, 1 by Michele Del Campo

ENGLISH: The other week, while I was painting in Art in Action (see the previous post), many people were fascinated by the fact that the image that I was painting was made-up, a collage from various pictures, although it looked convincing. Noticing that many are not aware of the complexities of the creative process, I would like to  publish a series of posts in the next few days where I show the original references that I used to ensemble the image that I painted on the canvas. In my painting you will see that I am looking for something more than a simple representation of something, I want to create a story, to give a message, to suggest a mood or an emotion, but I have to do it with intention. The simple reality doesn't always give me all that I need, so I have to create a reality of my own, but that looks convincing. I will start from "The Other Side", a 190x300cm oil painting which I did in 2011.

 

ESPAÑOL: La otra semana, mientras pintaba en Art in Action, (mira el post anterior) mucha gente se quedó fascinada viendo que la imágen que estaba pintando era en realidad una escena ficticia construida a partir de varias fotos. Notando que muchos no son conscientes de la complejidad del proceso creativo, me gustaría publicar, en una serie de posts en estos días, mi material original desde el cual he ensamblado la imágen que he plasmado al final en el lienzo. En mi pintura busco que haya algo más que la simple representación de algo, quiero crear una historia, dar un mensaje, sugerir una emoción o un estado de ánimo, cargar una imagen con intención. La simple realidad no siempre me da todo lo que necesito, así que tengo que crear una realidad propia, pero que sea creible.

Empiezo por un cuadro especial, "El Otro Lado", un óleo de 190x300cm de 2011.

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    These are some of the sketches that I used to develop the idea of "The Other Side". Research for locations, props and models came soon afterwards.

 

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The most special of UK art fairs by Michele Del Campo

ENGLISH: After my 2008 and 2009 participation, this year I had yet another wonderful experience at Art in Action. I am not amazed that so many people who spoke with me said that they saw me so far back as 5 or 6 years ago, in fact the public of this fair is very faithful and for sure people who come the first time are thinking about returning to repeat the experience. I found old friends artists or organizers from my previous participations, and i have met new great artists that now are new friends, with whom I have shared these beautiful and inspiring four-days of work in public, dinners and parties. Among the public I have to thank so much everyone who has had the patience to spend hours watching me painting, and especially someone that have bought a 4-days pass just to watch my demonstration each hour and each day, I was very flattered and I tried to give my best to pay it back showing all the aspects of my painting.  

ESPAÑOL: Ha sido otra experiencia maravillosa mi participación en Art in Action este año. Ya había participado en 2008 y 2009, pero no me extraña que este año que he vuelto he encontrado muchísima gente que se acordaba de mi tras tantos años, de hecho los que han visitado la feria una vez es muy difícil que no quieran repetir al año siguiente. He vuelto a encontrar viejos amigos artistas o de la organización, y he conocido amigos nuevos con los cuales he compartido estos cuatro días muy bonitos e inspiradores trabajando en público. Entre los visitantes tengo que agradecer a todos los que con mucha paciencia pasaron muchas horas viéndome trabajar en directo, y alguien hasta compró un pase para los cuatro dias de la feria para verme trabajar todos los días, eso me alagó muchísimo.

 

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michele del campo, art in action 2014

 

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I had the privilege of being the first to do a drawing on Nathan Ford's participative artwork. Many people intervened on his painting and at the end he finished it in his unmistakeble and beautiful style.

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Me in the dinner table with other painting demonstrators

Demonstrator's dinner: we were delighted not only by the food but also by beautiful exotic music and dance

Studios in different cities: ideal, but where is the problem? by Michele Del Campo

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ENGLISH: I love working in my new studio in Valencia, even though I continue living, working and exhibiting in London. But there is a problem when one is working in two cities, how do you plan your painting in the second city in order to finish it in time and take it back with you in your main city? This puts some pressure on me, as I never like to be forced by the events to leave a painting unfinished and then go back to it after several weeks. In fact I have abandoned various promising paintings because i did not finish them when i had the inspiration for them. Therefore my paintings in Valencia must be planned according to the time that I have available, but here is the problem: art is not a science, and I find it impossible to predict how much time I need to finish a painting! In fact my efficiency is very variable and I am amazed at my speed in rendering certain things that in the beginning looked difficult, and, in contrast, my slowness in painting other things that looked quite easy to do (and many times it depends on the day...).

Said this, I am proud of how I managed my time in this occasion in Valencia, as I finished a quite laborious painting and managed to bring it back with me yesterday, in the flight to London. I owe a big part of the achievement to the "Liquin" medium (Winsor and Newton), which speeds up the drying process of oils, so I could roll up the canvas into a tube without problem. This painting will be exhibited in Art in Action, Oxford next week, during my four-days painting demonstration. I hope that you will find the time to come along and enjoy the fair!

