Once I have photos of my leaf composition, I used a root 5 grid for maximum energy inside a square for its stillness, (Contact Academy of composition for Grids and advice on using the grids). I adjusted the lay of the leaves to the grid to give the painting energy and flow. Once I had a suitable line drawing, I made a tonal plan to make the image read how I wanted it, lastly colour is considered. Once I had a complete plan, supported throughout by dark chocolate raisins from the local 'Source bulk foods', I transferred the line on to the canvas, then blocked in the main colours in their correct tonal levels, except the yellows, for these I used glazes to get the depth and tone I needed. The next 4 - 5 layers built up a depth of colour and detail in each leaf.

Infinity of Nature captures my cares about the health of the planet, and cherishing its ecosystems, I do what I can to reduce my impact and recycle my waste. My paintings are each designed to reflect the worlds beauty at its best and to convey this message.
My vision going forward is to refine my work further, improve my reach and increase my support of entities that protect of our fragile Earth (and did I mention eat chocolate!)

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As promised the main "how I do this" information from todays demonstration, this is just my method, there are many ways of using oil paints, find the way that suits you best. I have put this up as a blog, it is a first time foray into blogs for me, but it should make it easy to leave questions or comments - thank you for being interested, I hope this is useful!

1 -  Subject Selection
Composition is the most important consideration, above tone, colour and all the other considerations. All of these secondary factors have an effect on the composition , tone being the next most important followed by colour. Plan this, in some cases this may be the most time consuming part - it is worth the time put in at this stage!

I set up the subject and try to get the lighting as close as I can to the desired effect, then I photograph and rearrange and rephotograph, until I am happy. This will often include looking at the images on the computer, where I can compare the thumbnails the computer (similar to doing tonal thumbnail sketches) to help assess composition and tonal balance, and even cut and paste elements before I make any permanent changes, like cutting flower stems! After getting the composition and lighting sorted and achieving a final photo or photos for reference, I will decide on the final painting size and format (though I will often have been working with a final size and format in mind). I work either life size or below, or largely magnified, just a bit bigger than life tends to look uncomfortable especially with portraits - people and pets! 

2 - Line Drawing
I produce a full size line drawing which I either do this from life or from the digital file on the computer.  I use this opportunity to make any small changes, and correct any camera distortions if needed. 

3 - Canvas Preparation
I use some ready made but I am increasingly stretching pre primed canvas over a MDF board then getting it professionally stretched after I have painted it. If I use ready mades, I check they are actually square If I am going to get them framed afterwards, as some are quite out of square which makes them very hard to frame. also check they are not warped. 

I apply a couple of coats of Gesso to the ready primed canvas as I have found that some are not as well primed as they claim, and I can use it to smooth the surface further, I am still trying different canvases and linens. I also like the surface when I have gessoed it with W&N Galleria Gesso Primer. For still life I apply it initially with a large flat scrapper making sure there are no ridges left, depending on how it is looking I may do this a couple of times to get a smooth surface then I apply a final coat with a fine foam roller. For landscapes, where I prefer more texture in the canvas, I just apply the Gesso with the roller. I allow the Gesso at least 24 hours to dry out fully.

4 - Drawing on to canvas
I transfer the line drawing to the canvas, usually using a grease free graphite transfer paper, or by eye, depending on the complexity of the subject and the accuracy required, mainly it is a time saver. I rub away any excess graphite with a soft plastic eraser, then brush of any bits of eraser with a large soft brush. 

5 - Colour selection
I select the colours for each painting before I start then stick to them, I try to limit to between 3 and 12 colours, usually around 6 plus Titanium White. This picture I selected 9 colours 2 Blues (Ultramarine Blue and Cerulean Blue), 3 Yellows (Indian Yellow, Cadmium Yellow and Cadmium Lemon) and 4 Reds (Burnt Sienna, Scarlet Lake, Crimson Alizarin and Permanent Rose) They are mainly transparent colours except Cerulean and the Cadmiums.


6 - First Paint layer
This layer is mainly to block in the tones and major shapes, no detail and thin paint, no white. I use only Zest-it turps substitute as the medium to thin the paint. I put the main shapes in in their basic colour, paying particular care to areas of yellow, and areas where light is shining through causing a glow, especially yellows, I use transparent colours on these areas, the same colour as the brightest part of the glowing part. With Yellow areas I also pay particular attention to keeping the canvas clean and white under the yellow, as any contamination or marks on the canvas will show through many layers of yellow! Set aside to dry preferably a fortnight, at least twice as long as it took to get touch dry


7 - Second paint layer
I use a medium of 5ml Linseed Stand oil with 15ml Zest-it and 20 drops of Liquid fine detail. I use this to thin the paint to a workable consistency providing good coverage,  good control and leave a smooth surface, I work one leaf at a time putting in everything except cast shadow and small details (most of the time!) this takes around and hour per leaf approximately!! Set aside to dry preferably a fortnight, at least twice as long as it took to get touch dry, which will be longer than the first layer.


8 - Third paint layer
I use a medium of 10ml Linseed Stand oil with 10ml Zest-it and 20 drops of Liquid fine detail. I add small details, glazes over yellow leaves, cast shadows and start to build depth into the colours. Pay particular attention to keeping glued transparent, and keeping pale colours out of dark glazes. Add any bright highlights. Set aside to dry preferably a fortnight, at least twice as long as it took to get touch dry, which will be longer than the second layer.

9 - Fourth Layer
I use a medium of 15ml Linseed Stand oil with 5ml Zest-it and 20 drops of Liquid fine detail. I refine any glazed areas that need more detail/depth, make any adjustments if required, finishing touches, often do not get to needing this layer. Set aside to dry preferably a fortnight, at least twice as long as it took to get touch dry, which will be longer than the third layer.

10 - Fifth layer
Rarely used, but the medium I would use is 20ml Linseed Stand oil with 20 drops of Liquid fine detail. Set aside to dry preferably a fortnight, at least until it is touch dry then it can be varnished with retouching varnish available as a liquid or an aerosol. This will even out the surface which gives it a finished look.