Iris Garden

This is another painting that I did recently as a demonstration during an acrylic painting class.  The iris is one of my favourite flowers and my wife and I grow them in our perennial gardens on our farm.  I love the combination of blues, purples and yellows that are so common in these tall, majestic flowers.  It is a pity that they bloom for such a short time.

'Iris Garden' by Richard De Wolfe

12 X 9 acrylic on panel

We work quickly in these painting classes as I explain the method while I demonstrate the techniques. At the same time, I try to assist my students with their work, with the goal of helping them successfully complete their painting by the end of each two hour class.

The first step is to loosely place the main objects on the canvas with light pencil lines, just indicating the general shapes.  This way, you have not invested much time in the drawing before you are sure that the placement is what you want.

When you are happy with the placement of the general flower shapes, it is time to refine them, adding basic detail to the petals.  Do not 'over draw' the flowers.  There is no need to labour over excessive detail that would be obliterated when you begin to paint.  Don't get too rigid with outlines either. This way you will not become a slave to lines you have drawn on the canvas.  These are guidelines only!

Now we mix up the basic flower colours and paint the general flower shapes with a large brush.  Some effort is made to preserve most of the construction lines that separate different areas within the flower petals.

Now we add a general background colour using a broad brush and lots of expression in the brush strokes.  Avoid making the background flat and boring.  Give your brush work life and energy.  I use a deep blue and green mixture to emphasize the bright flowers in the foreground.

The next step is to add leaves and stems, again using a large flat or filbert brush.  I mix a warmer, lighter green and apply it in simple, direct strokes.  My goal is to create an interesting and balanced design to support the colourful flowers that are the focal point in the painting.

Now we add darker and lighter variations of the stem and leaf colour, creating a pattern of light and shadows that is consistent throughout the painting.  This allows us to also create an illusion of depth, with leaves and stems overlapping each other and dropped shadows under the flower petals to bring them into the foreground.

We turn our attention to the flowers themselves and add light areas to the basic petal shapes to give them form and detail.  This is done carefully, keeping the light source consistent with our previous work.

In the final minutes of the class, we add deep, rich variations of colour to the flowers.  White highlights are applied sparingly to catch the viewer's eye and hold their attention in a tasteful and not too obious a manner.  Any last minute corrections or additions are made and the signature goes on.  Voila!  Fini!

Still Life Class

Sea Shells by Richard De Wolfe 9X12 acrylic on canvas panel

I decided to try painting sea shells for our first still life class.  The first grouping that I made was more complex, with a little wooden 'treasure chest' spilling strings of pearls and other jewellery onto the table along with all the shells.  When I painted it, I realized it was too much for beginners to complete in just 2 hours, so I decided to simplify it using just the shells.  That worked much better and the students managed to do a great job recreating the scene for themselves.  For me, these small, quick studies are great exercises to loosen up and be a bit more spontaneous.   You can find many of my other works at www.rdewolfe.com.

My wife and I collected these shells (plus many more) along the shore at Atlantic Beach in North Carolina this spring.  I love the multitude of colours, shapes, textures and sizes that wash up on the beaches there!  Walking on the hard wet sand early in the morning is wonderful, especially early in the year before the heat of summer sets in.  Watching the surf roll in and the colours change across the sky makes a morning walk quite memorable.  I hope to go back again soon!

Painting Class 101

In April of this year, I started teaching beginner painting classes at our local Michael's Art Store.  My teaching credentials are rather thin at best and I haven't taught many classes in a number of years, so I thought this would be a good way to ease back into it.  I teach a 2 hour class every week or two and it is proving to be a lot of fun.  Keeping things basic and helping new painters finish a painting that pleases them in just 2 hours is challenging but satisfying.

Texas Blue Bonnets 9X12 acrylic on panel

'Texas Blue Bonnets' was created in the first class.  My students all did a great job on their paintings and really seemed to enjoy the process.  We work small and we work fast, but the results never cease to amaze me.  We use a limited palette to produce paintings in 4 different genres including landscape, seascape, still life and floral.  Usually, I rotate through them and try to come up with a new challenge every class.

