Hiya folks! Finally able to make this piece available after its final varnish. The final finish has a sort of satin matt look which I feel suits the piece best.
There are so many more light combinations to be explored with this angle, so I might even do more on this subject.
If you'd like to know more on this piece and how it was created click on the link below..
Thanks for dropping by!.. :)
Hiya guys! After my unavoidable hiatus with rather infrequent drawing practice sessions, I've been taking the opportunity to get back into my daily drawing habit, trying to regain fluidy and skills I feel had gone rather rusty after last year.
Still working on it but meanwhile here is one of my latest figural drawings!
(p.s. Included in Artfinder's 'Best of February' Collection!!)
Guess What! Artfinder is currently having a FREE SHIPPING promo this weekend, so if you're thinking of adding this or any artpiece to your collection, now's the time!!
Thanks for dropping by! :)
It was great fun painting this alla prima oil of a subject matter so close to my heart, my mother and little cat (at the time) Crookshanks.
I wanted to really capture the early morning light as it shone brightly, illuminating the dark interior of my mother's bedroom. So, unlike the rest of the piece, the window area was left bare of any toned underpainting. The rest was painted with a limited palette over a toned ground of paynes grey, yellow ocher and raw umber.
Much of this toned ground is left uncovered in the final piece intentionally and background elements have been left with a rough unfinished look.
Vine charcoal was the perfect medium in helping to create this soft toned atmospheric piece.
Using a Sepia Light Conte Pencil, the figure was drawn, making sure the 'quality of line' was good as this drawing would be seen in the completed piece. The acrylic primed rough watercolour paper was a great surface to work on. Once I was satisfied with the drawing, the shadows were given a wash of Chinese Black Ink ( there is just a unique luminous quality to chinese ink and I love using it whenever possible ).
To help get my bearings I now went in with the lightest light I planned for the piece.
A splash of white acrylic (with a touch of raw umber) carved out the structure of the man's head and shoulder. Though I had a rough idea where I wanted the white to go, I was always aware of how the composition was developing as I was applying it and adjusting accordingly. For example, I had planned to paint down over the man's left shoulder more, but then the drip happened and looked so good I had to leave it. Acrylic dries fast so decisions had to be made quickly.
With the lights and darks established I went in with a little more detailing for the figure with white chalk, charcoal and the sepia light pencil. I had to be careful not to do too much or risk losing the mood of the piece..
Had to say adieu to this one today. I was surprisingly sadder than usual to see a piece go. I was quite pleased at successfully achieving just the exact glowing emerald hue I had envisioned for the snake and this was also my first attempt at trying a new crosshatching technique with the oil paint too.. Despite this I could not feel more blessed with whom she is on her way to right now!.. Thank you so much for making a home for two!.. :)
More info on how this piece was created etc. at 'Original Sin Rebirth'
Hi guys!, This little piece is done finally after a few failed attempts. With it being so tiny, the crosshatched strokes I wished to create at first were coming out a little too thick and clumsy, but each time I just rubbed it down and started again.. I think it came out well in the end!..
Check out the WIP for this piece at: Testing DIY Silverleaf Sealant, Size & Colour Palettes.
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