To prepare my paintings I bought 3 sheets of 600x450mm clear Perspex and set up the laser cutter to raster a rectangular area a few centimeters smaller than the sheet. I then projected my images onto the prepared surfaces so I could sketch my images quickly and accurately.
To then further prepare the surfaces for the oil paint I primed the rastered area with gesso. I was concerned that after priming I would lose my sketches so I thought that tracing over my sketches with permanent marker would allow me to still see the drawings through the primer.
I began one of my paintings and the paint was applying to the primed Perspex smoothly but in a way that allowed me to apply the paint thickly. I thought to begin with the background and paint in order of what would be in the foreground. I decided to paint the background in a blended but blurry way for the trees in the distance, using my finger to blend out the paint in a way the paintbrush could not. This created a hazy effect that I was really pleased with. For the field of yellow flowered rapeseed I painted quite abstractly, dabbing the paint onto the surface to create the right texture and give depth to the range of colour in the photograph.
However, when I began painting one of the faces, although I could see my sketches it proved that the permanent marker was too effective as it kept shining through both the primer and the paint. To ensure I wouldn’t have this problem with the other two paintings I primed the surfaces another two times and began painting a second painting to see if the extra layers of primer made a difference, which they did.