Twomey's Oil Wash of Wickers the Warmblood

Starting to wash in the sketch using a large brush. Immediately I want to get something down on the canvas as tones & values - otherwise, I'll worry too much about detail & color & not the overall painting.

Another good reason to use the same color wash all over the painting - as I apply layers, that color will serve to unify all the elements. I can leave some of it showing through the entire process. Or, if applying thin layers, the end result always includes that first layer of color.

Why burnt sienna & cadmium yellow? Well, it helps that Wickers is such a rich chestnut mare. Also, it's just that I have always loved those colors. An artist's prerogative!

Note: this process is NOT a hard & fast set of rules. It's how I'm approaching this oil with this subject at this time. I have a vision in my mind about how I want this to turn out - but I'm open to changes in technique as I move along. 

Twomey's Oil Painting Palette for Wicker's Portrait

Here's my initial palette. I use one of the biggest brushes I have as I have a (nasty) habit of getting lost in detail without seeing the overall painting. Burnt Sienna mixed with Cadmium Yellow Light & a touch of Titanium White are made into a thin wash. I only use M. Graham oil paints as they're non-toxic and I can clean up using just walnut oil and a bit of green turps. Coming up - tools of the trade.

Editing Wickers in Photoshop

To the far left is the final reference photo for Wicker's portrait. It's been edited using Photoshop filers (and levels) for greater warmth. It also helps clarify my vision for the final painting.

Compare the left photo with the one on the right, which was the original reference photo. Try to isolate the decisions I've made as an artist about what to include and what not.

I've zoomed in a little closer for a more intimate portrait. Per discussions with Wicker's mom, I've removed the halter by combining photos - one with a halter, one without. In Photoshop, I've softened the background and created distance so the focus is on Wickers. I've retained the greatest detail around her eye and the slope of her face. I pulled out depth in the shadows and balanced all the colors.

Oh, and I removed the hand and mini-carrot, commonly used for equine photographic bribery.

Horse Portrait Oil: Wickers Sketch

Wickers sketch - layout on canvas. I like showing her beautiful neck and body as well as that lovely face. My goal is NOT to reproduce a photograph. What would be the point? I only paint when I have an emotional connection to my subject. The result is an emotionally subjective reaction enhancing an objective depiction. Now that's a mouthful.....

Painting Again!

I've been recovering from a total knee replacement (old annoying riding injury) since Feb. 28, so this blog is a new thing. I can now sit at a desk and use a keyboard, yeah! Recovery is almost over, but I've relearned how to walk correctly and will be on a horse for the first time at the end of May. Hard to believe!

Before surgery, I started an oil painting of a gorgeous warmblood, Wickers. I stopped painting during the surgery (obviously!) and recovery, but I'm starting up again tomorrow. Here's my Wickers reference photo:

So looking forward to painting again. More tomorrow or over the weekend.