As July is the beginning of our holiday and travel season here in Ontario I decided to virtually travel much further afield for this months 'Artist of the Month'. So a warm welcome to acrylic artist Lorena Kloosterboer
Hello
members of Bayview Watercolour Society and readers of The Waterfront!
I'm
happy and honored to be part of this wonderful blog, and hope you
will all enjoy my artwork and reading about my work methods. A big
thank you to Ona Kingdon for inviting me to share my art and
thoughts!
First a little bit
about me: I’m Lorena Kloosterboer, a Dutch-Argentine artist (born
in the Netherlands in 1962). I create paintings in the trompe l'oeil
and photorealism styles. I feel an irresistible attraction towards
Realism and its challenge to paint with great precision and tightly
executed details. My main goal in painting is to capture the
fascinating interactions between colors, light, shadows, textures,
reflections, and unite them in visual poetry.
During my
twenty-five + year career as a professional artist my work has been
exhibited in galleries and art museums in Argentina, Belgium, Canada,
Denmark, Estonia, France, Germany, Japan, the Netherlands, the United
Kingdom, and the United States. Five of my bronze statues enjoy
permanent public installation in the Netherlands. In 2010 my
paintings were published in Belgium and Holland in the art history
book by Professor Katlijne Van der Stighelen, entitled
Vrouwenstreken, Unforgettable Female Painters from the Low
Countries from 1550 until today. To be formally named as one of one
hundred influential Flemish and Dutch women painters continues to be
a great source of pride and happiness!
I currently live and
work in Antwerp, Belgium. To see more of my art please visit my
website at www.art-lorena.com.
I’ll now continue
to show you several of my paintings and describe my work methods as
specifically as possible. I know many of you want to know how I
achieve certain effects and I’m happy to share my process with you!
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Arigató
by Lorena Kloosterboer
Acrylic
on Canvas, 8 x 10 inches
This
petite trompe l’oeil presents a graceful cloisonné fish pendant
courting two elegant bamboo chopsticks on a ceramic holder. A
delicate exploration into diminutive details and contrasting
textures.
For
“Arigató” I used a limited palette of blues, greens, and reds,
with some Raw Sienna. I always use Titanium White and Payne’s Gray
in all my paintings.
After
several layers of sanded gesso to smooth the textured canvas, I
started with the background. I love pushing around paint with
brushes and sponges. I splattered, poured, wiped, and sanded until
the background worked for the composition. The backgrounds in my
paintings are often the abstract art supporting, contrasting with,
and reinforcing the realism in my artwork.
Once
the background was perfectly flat and smooth, I could work on my
composition without being hampered by bulges or lumps on the surface.
I used diluted clear gesso (what a great invention by Winsor &
Newton!) to cover the surface, to achieve tooth for my next layers of
paint and to fixate the background. I don’t want any brush marks
to show.
Elements
in trompe l’oeil paintings are always depicted life-size. In this
piece I focused on textures: The hand-painted bamboo chopsticks, the
porcelain holder, the shiny metal and enamel of the fish pendant. I
wanted each different element to clearly show its specific surface.
Once
I drew the basic lines of my composition onto the canvas, I could
start layering paint in very thin, transparent coats. I always work
with very tiny amounts of acrylic, because it dries so quickly. And
I mix it with plenty of Gloss Medium and a little bit of water to
obtain a thin, smooth glaze-like consistency. I always work in
layers, often up to as many as 30, to obtain a deep multi-layered
look with intense color. I let the paint dry well between layers,
moving on to other elements in the painting.
Once
the painting was to my satisfaction, I painted the highlights in pure
Titanium White, to make the reflections pop. The highlights often
need several layers of pure white paint straight from the tube—they
are the finishing touch and the most fun to do because they make the
surfaces come to life. Then I let my painting dry for a few days,
signed it, and then gave it two coats of Matte Varnish.
Japanese Blue by
Lorena Kloosterboer
Acrylic on Panel, 12
x 12 inches
This diminutive
still life focuses on a hodgepodge of delicately glazed Japanese
dishes, which I unexpectedly came upon one day while shopping. I
asked the store manager for permission to take a photograph and he
kindly allowed me to do so, as long as there were no customers in the
shot. I always carry a good quality compact camera in my purse.
This composition fuses my love for glazed ceramics, Japanese cuisine,
and the color blue. I could almost describe this painting as “A
Self Portrait.”
