Process of "A Walk in the Woods"

 "A Walk in the Woods"

Oil on canvas board

copyright 2020

Hello friends, I thought I'd post a few process photos of this recent commission painting, "A Walk in the Woods."  The photo above is of the finished piece, 24"x24" on oil-primed linen mounted on a rigid board.  I'm finding I like this surface better than a stretched canvas.  It can take a lot more pressure from my brushes and painting knives.  It is also more resilient to damage when finished.  The oil primed surface for me gives a better "glide" to the paint than acrylic gesso priming.

When I begin, I do a thin wash over the white surface, usually with burnt sienna thinned with mineral spirits.  Once brushed on, I wipe with a cloth, usually an old T-shirt.  Cloth is better than paper towels for this because it deposits fewer small fibers than paper towels.  This toned surface will successfully kill the white spaces as I paint.  Since this painting is primarily a cool green, I can leave a little of the warmer under-layer for accents if I choose to.

At this point I start my sketch and placement with a dark tone, usually a "chromatic" black made with a mixture of Ultramarine Blue and Burnt Umber.  This is also thinned with mineral spirits.  I place gridlines to help me place the focal point (the dog) where I want it.  I have then blocked in the darkest darks in the painting.  The following two photos show a little more progress on the blocking-in phase.  The lightest areas are left without paint at all, and the grey-toned spaces will be the mid-tones.

Once these phases are finished I can then bring in some "local" color.  What this means is the the black area is going to be green primarily, so I mix the major green I want there accordingly.  This green is the local color for the woods in the upper part of the painting, mostly a cool, blue-green, muted a little with some red and black.  The green I mixed was a combination of the following colors:  pthalo blue, ultramarine blue, cadmium yellow medium, cadmium lemon yellow, alizarin and some ivory black.  This mixture gets adjusted warmer/cooler, darker/lighter as I slowly work this area with more and more detail.

I don't have any more process photos to share (once momentum gets going I forget to stop and take more pics....sorry!)  But here are a few detail shots of the piece.

I'll try to post more painting-progressions in this blog in the future.  Thanks for reading and following my blog.  If you want a head's up on future posts, please sign up for my newsletter on my website.

Stay well and healthy.

Best to all,
Shelley

Jennifer's Cardinal

Here is another commission piece based on a previous painting.  I'm including a photo of this "gallery-wrapped" canvas.  With this style of canvas there is no need for a frame.  The painting can continue on all sides of the canvas, or the sides can be painted a solid color.  FMI, click on the link to my website.

Views from the Gaspe'

A commission piece

Oil on panel with barnboard frame

NFS

(see my website for information on commission paintings)

"Heeling"

I enjoyed creating the sense of distance in this by softening edges and reducing detail in the water as you approach the horizon.  I also thought repeating the yellow/green accents from the sails into the sky worked well.

Oil on Canvas

10 x 10 x 1.5

Gallery-wrapped, ready to hang

Please visit my website for purchase info

'Hot on my Feet'

My favorite subject, children on the beach.  I'm finding figure painting to take the most time and thought of any other subject I do.  The eye is not very forgiving when it comes to the human form or face.  I tried to give the sand more texture here, but I think an additive like cold wax would give more form.  Next time I'll try that.

Original oil painting on panel

16x12, framed

Purchase info is on my website

'Gated Community'

I finished this one with a few coats of glaze using Manganese Blue (nicely transparent) and Neo-megilp (medium) to even out the color.  I think this might be a good way to unify your color harmony.

Oil on  gallery-wrapped canvas

Sold

"Weathers, foule and faire"

Another knife painting.  I found it hard but beneficial to reign in the urge to add more color here, especially the warm tones.  I just wanted to hint at the approach of better weather.  Thank you to Valerie Tarantino for the beautiful photo reference for this one.  The title was inspired by the Captain John Smith poem, "The Sea Mark".

Oil on panel, 11x14

Original sold, but giclee' prints are available

"Pacem"

Oil on canvas, 14x11

Sold

More than 95% of this one was done with painting knives...a great way to get looser with the whole process.  You have to be a little more willing to "fail", which is a learning experience on its own.  

Ad pacem.

"Lemons and Lilacs"

Received Merit Award, Art in the Park, 2017
Oil on canvas, 11x14, $375

Framed, floater-style frame, ready to hang

"The Next One"

Oil on Canvas, 20x20

SOLD

"Naz"

Oil on Panel, 16x20
SOLD

Freedom

Oil on board

12x12, framed

SOLD

The photo reference I used for this painting was taken by Mike Blanchard, a gifted and generous photographer based in Martha's Vineyard and Maine.  He often donates proceeds from some of his work to benefit various alcohol and drug recovery programs.  I named this painting in honor of those who have fought for their own personal freedom from addiction.  Please check out his website: Mike Blanchard Photography

The frame is 3 1/4" black with gold liner.  Not the best shot I must admit, but gives you some idea of the framing.