Wednesday, April 03, 2013
Sunday, March 31, 2013
Wednesday, March 27, 2013
Marilyn and Java
Not the greatest photo, but my lighting set up is still packed.
The "brown" tree does not exist, it is all green behind Marilyn's head, that is a reflection off my lights. The colors are just like the ones in the photo.
I took the picture and noticed, I forgot her wedding ring! So I had to put that in.
Be sure to give me any notes if you have any. I wish you could see it in person and get a better feel for it, but this will have to do.
Monday, January 02, 2012
A new year...
I started a project last year, I wanted to do a painting a week that was out of my "comfort zone". Unfortunately, I was blindsided by a traumatic injury to my painting hand and my hours at the easel had to be limited. Even now, my hand is still not right, and probably never will be, I am determined to do this project.
This is a pastel I did with four colors, black, ochre, white and red brown. It is 18"x22" and I did it with the pastels and the heel of my hand. I resisted the urge to get into detail (very hard indeed) but I stopped at a point when I looked at it and smiled. I am not sure that this will be my new style, but I hope to do more of these and have some fun. I hope you like it.
Wednesday, December 28, 2011
River Walk Demo
Horses are one of my favorite subjects. I start with a velour board and lightly sketch out the image in a pastel pencil. I do not bother with the making final background decisions at this point, but I have an idea in my head where I want to go. When working in this medium and this board, it is important to lay the background base colors down first, this will help you with the general color scheme and you won't have to paint around the foreground elements. The colors are bright but will be toned down in the layering process. Here, I start to lay in my base colors on the horse. I am not happy with the head on the one I am working on, but I know how to fix it down the road.
I start to work my way to the right, all the time going back and forth toning down the harsher edges and making the bright colors more natural. Remember, even if you cover up all of your under painting, it still adds to the depth of your color and comes through. Don't feel that you have can not "glaze" pastels, you can. My paintings have 20-30 layers in some places.
More and more layering. I like to call it sculpting with pastel. You push the darks and pop the lights. But be careful not to go to light with your highlights too fast, you will fight it for the rest of the painting. Those last little pops of lights will be your reward for a job well done. I am also always fine tuning my drawing. I moved the eye on the horse at the far right because I noticed it was too small and too high.
And it is done. Do not forget that a white horse is never white. They are a mirror of everything around them, that is what makes them so much fun. Notice how the tail on the left horse slims his hip down and pulls your eye back into the water and around again.
I was once told that I could not paint realistically or animals in pastel successfully. Well, I beat him in a pastel competition a few months later. Don't ever let a medium or some one intimidate you, there are no boundaries in art or in you.
Step by steps for you to consider-Oil Demo
I am using an Ampersand Gesso board 16x20. I put a coat of turpentine and transparent brown oxide down before I drew the painting out. Now I am laying in the painting with Van Dyke Brown, Burnt Umber, and my own mixture of black. I use Sap Green, Ult Blue, and Trans Orange Oxide to make my black. This horse is black as midnight, but I want the glow of the reds and oranges to come through the black on my final glaze. This is a personal choice, most people prefer a "cold" black for horses, but I am an earth tone junkie, so I always want my darks to be warm.
This is one of the horses that I photographed in London from the Horse Guard. The bits, the bridles, and all the silver and gold are what drew me to do this painting. I have never done this kind of thing in oil, so it is going to be a great challenge. What better way to learn than to throw yourself into something you have never done before?
At this point, I glaze on some more trans brown ox, quinacradone burnt orange and start to block in the face. Notice I have covered up almost all of my drawing; this helps me be a little more spontaneous. I try not to get too picky at this point. I use large rounds and flats. I laid in the whites with blues and yellows. I don’t want to get to the highlights too quickly because you have nowhere to go from there.
One thing that works for me with oils is to lay in the darkest value of color first and then hit the highlights at the end. So, for the bit and the chain, I put down a mixture of Payne's grey and Titanium White. I keep my layers thin and they dry quickly. With something as intricate as this, it is nice to be able to get to work first thing in the morning and not have to put it aside until it is dry.
Here is the final. I moved all over the board and hit the details and highlights with #2 and #4 rounds. I prefer sable brushes over bristle, I feel that I get a smoother flow. I chose not to show too much of the eye because I wanted the viewer to see the softness in the horse’s movement and the gentle curve of his neck. As an artist, you can be an orchestra director for your audience. Lead them through the painting gently, let them find their own way and the rest will follow.
Friday, June 29, 2007
Ride 'em cowboy!!!
John's parents came for a visit last week and John told them that at some time they would be riding his horse, Mick. I was doubtful that he would be able to talk them into it, but here is the proof. They not only rode, but did it really well! Jean even got up a second time for another spin around the arena.