Colors used:
Titanium White, Payne’s gray, Baltic Green, Brilliant Yellow Green,
Raw Sienna and a whole array of different blues. I love to buy new
acrylic colors and have a vast, growing collection. I love Liquitex
soft body acrylics and Winsor & Newton acrylics and mediums, but
I buy other brands of mediums and paint as well. Because I prefer to
work in layers of transparent glazes, I usually do not mix colors on
my palette. Instead I paint in pure (i.e., straight out of the tube)
color glazes, building up the nuances of values, tones, and color
intensity by building up layer after layer.
After applying and
sanding several thin layers of gesso to obtain an ultra-smooth
surface, I drew in the contours of the dishes and the wooden shelves.
I usually paint the background first, in this case I painted the
wood first and incorporated my signature in the wood grain on the
upper shelf, making it seem like it was carved into the wood.
I then painted the
entire composition of dishes (including the shadows) with diluted
Payne’s Gray mixed with Gloss Medium and water to achieve an
ink-like consistency. This is called a grisaille. Grisaille is a
term for a painting (or underpainting) executed entirely in
monochrome or near-monochrome shades, usually in greys or browns.
The most important aspect of a grisaille is to get the values (darks
and lights) perfect.
Once the grisaille
underpainting was done and the composition looked like a black and
white photograph in value, I glazed in the colors. I paid special
attention to the appearance of the texture of the ceramic glaze, as I
wanted to capture the translucency, the luxurious luster, and intense
richness of the colors.
As usual, I painted
the highlights last in Titanium white, taking care of the subtle
nuances of the sheen of the ceramics. Once the painting was finished
to my satisfaction, I let it dry for a few days and then gave it
several coats of Satin Varnish.
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Sequitur Cor by
Lorena Kloosterboer
Acrylic on Canvas,
31 ½ x 15 ¾ inches
Two crystal
decanters creating playful distortions of the background motif
depicting an ancient Chinese Indigo batik design. The transparency
of the glass symbolizes purity, spiritual perfection and knowledge.
The title Sequitur Cor is Latin for ‘Follow your Heart.’
First I applied
several layers of sanded gesso on the canvas, making the surface as
smooth as possible so that the texture of the canvas did not show
through anymore. I next drew in the composition, using a ruler for
the straight edges of the background and the table edge. I then
covered the two glass decanters with masking tape and masking fluid.
Using masking tape
to create a straight edge, I first painted the lower part of the
background, using Titanium White, Burnt Umber, Raw Umber, and Payne’s
Gray. I mixed my acrylics with Gloss Medium and water laced with a
few drops of Flow Improver. Because this area was rather large, I
also added Acrylic Slow Drying Medium (retarder), so I could blend
the paint longer before it dried.
Once the lower
background was dry, I started on the upper background, which only has
three flat colors. I used Prussian Blue straight from the tube and a
mix of Buff Titanium and Titanium White for the Chinese batik design
of the heart with tassels. For the subdued brown background I
premixed Titanium White, Burnt Umber, Raw Umber, and Ultramarine Blue
with a little bit of Dioxazine Purple in a glass jar.
When I need a
custom-made color, I always mix it in an empty glass jar, so I can
keep the acrylic from drying out without having to remix a new batch
of paint. It is very hard to match the color of wet acrylic to dried
acrylic paint, so preparing a large batch beforehand is very useful.
Next I removed the
masking tape and Masking Fluid to uncover the glass objects. I drew
the details of the glass composition with pencil, being as specific
as possible. I used a thin layer of milky white gesso to cover the
entire surface of the glass, to achieve tooth for my next layers of
paint and to fix the drawing so my pencil lines wouldn’t smear.
I then started
layering paint in very thin, transparent coats. I always work with
very tiny amounts of acrylic, because it dries so quickly. And I
mix it with plenty of Gloss Medium and some water to obtain a thin,
smooth consistency, like a glaze. I always work in layers to obtain
a deep multi-layered look with intense color. I let the paint dry
well between layers, moving on to other elements in the painting.
For “Sequitur Cor”
I used a limited palette of Ultramarine Blue, Phthalo Blue, Payne’s
Gray, Burnt Umber, and Raw Umber to achieve the monochromatic look of
the glass. I also used minute amounts of several primary colors
mixed with Titanium White to create very soft pastel shades, to
enhance the subtle reflections of the glass and give it that distinct
soap-bubble appearance crystal often has.