Sand Dunes 9X12 acrylic on panel

'Sand Dunes' was created in the second class.  My students seemed to find this one particularly satisfying and worked hard to produce wonderful renditions of their own.  I tend to get a little too meticulous in some of my work, so I find these quick studies to be very beneficial for me also.  Helping new, aspiring artists find their way is a great way to get your own creative juices flowing too!

Winterlude Part 3

"Winterlude" almost there!

I keep adding colour and detail throughout the entire scene.  I want to maintain a balance so that I can judge each new brush stroke against the overall look of the painting.  If you concentrate too much on one area you may find that it doesn't work so well after the rest of the painting is completed.  You also run the risk of 'falling in love' with how that particular area of your work looks and you may not want to make necessary changes as you go forward.  By working more or less equally across the painting, you can maintain a healthier and more impartial perspective on your work.

Here I have painted in the distant trees using a mixture of sap green, ultramarine blue and titanium white.  Ultramarine blue dominates to create an illustion of distance.  Now the local colour of the barn is introduced.  I decided on a soft yellow to promote the feeling of bright sunlight on a cold winter day. I add snow to the branches of the spruce tree in front of the barn and generally add more detail to everything.  I introduce a slight hint of warmth in the sky on the right side of the painting, again to establish a feeling of bright sunlight coming from that direction.  Now I embellish the soft shadows in the snow and on the snowy branches in the foreground using a mixture of ultramarine blue and titanium white.

"Winterlude" 9 X 12 inches acrylic on board

I work fairly consistently over the entire painting as I go along, so everything comes together quite nicely as I near the finish.  I add small details and highlights as necessary, such as brightening the snow on the barn roof, spruce tree, fence and middle ground to suggest bright light in these areas.  I add bits of snow in the forks of tree branches beside the barn and I strengthen the blue shadow areas.

The last area to concentrate on is the foreground.  Layers of detail and colour are added to the birds to make them appear close to the viewer.  The pine needles are finished off with darker and more detailed brush strokes using a combination of sap green and lamp black,  The tree branches are painted in quickly with burnt sienna and lamp black in the shadows.

In order to increase the contrast between the sunny background and the shadowed foreground, I add a glaze of ultramarine blue and mat medium over most of the pine branches and the birds until I see a clear division between the two areas.  Once the signature is added, the painting is finished!

Automotive Art

'84 Corvette' 11X14 Acrylic on board

I seem to have great difficulty in keeping the old blog up.  The last post was  in late January and now it is mid-April already!  Too many distractions I am afraid.  Many days I plan on writing a post but once the day gets started everything changes and I find myself emmersed in something entirely different.  There just never seems to be enough hours in the day!

I used to do a lot of car art for various auto manufactures.  Ford, GM, Nissan, Toyota, Saab and Jeep, to name a few.  This kind of work can be very time consuming and usually requires a great deal of precision and attention to detail since the finished art is closely inspected by engineers.  The trick is to be true to the design but also instill artistic flair at the same time.  This painting was done with a combination of pen and ink and painted and airbrushed acrylic.  The background was painted on a surface roughened with gesso and a stiff brush before the lettering and symbols were painted by hand.  The car and reflection were partly brush painted and then airbrushed with acrylic to create a glowing shine.

This was before computer art and photoshop, so the art is all one piece, painted simultaneously on one piece of illustration board.  Everything was done by hand in those days!

'32 Packard'  11X14 acrylic on canvas 

This one is a very different approach.  I worked on canvas this time and completed almost the entire picture using a brush and acrylic paints.  The background was applied using a very thin and drippy mixture of mat medium, acrylic paint and water.  The ghost image was painted in with monochromatic detail before additional applications of darker and slightly heavier paint were added to the upper section of the canvas.  The feature car was painted in detail and strong colour before a few whispy highlights were applied using an airbrush.

