A Horse of a Difference Color

The portrait of Wickers is coming along. I'm starting to be satisfied with the masses that have been built up. On the right the labels show where I have concerns and more work to do.

I've grayed some of the areas away from Wicker's face, such as the mane area and lower shoulders and leg. I'm going to add more color into the face to draw more attention.
It's fun to look at the progress:
/catherinetwomeyart/2012/06/wickers-portrait-building-volume.html

Notice also that I've taken the liberty to reduce the size of Wicker's eyelashes. They really are long and beautiful, but cast in the sunlight they made her look like she was sleeping. Artistic license.

Wicker's Portrait: Building Volume

Here's a link to the previous stages of the oil painting. The next steps are above.

These are still relatively thin oil layers. I'm trying to work all over the canvas so I don't get too bogged down in one place. The image on the left is made up of mixed flat colors, whereas on the right they've been blended together. Too much.

Painting is a very strange process, especially if you're in The Zone. Right now I'm in The Zone, but I'm not at all happy with the portrait (right). I do, however, have enough experience to know that if I just keep going and don't panic, there will suddenly be a lightbulb moment and I'll know I'm on to something good.

So as I keep working away, often I step BACK away from the painting or leave the room for a break. The new perspective really helps to see what areas need more work. For example, I wasn't happy with how warm the lower background was (left), and how it was competing with the portrait. On the right you can see it's been cooled down with blues, whites, greens, etc. However, doing that has also made the face appear too cool and too flat. That too will be adjusted.

Every painter has their own approach and habits. One of mine that I constantly fight against is over-smoothing edges. I'm pretty sure that habit comes from years of using an airbrush!

I'm over smoothing/blending now in the right image. I'm about to start getting pretty thick with the consistency of the paint, so I know I can go back and adjust. Since the sunlight on Wicker's face is bright, I can leave some of the edges hard, keep the strong color and still keep the volume.

One final thing: I'm going to have to play around more with color and depth to get the right side of Wicker's face to really stand out from the background. Oh, and I hate the hard edges in the trees at the top. They're next on the agenda!

The Painter As Visual Leader

Ok, finished with the 2nd background layer. I like the graduated tint from the cooler Cerulean Blue to the warmish Cad Yellow mixed with some Cerulean. I'm not ready yet to commit to anything definite in the background layer, but it will most certainly remain soft and without much detail. The focus will stay on Wickers.

Notice the areas where I went back and softened, such as along the neck top/mane, the ears, and down the shoulder. I used my fingers to blend the background layer into the horse and vice versa. These are areas I wanted to deemphasize, to bring the viewer back to Wicker's face.

My deciding to send the viewer to particular areas is a key difference between an oil painting and a photo. If I were outside in the pasture next door, talking to Wickers like I often do, I would be looking at her face and her entire body. However, being a human, in my focused field of vision I would have the most clarity looking right at one point on Wickers, such as her eyes and mid-face. Sure, I can see everything else, but not with the same level of clarity and detail. I could even paint the rest of her body without directly looking at it. It would, however, be softened value masses without detail, and probably somewhat distorted.

To test this, continue to stare at the screen you're reading now. Then, use your side/peripheral vision to see what's surrounding you. Don't turn your head or move your eyes! Now, imagine having to paint what you see peripherally, the way you see it.

If I were shooting a photo, however, unless I really knew what I was doing with apertures and exposures, most everything in the photo would have the same level of detail, lighting and focus. It's as if there is TOO much information at once. So when using photos as reference, use them with discretion. Think and plan what you're trying to accomplish in the end result so you don't slavishly mimic a camera's point of view. Make it your own!

I want to direct the viewer to what I think is the most interesting, intriguing place, then send them around the rest of the painting from there. When this is done successfully, it's much more like the real-time experience of being outside talking to Wickers & her big beautiful red self -with my eyes flowing from her eyes, face, neck, to her body, the grass, sun, sky, etc.

Wickers and mom Bethany, With Carrots

Expanding Palette! & Background Wash

Expanding my initial palette, adding Ultramarine Blue, Cerulean Blue, Alizarin Crimson and Viridian Green. Might not use all of them, but like to have them ready in case I decide to. 

Generally I start with thinner large puddle washes and add color to them as I move to other hues. This helps the colors relate to each other, as did the overall Burnt Sienna wash as a base layer. 


Below, using a large brush to add a thin layer of background color. This is mostly Cerulean Blue, with a touch of Cad Yellow Light.


FYI: I use the M. Graham oil paints. They do not pay me to do their advertising! I've just been very happy with the fact I can use walnut oil to thin the paint and clean my brushes.