Sometimes it can feel a big jump making the transition from a sketchbook up to a ‘proper’ painting. So what to do when you want to get from zero to hero? One of the ways I have used in the studio to bridge the gap is to work on a set of ‘improper’ paintings.

Having been out of the painting flow for a while and using ‘page ready’ media like pastels and pencils, I just wanted some time to play with the paint, mix and add without any sense of “this has to become something” which can be so crippling.

Start with something improper

Choosing 6 small canvases which were cheap so couldn’t be ‘spoiled’, I laid them all out together and began with some pastel marks and white gesso. I added some collage elements I had in the studio. You could use newspaper, maps, book pages or torn up old drawings for this. This will create a different texture to the canvas which can give added interest and prompt some starting points. Some pieces may show through and some may be obliterated as you progress.

Just starting on 6 ‘improper’ canvases: begin by making marks with pastel, adding gesso and collage to build up a base layer.

After this stage it all got a bit haphazard. The aim is to work quickly, without too much thinking as you apply the paint. Look at a sketchbook page or out of the window or an image in a book to get you started but then try and work with your intuition:

• change marks from big to small
• switch brushes
• move the brush differently

Lots of this was painting direct from the tube: the mixing was happening on the canvas, not on a palette. This can be a good way to ensure coloured areas have some life to them – variety within each area of colour.

I was thinking simply of creating an underpainting layer and deliberately using much brighter colours which would show through the top layers and not appear dull.

Carry on adding instinctively. Theses are much brighter colours than I usually use to create a lively underpainting.

At the moment I’m not sure on the boundary between figurative and abstract in my work. I’m reading a lot about it while I try to figure it out and often feel myself going in circles. But this exercise reinforced the idea:

…the learning is in the doing…

Before long I was reminded how areas with a strong contrast jump out; sometimes this is helpful and sometimes you need to knock it back. Working over one layer using a contrasting tone or colour create some interesting effects especially if you want to scrafitto through with a pencil to reveal some of the underlying area.

Some canvases had an arrangement of shapes and colours that seemed unbalanced and playing with composition in this way, wrestling with the decisions of what I needed to change to bring it back in line is useful. Different moods were created, through colour and shape. It’s funny how things emerge: without any planning one set of marks seem to suggest a jumping grey horse at a circus.

I am not thinking of these as finished pieces; I think I’ll use them as ‘warm up’ pieces at the start of each session. Or just to test out colours as I paint on another piece. The layers will build as I work over and over. It will become a mess, and then get resolved. Perhaps…

..and the hero? The hero is a larger painting that has been waiting in the wings but which is now well on its way to being finished.

I often post work-in-progress on the Facebook page where it can be easier for people to comment (and quicker for me to post immediate updates than write full blog posts!) so if this is the first time you have been to this site please head over to the Alice Sheridan Facebook page and ‘like’ for an easy way to keep in touch.

Best wishes for a creative week,

Alice x