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Tiro – UHQCM 16: the painting process

No. 16 of the “Tiro – UHQCM” series

This is the most recent painting in the series and I am delighted to present it.

Over the three months it took to paint, I was able to apply new techniques and finish the painting with a high level of detail.

For me, this was the biggest challenge I have ever faced, and on this page I show a little of the work.

see the process
Painting «Tiro – UHQCM 16» by Alexandre Coxo: a hand holding a crystal ball reflecting a bridge
Linen cloth spread out on the studio floor, ready to cut
Wooden stretcher, staple gun and pliers for stretching the canvas
Large-format canvas already stretched and prepared, in the studio

Selecting and Preparing the Materials

As with every painting in the “Tiro – Um Homem Que Consegue Mudar” series, I selected the best materials for this one.

The cloth is linen, the stretcher bars are solid pine and the paints are premium grade.

I stretch and prepare the cloth myself. It takes 4 coats of gesso before the canvas is ready to paint.

next step

Painting in Layers

This painting has 7 layers of paint. The first is the imprimatura, which in this case gave the canvas a blue tone.

Then I did the “block in”, the stage where the elements are defined.

The modelling took 3 layers and was used to work on the shapes, define the planes and create atmospheric perspective.

Finally I moved on to the layer of details.

next step
Alexandre Coxo painting the canvas of Tiro – Um Homem Que Consegue Mudar 16 in the studio
Alexandre Coxo painting the third layer of an oil painting
Tiro – UHQCM 16 at an intermediate stage: hand with a crystal ball and the Luiz I bridge
Tiro – UHQCM 16 almost finished, with Porto reflected in the crystal ball
Detail of Tiro – UHQCM 16: the Luiz I bridge reflected upside down in the crystal ball
Detail of Tiro – UHQCM 16: fingers and the glint of the sun on the crystal
Jars of varnish and linseed oil for painting
Tiro – Um Homem Que Consegue Mudar 16, oil painting on linen, 120 × 120 cm, by Alexandre Coxo

Details and Finish

Details are essential in a realist painting.

Creating the fine details was the last layer of paint I applied, using glazes with opaque pigments.

Finally, the varnish protects the painting and saturates the colours.

This way the painting will always look as it did when I made the last brushstroke, while being protected against physical damage and UV rays.

see available paintings

Other Paintings in the Series

Looking at the world through a crystal creates the illusion of holding the world in your hand.

This was the starting point of a series that has already earned several distinctions, including an Honourable Mention at the Espinho Art Biennial 2019 and a selection for the Abel Manta Painting Prize.

Series title: Um Homem Que Consegue Mudar (A Man Who Can Change)

Oil painting of a hand holding a crystal ball with the landscape upside down, series Tiro – Um Homem Que Consegue Mudar 9
Oil painting of a hand holding a crystal ball reflecting the beach, series Tiro – Um Homem Que Consegue Mudar 6
Oil painting of a hand holding a crystal ball reflecting the bridge, series Tiro – Um Homem Que Consegue Mudar 11
Oil painting of a hand holding a crystal ball with upside-down buildings, series Tiro – Um Homem Que Consegue Mudar 10
Oil painting by Alexandre Coxo: a hand holding a crystal ball by the sea, series Tiro – Um Homem Que Consegue Mudar 7

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