Once the painting
was to my satisfaction, I painted the highlights in pure Titanium
White, to make the glass reflections pop. Then I let my painting dry
for a few days, signed it, and gave it several coats of Matte
Varnish.
______________________________________________________________________________
Tibetan Gold by
Lorena Kloosterboer
Acrylic on Canvas,
15.75 x 15.75 inches
This vibrant
photorealistic close-up of a collection of Tibetan prayer wheels
catches the eye with its dancing reflections on multicolored
artifacts. This jumble of objects symbolize a wish - That humanity
be able to live together in harmony despite all its differences.
I came upon a
picture of these prayer wheels on a website. I usually prefer to
photograph my own compositions, but in this case it was impossible
for two reasons: First, I did not have plans to travel to Tibet any
time soon. And second, I was certain I wouldn’t be able to improve
on this beautiful photo anyway! It is very important to respect
copyright, so when I see an image I would like to use in my painting,
I always write the photographer to ask for permission to use it.
Most people are generous in allowing the use of their photographs,
and to me it feels like a collaboration between creative minds. The
original photograph of the Tibetan Prayer Wheels my painting is based
on is by Michael Farruggia, who gave me kind permission to use it in
any way I liked (visit Michael’s website at www.picsbymikef.com).
I did crop the original image and changed some of the colors, in
order to create something entirely my own.
Once I had his
permission, I began by applying and sanding several layers of gesso
to obtain a smooth surface that hardly shows the texture of the
canvas. I drew the detailed lines of the composition onto the canvas
and gave it a milky wash of diluted white gesso to fix the pencil
marks. I then painted the entire composition (including the shadows)
in a grisaille with diluted Payne’s Gray mixed with Gloss Medium
and water to achieve an ink-like consistency. Once the grisaille
underpainting was done and my painting looked like a black and white
photograph, I moved on to add color.
I glazed in layers
of vivid colors in very thin, transparent coats, so that the
grisaille still showed through in all its details and values. In
“Tibetan Gold” I used many different colors and hues in a very
wide spectrum, manipulating the values by adding Titanium White and
Payne’s Gray. Once I finished “Tibetan Gold” I let my painting
dry for a few days, signed it, and gave it two coats of Matte
Varnish.
______________________________________________________________________________
This concludes my
descriptions of my work methods in these four paintings. Following
are some scattered personal thoughts on my creative process.
I try to be
unrestrained when I prepare backgrounds, which often start as
abstract textures. However, I don’t intend to ever swerve away from
detailed realism, using abstraction as an element that supports the
minutiae in realism.
As a support I use
canvas, linen, wood, or Masonite depending on composition and mood.
Smoothness is essential for minute details to be painted without the
texture of the support distracting the eye, so I always add three or
more additional layers of sanded gesso, even when I use
factory-prepared surfaces.
I prefer to paint
guided by several photographic versions of a composition. Even with
a still life composition set up in my studio, I tend to turn to my
photos. Most of the time I set up my own compositions and photograph
them myself. However, if I want to use a photograph from another
source, I make sure I get written permission to use it. My advice is
to always respect copyright, even if the photographer is not a
professional, and to always credit your source. Until now I’ve
always received positive responses to me asking for reference
material.
I often spend weeks,
sometimes months, on a conceptual idea (usually several at once):
Doing research, gathering artifacts (I have a huge collection of
glass objects and knickknacks), making thumbnail sketches, and taking
photographs, before finally having a composition I feel excited
about. I also make written lists of ideas to work out later. Many
ideas die during this process. Once I start painting, I try to hold
on to my excitement for the composition. Alas, sometimes my
enthusiasm fades when the painting doesn’t flow or the topic
disappoints me, and then I have to decide in the middle of the
painting process whether to continue or abandon a painting. I
regularly opt for abandoning it altogether—it’s very hard and
painful to do, but I think it’s probably worse to finish a painting
I’m not happy with. Of course I recycle the canvas or board by
rolling over it with a thick layer of gesso.
After I tackle the
background, I often begin by painting a grisaille, which I glaze in
numerous layers of translucent color. I hardly mix my colors on the
palette; instead they get built up in layers directly on the surface
of the painting. When I cannot enhance any aspect of a painting
anymore, I consider it finished. The signature is the conclusion.
