Jolly Old Saint Nick

It's Christmas Eve and I just realized I haven't posted anything for Christmas! I decided to go with this one, an illustration I did some years ago, of the Jolly Old Elf himself. At one time, I worked full time as a freelance illustrator, creating realistic images like this for advertising, editorial, posters, etc.

It is painted on hot press illustration board using acrylic paint, applied with relatively fine sable brushes. The speckles of 'snow' on the wreath were created using a stiff tooth brush to splatter the paint with a flick of my thumb. The ribbon and some of the finishing highlights are done with airbrush, something I used often in illustration during the 1970's and 1980's. The lettering is hand done in acrylic, predating computer fonts.

Painting Progression-Between Nations-Step 2

After the toned canvas has dried, I decided that I would prefer a cooler ground for this picture, so I mix a new batch of gesso tinted with a mixture of ultramarine blue and burnt umber, producing a gray tone.  I repaint the canvas with this color, completely covering the original earth tones.   The new gray surface is still warmed somewhat by the first colour mixture that I applied underneath and I feel this is a more suitable ground for the picture I am about to paint.  Now I am ready to begin drawing and painting on the primed canvas.

Painting Progression-Between Nations-Step 1

This painting will be another departure from what I have demonstrated previously.  The painting was a recent commission that I was pleased to receive, since it fell right into the type of picture that I had already been planning to paint next.  Many of my paintings feature the Thousand Islands in the St. Lawrence River, between Ontario, Canada and upper New York State in the USA.  When I was a boy, Bald Eagles nested and fished near my home on the St. Lawrence River.  When the pesticide, DDT became heavily used in the 1950's and 60's, this population of eagles was wiped out, along with many other species in that locale.  In recent years, the Bald Eagle has made a come back to the river and the population is slowly increasing.  Once again eagles can be seen soaring over and fishing the wide waters of the Thousand Islands.

At this point, there is little to see, but I have begun priming my canvas with acrylic paint.  I use a flat, bristle brush to apply a tone to the canvas.  The colour I choose will affect the finished piece, acting as a ground for the colours that follow.  I often use a warm earth tone mixture of burnt sienna and red.  The other colour that I most often use is a blue-gray for a cooler ground.  Here I have started with the warm, earth coloured mixture, which I have combined with gesso to fill the weave of the canvas.  I cover the entire surface evenly and allow it to dry.

Choosing A Brush

I received a question regarding the brushes that I used in the horse portrait demonstration.  This painting is very small, measuring 6 1/2 inches wide by 9 1/2 inches in height.  For this reason, the brushes I used were relatively small as well.  For the background I employed a 1/2 inch flat sable brush.  For the initial block in of color on the subject itself, I used a #3 flat nylon brush (about 5/16 inch in size).  For most  of the detail work, I used a #4 nylon round brush and for the very finest details and fine lines, I selected a #1 round sable brush.

The brushes I use vary according to the job at hand.  The style of brush, i.e. round, flat or filbert, most often depends on the area to be painted, how heavy the paint application is going to be, and the degree of texture desired in the strokes.  The type of bristle I select may depend on the support surface I have chosen, such as canvas, paper or board, the type of paint I am applying, such as oil, acrylic or water color, etc., and the effect I hope to achieve.  The size of the brush I employ is often determined by the size of the painting itself.  The larger the size of the overall painting, the larger the average size of brushes I will use.

It is best to use the largest  brush possible to complete a given area.  Initial blocking in should be done as broadly and as simply as possible, too.  This keeps your work fresh and expressive, without becoming overworked and tight.  As you continue to add detail, you can gradually reduce the size of brush you employ, creating the level of detail you want while maintaining a spontaneous, lively feel.

Large areas, such as skies, atmosphere, backdrops, etc., can usually be blocked in with a large, flat brush.   This can produce quick results and establish a ground for further detailing as you continue to add detail and texture, as well as smaller or more intricate shapes within the area.  In areas that you want to give a softer, smoother texture, a filbert brush, which is a compromise between a flat and a round brush, may be a good choice.  Blending is best accomplished with the largest brush possible in the area to be painted, or by using a fan brush made for this purpose.  Long, thin strokes can be achieved by using a flat brush on it's edge, or with a round, bright brush.  A long bristled liner brush is also made for this type of work.  A round brush, which can maintain a point, may be the best choice in areas that require a finer degree of control.  As you increase detail, you will need to reduce brush size.