"Out of the eater came forth meat and out of the strong came forth sweetness."So when you have an object in front of you to paint, take a moment to decide how you are going to achieve your interpretation in oils.
I thought about making an exact replica at first - almost photographic.
But then decided I would make a loose daub of the tin.
So giving it a personal narrative of my own, which is now the favicon of my blog, and it's title image.
The symbolism is all there before me in the oldest British branding that everyone knows, the most obvious one being the Tate gallery legacy, a dishonourable trade empire that reaches back into the slave trade, capitalism, the end of capitalism, but, of course, we have fine food too.
The object is our studio money tin.
No-one bothers to put their pound coin in for their art paper though, but it stands there in anticipation of their honouring a contract.
So the first thing is to get a cover of the object on the canvas.
It looks like a tin of paint at first, I have masses of coloured reflections bouncing off the seemingly green tin
& so to leave it to dry
Now, another choice.
Do I put any of the writing in. I decide "Yes".
& my dead lion looks upright at the moment, he's supposed to be an ex-lion, it is no more, it is deceased.
& the painting needs more greenery, the Tate & Lyle tin is distinctly Brooklyn Green by nature, like my old MG midget.
I could stop here, but I leave it to dry and apply one more loose piece of work to the painting
It needs just a little more patterning on the tin, the flourishes over the brand name mostly,
& just a little more rounding
coupled with the warming of the background colour
as per usual, I can do much more to the tin, tighten up the impression, or even take it back to one of the looser previous versions
but I'm content to leave it be now, it's just as important to know when to stop, & not to overwork your painting.
You can always make another one.