I was quite pleased with the effective colour and contrast of texture and detail in this painting.  To me, it conveyed a feeling of age of the vintage car but a sense of perfection in the restoration being portrayed at the same time.

Both of these auto paintings were originally commissioned as car magazine covers.  These were wonderful assignments and I enjoyed doing a series of similar paintings for more than a year before the publication ultimately folded.

Winterlude Part Two

"Winterlude" a work in progress

Now I begin blocking in a few colours to create an underpainting on my illustration board.  The sky is roughed in with a combination of cerulean blue and titanium white acrylic pigments.  Because the light is coming from the right side of the painting, I transition from a very pale colour on the right to a darker sky on the left.  I block in the shadows on the barn roof and in the snow.  The snow surfaces that are directly in sunlight are blocked in with titanium white.  I use cerulean blue to add a few contours to the shaded, snow laden boughs in the foreground.

"Winterlude" one step closer!

I keep adding more colour and more detail, gradually establishing my colour scheme and mood of the painting.  I use cadmium red to wash in basic tones on the male and female cardinals and slowly build contours of light and shadow as I go.  The plumage of the female cardinal is primarily drab and somewhat olive, so I use a combination of cadmium yellow, titanium white and ultramarine blue to create this colour.  The spruce tree in the middle ground and the pine boughs in the foreground are quickly blocked in with sap green.  Next, I introduce burnt sienna on the fencing and bare deciduous trees in the middle ground.  I also build a little more shadow contour on the male cardinal with this colour.  Finally, I paint the sky again with more colour and detail in the blending.  My painting is starting to take shape!

Winterlude

"Winterlude" sketch

I thought I would do a demo of how I paint this Christmas image for licensing.  I do a fair amount of illustrative art for licensing through Porterfield's Fine Art Licensing.  A winter scene is the perfect choice, since the art that is most in demand for licensing is usually a Christmas theme.  These images are often used for greeting cards, puzzles, gift ware and paper products as well as many other possibilites.  A prospective client will review the work I have available for licensing in a given catagory, choose what suits their project and purchase limited rights to use the image for a specific purpose and for a specific period of time.

The first thing I do when producing this type of art is to brainstorm an idea that will appeal to a maximum number of buyers.  Quite often, as in this case, the idea includes a number of similar images that may evolve into a series of finished pieces, all on the same theme.  Once I feel I have enough inspiration to proceed I come up with reference material for my idea.  I file all types of reference and I take digital photos everywhere I go, so I have a lot of material to draw from.  Now I create sketches to work out my design and create any additional parts of my picture from a combination of memory and imagination.  When this is done  I proceed to do a finished sketch on board or canvas to begin my painting.

"Winterlude"

The next step begins by spraying my drawing with a workable fixative to seal the graphite and prevent smearing.  Now I cover the drawing with matt medium that contains a small amount of acrylic pigment to tone the board.  Usually I will mix one muted colour and cover the entire surface evenly to provide a ground instead of glaring white.  Warm earth tones are my usual choice, but blue-gray is an alternative for a cooler, more subdued look.  

This time I wanted to suggest an extreme contrast between the extreme sunlight on the right and the cool shade on the left of my painting, so I toned the matt medium with cadmium yellow on the right and cerulean blue on the left.  I hope to create the illusion of a winter day warmed by the sun.  These colours will influence the paint that I lay over top as I continue to work.

Surtex Licensing Show 2012

I do a lot of artwork for licensed products.  There is a huge demand for artistic images created to decorate or embellish many types of products that people buy and enjoy every day.  My work often appears on such things as puzzles, calanders, greeting cards, ornaments, stationary products, gift packaging, mugs and many more.  The work is often light hearted in nature and can be a lot of fun to create!