After I sign a painting, I never go back to it. It’s a personal
rule of mine to avoid redoing or revisiting a finished painting.
It’s my way of moving on. If I didn’t follow my own rule, I’d
be repainting all of my work forever!
Payne’s Grey,
Titanium White and Unbleached Titanium are the three colors I
consistently use in every painting. Besides those, rather than
following one particular color theory, my intuition dictates how I
build up the layers of glazes, using any number of available acrylic
colors. I love buying new colors and I love buying new brushes. I
can’t resist walking out of an art supply store without buying
something! I also feel an irresistible urge to buy new products and
try them out, so I spend a lot of time (and money) visiting art
supply websites to see what’s new on the market.
Over the years I
have tried all types of palettes available. My search for the
perfect palette is linked to formerly using oil paints and the
traditional wood palette. Moving from unhurried oils to fast drying
acrylics meant going through an extensive period of trial and error
to find what’s right for me. Today my palette is adjusted to my
current method of layering glazes. I only need a few drops of fluid
acrylic, or a dab of tubed acrylic per session, and a tiny space to
dilute the paint with water and medium. At present I use (please
don’t laugh!) plastic lids of yogurt pots. The ring around the
outside edge is perfect to hold a few drops of water and medium I
need, while the middle section is flat for blending. The palette is
easily cleaned with plain water, so I use these lids until they
crack. It also gives me a good feeling that I somehow recycle
plastic packing materials. The plastic lid palette works great for
me, but I realize that it won’t make me look very arty, so count me
out for any pictures taken without the authoritative wooden palette
in hand!
I miss the blending
capacity that oils offer, but haven’t found a slow-dry medium that
satisfies me yet. I continue searching for a retarder that allows
feathering soft edges in the traditional oil-paint manner, covering
extensive areas. When I blend soft edges I just want the paint to
NOT dry while I’m fiddling with it. I have tried many brands, so
far the Acryl Retarder by Schmincke works best for me.
Tools I use: Natural
sponges, tooth brushes, pump atomizers, and broad synthetic flats for
backgrounds. I also use broad synthetic flats for varnishing.
Combination sable and synthetic brushes (always with short handles)
are my favorites—I buy on a whim so I have brushes in many brands
and price ranges. I take care of my brushes really well and wash
them meticulously after each painting session. For miniscule details
I use the Winsor & Newton sable/synthetic mix brushes Sceptre
Gold II—my preferred size is 000. I use one or two triple zero
brushes per painting, after which they get discarded. I recently won
a set of Richeson short-handle brushes, they are fabulous! I just
hate it when I spend good money on a new brush and find that it loses
hairs on a wet painted surface. That’s my biggest pet peeve in
regards to painting!
Mistakes: I use wet
Q-tips to wipe away little booboos—I use a roller with black gesso
for large booboos!
I’ve mentioned
varnishing in Matte or Satin (Semi-Gloss) before. As a rule I use
Matte varnish, which works especially well for trompe l’oeil
because this style is meant to “fool the eye” (even if it’s for
just a split second). Matte varnish takes away all the atmospheric
reflections and makes the trompe l’oeil more realistic. I seldom
use Satin varnish, but did, for example, use it on “Japanese Blue”
because it gives the flat, ultra-smooth, stroke-free surface of that
particular painting a rich, exquisite sheen which goes well with that
particular piece. I never use High Gloss varnish—this is a
personal choice, I just don’t like my paintings to pick up
reflections from their surroundings.
How I came to paint
in acrylics: Since I was a child I’ve worked in a variety of
mediums, including soft pastels, colored pencils, inks and
watercolors, but before the millennium I considered myself
predominantly a realist oil painter. After going through several
life altering events, I fell into a prolonged period of painter’s
block. I felt incredibly frustrated—days, weeks, months would go
by without that creative spark. I embarked on a desperate quest to
break this miserable spell. I don’t think those around me truly
realized the extent of emotional pain I suffered. After
unsuccessfully trying to force myself to change styles, it suddenly
occurred to me that I should try a new medium instead. Acrylics
attracted me because they dry fast, they clean up easily with water,
and permit similar effects to oils and watercolors. Slowly my
creativity returned. Since I use acrylics I’ve never looked back!
Thank you again for
inviting me to be a guest artist on this wonderful blog—I hope you
enjoyed my writing. I look forward to hearing from you and answering
any questions you may have. Happy painting!
Lorena Kloosterboer