 

ESPAÑOL: Me encanta trabajar en mi nuevo estudio de Valencia, aunque siga viviendo y exponiendo en Londres. Pero hay un problema cuando se trabaja en dos ciudades, y es cómo planificar la pintura para que, durante los días de estancia en una ciudad, puedas terminar la obra que hayas empezado para podértela llevar luego contigo en la otra ciudad. Esto me pone un poco de presión, porque nunca me gusta dejar un cuadro a medio acabar y luego volver a ponerme tras una pausa de varias semanas. De hecho, he abandonado varios cuadros que prometían bien, por no haberlos acabado cuando tenía la inspiración para esa pieza. De esta manera, mis cuadros en Valencia tienen que ser planificados según el tiempo que tengo a disposición, pero el arte no es una ciencia y encuentro imposible predecir cuánto tiempo necesito para acabar una obra, de hecho mi rendimiento es muy variable y me asombra mi velocidad en pintar ciertas cosas que parecían difíciles y, en contraste, mi lentitud para pintar otras que parecían faciles (y muchas veces depende de cómo me siento cada día...).

Dicho esto, estoy orgulloso de cómo he sabido gestionar esta vez mi tiempo en Valencia para acabar a tiempo mi última obra y poderme llevar el lienzo, ya parcialmente seco (gracias al milagroso medium de secado rápido "Liquin", de Winsor and Newton), conmigo en el avión para Inglaterra, donde lo expondré en Oxford la próxima semana durante la feria Art in Action.

 

 

Demonstrating at Art in Action by Michele Del Campo

    My demonstration at Art in Action in 2009 Art in Action, Thursday 17 - Sunday 20 July, Waterperry, Oxford

 

In just over one week time, I will be painting in the beautiful settings of Waterperry, Oxford, at one of the most enjoyable and inspiring art fair in the UK, Art in Action. I will be very pleased to discuss my work with visitors, and there will be several great artists in all disciplines doing the same. This art fair has a wonderful concept: a group of selected artists will set-up a temporary studio in several marquees dedicated to all disciplines of art, so visitors can enjoy a day or several days out scrutinizing at close distance how artists make their artworks. I hope that you will come along too!

ESPAÑOL: En poco más de una semana estaré pintando en público y demostrando mi técnica en el maravilloso escenario de Waterperry, en Oxford, en una de las ferias más bonitas e inspiradoras del Reino Unido, Art in Action. Al igual que los otros artistas, estaré encantado de conversar sobre mi trabajo y mi técnica con los visitantes. Esta feria tiene un concepto estupendo: unos artistas muy selectos montarán un estudio temporal dentro de varias carpas dedicadas a todas las disciplinas del arte, y los visitantes podrán disfrutar de uno o varios días estudiando de cerca cómo los artistas crean sus trabajos. ¡Espero que tu también vengas!

 

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The cadmium colours ban possibility by Michele Del Campo

michele del campo, girl and dog,-114x146cm While painting these flowers (a detail of a bigger painting) with cadmium yellow pale over the still wet dark green in the background I was thinking that only cadmiums can keep the full brightness over the green because of their natural opacity. Alternative pigments are more transparent and weaker, so they would let the blacks and greens come through and deaden the colour (moreover they are not as durable as cadmiums). In order to keep the brightness of the yellow colour using cadmium substitutes I should either paint the flowers in white over the green first, and wait for it to dry before painting with yellow, or draw exactly where each flower should go on the canvas before painting around with the greens, but this process would make me lose completely the freshness of the improvisation! I should say that I am in favour of finding an alternative to all poisonous pigments. However, are there valid alternatives? Not at the moment, this is why it is daunting the possibility of a ban of the cadmium pigments in Europe, leaving us artists without a comparable choice, at least until some researchers will find better quality substitutes (will it be possible?) Read more on cadmiums compared with the best available substitutes here: http://www.jacksonsart.com/blog/2014/06/13/cadmium-crisis-update/

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ESPAÑOL: Mientras pintaba estas flores con amarillo de cadmio claro y medio encima del verde oscuro todavía mojado, estaba pensando que solo  los colores de cadmio pueden mantener su plena luminosidad encima de los verdes gracias a su natural opacidad. Los pigmentos alternativos son más transparentes y débiles, así que el verde se manifestaría a través del amarillo y éste se sofocaría! Para mantener la luminosidad del amarillo utilizando los mejores colores substitutos de cadmio actualmente disponibles tendría que pintar las flores primero en blanco sobre el verde y esperar un largo tiempo para que este se seque, o bien dibujar exactamente las formas de cada flor en el lienzo antes de pintar los verdes, pero este proceso me haría perder completamente la frescura de la improvisación! Tendría que decir que estoy totalmente en favor de encontrar una alternativa a todos los pigmentos venenosos, y a todas las substancias tóxicas que estamos obligados a utilizar los que pintamos al óleo. Sin embargo, hay una alternativa válida a los pigmentos de cadmio? De momento no, así que es abrumadora la posibilidad de un bando de los colores de cadmio en Europa, dejando a los artistas sin una elección comparable, por lo menos hasta que algunos investigadores encuentren sustitutos válidos (¿será posible encontrarlos?) Lée más sobre las diferencias entre los cadmios y los pigmentos alternativos actualmente disponibles aquí: http://www.jacksonsart.com/blog/2014/06/13/cadmium-crisis-update/ cadmiums opac cadmiums strength

I have a full-range of cadmium colours, and I use all of them in almost every painting.