My agent, Lance Klass, of Porterfield's Fine Art Licensing will be at the Surtex Art Licensing Show at the Jacob K. Javits Center in New York City, New York on May 20, 21 and 22nd., 2012.  Show hours are from 9am to 6pm daily.  Registration for this show is required.  If you are in the art licensing business, drop by and Lance will be happy to show you my artwork as well as the great work of all the Porterfield's artists.

Tropical Rain Forest Toucan - Step Four

I continue to add basic detail to the foliage behind the toucan.  Each plant has it's own shades of green.  The leaf structure and veins within them also vary from plant to plant.  In the background I paint subtle whisps of vines to suggest greater depth in the picture.

I continue to paint layers of detail into the leaves until they seem to be strong enough to stand out without overpowering the toucan in the foreground.  The last thing required is to intensify some of the colours in the toucan, mango, butterfly and tree frog.  The picture is complete when I ad strong white highlights here and there.  I save the greatest colour contrast and largest white highlight for the toucan and it's bill, so that it will dominate the picture, both in size and strength.

Tropical Rain Forest Toucan - Step Three

Now I paint stronger, more vivid colours into the beak and eye patch of the toucan.  Lighter green is back painted into the background to suggest light filtering through the foliage.  This gives another layer of depth to the scene.

Next, I wash in thin layers of acrylic paint over the mango in the toucan's beak.  I am starting to suggest the grainy surface of the skin and the subtle changes in colour from red to lime green to golden yellow.  The complex pattern of the butterfly is laid in with flat colour before I begin modelling the leafy foliage and flowers in the middle ground.  The tree frog requires careful attention in order to keep it from becoming lost against the green frond on which it sits.

Tropical Rain Forest Toucan - Step Two

To suggest thick rainforest vegetation, I paint the background with a solid application of very dark green acrylic paint.  All of the foreground and middle ground objects are now wisible in stark relief.  The dark green will make the brighter colours pop out.

I start to add colour to the Toucan.  There is a subtle pattern in the heavy bill and I wash this in with a mixture of red and burnt sienna.  A bit of blue establishes the local colour around the eye.  A very light, warm wash of acrylic gives the white 'bib' on the bird's throat some form.

Tropical Rain Forest Toucan - Step One

This is an illustration that I created primarily for art licensing.  I started by working out a pencil drawing using various pieces of reference material from my scrap file.  Once the drawing was worked out to my satisfaction, I transferred it to illustration board.

I then used a kneaded eraser to remove most of the pencil from the illustration board, leaving only faint lines to guide me.  Next, I painted in the black areas using acrylic paint.

Freighter Inviken-Step 2

Now I create a tonal image on the canvas, using progressively darker mixtures of my ground colour.  This gives me a feel for the tonal balance in the painting.  In other words, I can assess where the lights and darks will fall and what sort of positive/negative design this will create in the finished work.

Now it is time to switch from acrylic paint to alkyd.  I usually block in the sky first, working from dark to light and distance to forground throughout the painting.  I have painted the sky a darker shade towards the zenith and becoming progressively lighter towards the horizon.  I also keep the sky lighter on the side towards the light of the sun and darker on the opposite side.  As you can see by the light side of the ship, the sunlight will be on the right side of the painting.  I avoid getting to fussy or detailed at this stage.

Freighter Inviken

It is the beginning of boating season here in the Thousand Islands area on the St. Lawrence River.  I love the water and boating, and soon I will be launching my own craft once again.  The St. Lawrence Seaway has been open to shipping for several months now and will remain open until late autumn, alllowing ships from all over the world to reach ports all around the Great Lakes, deep in the interior of Canada and the United States .

This is a freighter from Europe that I saw several years ago as it was approaching the Thousand Island Bridge, between the U.S. mianland and Wellesley Island, N.Y.  I loved the powerful mass of the ship, rising off of the water like some displaced, highrise architecture.  I found the persepective leading to the arch span of the bridge in the distance to be an interesting design that appealed to me.  The rolling clouds overhead seemed to enforce the energy and power of the massive ship churning upstream to Toronto, Detroit  and perhaps  many ports beyond.

