was executed with Winsor & Newton Acrylic using only Burnt Sienna, Pthalo Green and Titanium White. I did introduce a touch of ultramarine blue into the water about half way through the job, but that was mostly covered with more pthalo green.
Recently I decided to trial a new Artists' Acrylic manufactured by Winsor & Newton.
"IMPRESSION SUNRISE" is the result of my 1st dabble with these new paints.
Hailed to be the most scientifically advanced acrylic colour available offering a revolutionary and unique advancement in acrylic paint manufacture.
Virtually No Colour Shift from Wet to Dry
New Transparent Binder for Exceptional Colour Brilliance
Unparalleled percentage of Single Pigment Colours
Outstanding Richness, Intensity & Depth of Colour
Well I can honestly say it is a pleasure to paint with. Lately I have favoured working with oils and pastels for the main reason that I have been doing work which required a lot of blending. These new acrylics have an extended open time and a lovely smooth texture making them ideal for blending.
If your would like an acrylic that feels more like an oil I would recommend you give them a try.
(By the way, I am not being paid to say all this) ....but hey.... if anyone from Winsor & Newton happens to read this blog post ... let it be known ... I am available for promotions... ;o)
This swan was painted (drawn if you prefer) from a snapshot taken at the Gympie Duck ponds. The photo was pretty ordinary, but once the background was eliminated I think it made quite a nice little portrait. All it took was a black & white pastel pencil a couple of reds for the beak, browns for the eye and an extra pale blue soft pastel for the background.
Life has been busy lately with setting up the ART4EVA network and meeting some magazine commission deadlines. Rainbow Commotion was recently featured in Artist's Palette magazine issue 96 as a demonstration article. It is available in the newsagents this month. Grab a copy if you would like to see the development of, and inspirations behind this painting. Over the coming months I should have some pastel lessons published in Fine Art and Decorative painting magazine. Next month will be a step by step Palomino Portrait. The ART4EVA gallery now contains over 70 artworks from a variety of different artists. To view the current artwork click here.
Finally ..... I decided that, even though it wasn't visible in my original reference photo, the cows tail should be added to close the composition. Every other photo I had from that morning had the tail hanging straight down so it was not difficult to place it in the picture.
I felt the composition could fit in 1 more hen to really set the scene and convey that friendly country atmosphere. The furthermost hen from the reference photo became my foreground lead in character. There was not much detail showing in the reference photo but that was actually ideal for the part I need her to play. Although her head is clearly turned back towards the viewer, I don't feel she is calling attention to herself but almost inviting company. The bucket also was in need of a polish if it was to appear clean enough to receive milk. A handle and reflections were added. The shirt extension was softened with a eraser to blur it into the background. A simple lighting and shadow effect on the ground helps to maintain the central focus.
Detail was added to the hens. Much of the shadow effect on the white hen was achieved by simply rubbing the white pastel off with my finger to allow the paper colour to show through. Although the hens are very much in the foreground, and so quite large, their details have been kept fairly vague so as to not draw undue attention. They are not main characters but simply support props to set the scene.
With the addition of the hens I decided that the shirt needed to be extended to the other side of the picture to maintain balance.
After reviewing the composition I decided the bottom looked empty. It needed more chooks to set the scene and give that real country atmosphere. I had to be careful though, I didn't want these additions to have too much detail or they would compete with the portrait for attention. Back in my photo library I found a photo of 3 hens that was just right for the job. It took a couple of attempts to get the positioning just right. My first position I decided was too close to the rooster so I erased them and moved them back a pace. ( you will notice the patch of chest missing on the rooster ) That is the beauty of working on quality paper - if you are not happy you can erase and rework at any time.
Work continued on the rooster, gradually adding details to the feathers. Attention was also given to refining the likeness of the portrait, bit by bit, making slight adjustments to the main features: the shading on the nose ..... the teeth and corner of the mouth..... corners of the eye....contours of the ear....as well as the positioning of the strongest highlights on the cheek, nose, chin and ear.
The rooster colours were finger blended into the paper. More details were gradually added and blended in turn. Then I returned my attention to the face and hair. Skin tones were built up to form the contours of the face. Highlights were added to the hair to indicated waves and curls. Details were added to the udder. The back section was kept fairly plain, the closer to the face, the more detail and sharpness.