Landscape Oil Paintings:
Hyperrealism - incredible detail by David Patch
The materials and process I use ensure the strongest adhesion of the paint and maximum protection of the panel guaranteeing the ultimate in permanence. I use etch primed aluminium as a support for my paintings, which is more permanent than traditional canvas. The smooth surface lends itself to ultra fine detail and minimal interference from reflections. First I abrade and acid wash the aluminium panel, then rinse it thoroughly with clean water and allow to dry. I then coat it with an epoxy based etch primer. This is followed by 2 coats of epoxy - urethane primer. In order to provide a degree of absorbency for the oil paint, a final thin layer of the same mixed with Titanium White pigment is applied sparingly. These layers are bonded to the aluminium panel in such a way that you would struggle to scrape the paint off with a screwdriver. Grade 5052 aluminium on its own has excellent resistance to oxidation and is totally inert. Coated in this way the panel should remain stable for centuries.
For the painting itself I utilise the finest pure linseed oil paint available today, as used by the Old Masters centuries ago. These various artist grade pigments have different chemical properties, some have higher oil absorption rates than others, and some have greater stability and lightfastness. I select only the most permanent and stable colours which have the greatest resistance to fading over time, ground in linseed oil with the highest attainable pigment loading. Observing the rule 'fat over lean' and avoiding large areas of thick pasty oil paint I use sparing amounts of a simple solution painting medium comprising of stand oil, distilled gum turpentine and a very small amount of damar resin with little to no drier. Once the painting is thoroughly dry, a final thin layer of damar varnish is applied. I go to great lengths to ensure that my paintings will last for generations without discolouration, cracking or any other defects.
I try to create paintings of scenes that would be near impossible to capture with a camera. I use photos as a reference, as the seeds of an idea. I move things around slightly and manipulate the lighting angles. I then inject a bit of me into the painting to give a representation of how I think it should look. If, each time I look at a painting, or a part of a painting and I don't like it, I know it needs to be scrapped or re-done.
The drawing board and lighting set up are my own design.
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