Once I had worked out the composition to my satisfaction, I transferred the drawing to a 16" X 20" stretched canvas.  The next step was to spray the drawing with fixative to prevent smearing when I started to paint.

After fixing the canvas, I applied a mixture of matt medium, burnt umber and cadmium red, to create a warm, earthy ground.  This acrylic mixture is mostly matt medium to maintain a high degree of transparency so that my pencil drawing remains very visible.  The warm colours will be complimentary to the cool blues of this waterscape.  At this stage I am always eager to see some local colours applied to this ground.

Across the Miles - Step 2

Now I start my under painting by priming the canvas with a mixture of acrylic made up of burnt sienna, cadmium red and a generous amount of mat medium to make it very transparent.  I apply this evenly over the entire canvas to give it a warm ground for me to paint on.

Once that is dry, I use a mixture of the same colours, but with less medium and I wash in some tonal areas to establish some basic form.  I work up some darker areas using the same colours and I delineate some details, such as the rail fence, sleigh, the horse and the buildings.  I place dark tones on the fir trees to establish a pattern of snow on the upper side of the branches.  Things are starting to take shape!

Painting Progression4 - Winter Really is a Blast!

In the final stage of this illustration, I add a sprig of holly to give it a Christmas feel, which is important for licensing.  I apply a glaze over the entire painting to unify all of the colours and to create a tonal cast upon which I will paint my final highlights.  The glaze is a weak mixture of ultramarine blue made extremely transparent by combining with a large proportion of mat acrylic medium.  I mix them together well, and then apply this evenly over the entire surface of the picture.  Once it is dry, I repaint some of the snowflakes and the highlights on the main subject with pure white to make them stand out.  A signature is added and the picture is finished.

Painting Progression3 - Winter Really is a Blast!

I accentuate the shadowing on the scarf before adding a snowflake pattern to the material.  I continue to add detail, both light and shadow, on the fur, eyes and features of the polar bear's face.  More modelling is also added to the mitten.  The last thing that I do at this stage is to paint snowflakes in the air.  I add 'speedlines' to suggest a driving snow storm, in keeping with the title of the piece.  This also creates another illustion of animation in the painting.

Painting Progression2 - Winter Really is a Blast!

In this stage I continue to block in flat , local colours on the touque, scarf and mitten.  I add simple detail to the bear's fur, nose and eyes and create a little texture on the fuzzy edge of the touque.  I have just started to suggest a lighting scheme in the fur, with a warm cast on the upper right and a cool blue cast on the lower left.  The picture now has a loosly defined colour scheme to build on.  Any mistakes can easily be corrected as I move forward from here, since I haven't commited myself to much detail yet.

Painting Progression - Winter Really is a Blast!

This is a new illustration image that I created for art licensing purposes.  I call this one "Winter Really is a Blast!"  It might do well on greeting cards or flags.  I am working on acid-free illustration board, using acrylic paint over a pencil drawing.  I have drawn the bear leaning into the picture on a bit of an angle to create a feeling of action.  In the first step I blocked in a simple background, delineating my subject and defining the design shape.  I start to block in some basic details with a mixture of ultramarine blue and lamp black on the scarf, touque and face.

Mikey

"Mikey" is one of the horses that are boarded at our farm. I painted Mikey for his owner in a small format, just 6.25 inches by 9.25 inches. When I do these small portraits I usually work in acrylic, as I did here. I did the painting on acid free art board and I worked in several layers of wash, particularly on the coat, then increased the level of opacity as I added detail to the horse's features and bridle. By painting the background in a heavy impasto in a very loose manner, I created an illusion of greater realism in my subject. The black bridle seems to pop out in contrast to the rich red coat of the horse, while the contrasting blues and greens of the background makes the subject dominate the painting. Carefully placing the highlight in the eye makes the whole thing come to life. As always, prints are available or I can be commissioned to paint your horse or pet.