Painting Progression-Between Nations-Step 9

Now I add depth and detail to the eagle. The eye and heavy beak are primarily rendered with cadmium yellow, burnt sienna and white, with burnt umber and ultramarine blue mixed to create a black in the dark areas. Subtle detail is painted into the underside of the wing and the pinion feathers of the outstretched wing are highlighted to reflect the breaking sunlight.

The near wing is painted with various shades of burnt sienna, ultramarine blue, and burnt umber. The lighter details are mixed with the same colours, with the addition of white as well. When working with alkyd, the drying time is overnight at most, so it is easy to work these detailed areas, allow them to dry, then glaze a thin layer of colour over the entire area to unify and create depth before painting more detail on top. With traditional oils, this type of glazing can take weeks to complete.

The same process is used on the surface of the water, adding more detail and glazing over the entire area before adding more detail on top. It is a wonderful way to quickly build a feeling of animation and depth with subtle colour changes throughout. I use a wide, soft sable brush when glazing and a minimal amount of pigment mixed with a liberal amount of medium.