Massing Values: Twomey's Wickers Portrait

It's at this point of getting ready to seriously build volume that I take a moment to analyze which direction to go. It's too overwhelming for me to just throw paint on the canvas - at least for this kind of piece. I need a plan.


To start, I would take the reference photo of Wickers and bring it into a photo editing program. I use Photoshop. Along the top menu bar is a category named "Filters." Select this, and from the drop down menu choose Gaussian Blur. Up will come a window containing the image, and a handy sliding bar that can be adjusted from barely blurry to very very.


Above is an example of how to mass values to help plan and start a painting. This method may work for you - or not. I'll share several. I'm showing what's really helped me over the last lots of decades! Take a look, for example, at the areas outlined in the light green on the softened image. There are four of them.


The values within these areas combined are all closely related. Their hue, depth, amount of dark and light are very similar.

To make use of this knowledge, I would mix a large amount of this particular color and put it down on the canvas in these areas. Then I would continue on with the next group of related masses. This technique can also be accomplished using a program like Photoshop, using levels or Artistic Filters.

I will eventually go back into the large masses and add subtle nuances of value shifts and details, and soften the cookie-cutter effect left by the application of massed values.

Eventually, the more you practice and understand values, the easier and more automatic it becomes.


Extra help here; a link to Adobe products. And no, I don't work for them let alone get any kickbacks for linking:


http://www.adobe.com/products/photoshopfamily.html?promoid=JOLIW

Twomey Painting Reference Photo on Monitor

Here's my reference photo in Photoshop, set up on a large monitor right next to my easel. I love the way the monitor enhances the photo and light. Also, as I paint away I can try out different filters, colors, levels, etc. as the mood strikes.

Painting Tools: Whatever Works, Plus Elbow Grease

Washing in the background, using one of my favorite tools - tissues! I'm establishing the overall shape(s) and foreground/background values. At this stage I'll grab lots of different things to work with: kleenex, old soft clean rags, big brushes, sponges, my fingers, etc. I'm just beginning to think about what edges should be soft and hard (where the greatest detail is).

Note: I most always wear disposable gloves from CVS. My hands can't take excess water and constant drying. I've long since gotten used to wearing them and have adapted well to their quirks.

A Decent Introduction

Well, I leapt right into this blog, which at the moment is teaching how I paint an oil painting. However, I provided no introduction, background, or any kind of reasoning as to why I can or want to write this!


That's typical of me (hyperenergetic and jumping right into it), but confusing. Everything needs context. I don't believe in wordy blog posts (please let me know if that happens), so I'll just provide a bit at a time to establish credibility and offer a philosophy about painting, art, horses, and life.

I'm a fine artist and Board Certified Medical Illustrator. Since I was a kid I knew I'd be an artist, and that's what I've aimed for since grade school. Bragging rights: I've worked very, very hard and I've won lots of national and international awards for my artwork (http://www.catherinetwomey.com/awardsexhibitions/). I'm also a published author (articles & journals) which means I have no excuse for bad writing or editing. Mea culpa.

Regarding my past life (in this body) as a medical illustrator, I'm posting a piece that recently won the opportunity to be exhibited at the medical division of TED (http://www.ted.com/pages/registration), TEDMED. It was a great honor to be selected:

As you can see, my medical work is extremely realistic and detailed - along with accurate. I'm a Fellow of the Association of Medical Illustrators and consider it a noble and rewarding career (http://www.ami.org/)

Of late, however, because I want to and can, I've been focusing on my lifetime love of the fine arts. The goal is to loosen up from the medical illustration style, do wonderful paintings and/or sculptures, give back  a lifetime's worth of knowledge via teaching, and finally, to sell some of my work. 

What I'd like is to continue teaching, but invite you to freely ask any questions you may have about my process or anything else art related. Your input is greatly welcomed and important.

I hope to offer critiques in the future. One step at a time - I'm still trying to figure out what tags are vs. labels...

For a detailed resume, please follow this link to my website:

http://www.catherinetwomey.com/bioresumecv/

And thanks for your attention.

CT

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.