ARTFINDER: An Old Fashioned Christmas by Richard De Wolfe - At the turn of the century, the main mode of wi...

ARTFINDER: An Old Fashioned Christmas by Richard De Wolfe - At the turn of the century, the main mode of wi...

 "An Old Fashioned Christmas" by Richard De Wolfe 30" x 48" alkyd on canvas

At the turn of the century, the main mode of winter
transportation was by horse drawn sleigh or “cutter” as depicted here.  The scene is typical of many
communities in Eastern Canada and the North Eastern United States.  It is dawn on Christmas morning, and
people are gathering at the church for an early Christmas service.

 Many modern day Amish and Mennonite families still travel in horse drawn vehicles and sleighs in winter, though the type that they favour are much less flambouyant than this one.

Creating a Silver Coin for the Royal Canadian Mint

It has been a year since I was commissioned by the Royal Canadian Mint to design and produce a painting for a 20 dollar silver coin.  Now that the official release has finally arrived, I can take the wraps off of the art and tell the story behind the project and the painting that I created!

It all began in October, 2013 when a product manager at the Mint came across one of my hockey paintings on rdewolfe.com and decided that this was something they would like to see on a Canadian collector coin.  I was then contacted and commissioned to come up with a new design featuring Canadian children playing the much loved game of pond hockey.

The production work for a new coin is long and arduous, so it was imperative that I immediately begin working out the design for the new coin.  Country, kids and hockey are favourite subjects of mine, so I eagerly began working on the project.  Sketches were soon approved and painting commenced!

Original sketch for Pond Hockey painting

The first sketch was received with enthusiasm but because it was decided to reproduce the background buildings in bas-relief rather than full colour, it was necessary to separate the figures in the foreground from the objects in the distance.  I submitted a new drawing that was then deemed perfect for the job!

Final sketch for Pond Hockey painting

Once I received final approval for the drawing, I transferred it to canvas to begin the painting.  The next step was to apply a thin blue wash overall to create a 'cool' atmosphere.

Now I begin painting in dark areas using acrylic paint for speedy drying.  This allows me to move forward quickly.

When I begin adding local colour throughout the painting, things start to come together.  At this point I have switched to alkyd oil paint.

Now I add in colour and texture on the ice surface and the background scene.  All the basics are there, so now it is a matter of finishing up by adding more colour and detail to the painting.  Originally, I intended to do a circular painting as indicated by the initial painting of the sky.  In the end, however, I decided it would be more attractive to extend the scene into a square format, resulting in a more complete, square painting.

Finished painting "Pond Hockey" 

And here it is....the finished one ounce silver coin, available for purchase at themint.ca or one of the dealers listed on their web site, including Canada Post Corporation.  One of the really neat features of this limited edition silver coin is the full colour treatment, making it a very unique collectible!

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!

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.

Madawaska Sunset

18 X 24     Madawaska Sunset    $950.00

We used to own a cottage that we built ourselves near Algonquin Park in Ontario. It was tucked away on a beautiful, quiet bay below the fast water at Bell’s Rapids on the Madawaska River. This was the view in front of our chalet. In the winter, the quiet was almost deafening, only broken by the soft and distant sound of the rapids and an occasional raucous ‘cawing’ of a raven. It was a wonderful place that I think of often.

Across the Miles - Step 5

I have now blocked in the entire canvas with colour.  Finishing the snow-cover changes the mood and the look of the painting quite drastically. This gives me a really good idea of how the finished painting will look.  The contours, light and shadows in the snow requires a subtle touch.  It is important to create the illusion of an undulating plane, falling away from the foreground to the mountains in the distance.  The roadway must also appear to 'sit' into the snow rather than on top of it.  The fence now appears to stand up from the snow, three dimensionally.

Painting and refining the white lettering on the side of the postman's sleigh is meticulous work and requires patience.  There is more work in this painting than I expected!

Across the Miles - Step 4

I continue the process of painting from back to front.  I render the barn in the distance, then proceed to the farm house in the middle ground.  Once again, I am choosing warm colours to keep this winter picture from becoming too 'cold'.

The next thing I tackle is the horse pulling the mail sleigh.   This is a critical element in the painting, essentially the center of interest so I must take great care in how I paint it.   I choose to make the horse black to create a high contrast with the white snow around it.

At this stage, I have left out the snow in the middle ground and started blocking in basic colour and detail on the rail fence in the foreground.  This helps me to keep a visual balance throughout the painting.  I have included the rail fence in the composition in order to add 'weight' to the lower portion and to guide the eye back toward the center of interest.

Across the Miles - Step 3

Usually I like to do a quick underpainting with acrylics on top of my toned canvas, but occasionally I will start to paint directly on a toned and shaded drawing.  I have decided to take the latter approach this time, starting from the sky at the top (furthest away from the viewer) and working my way down and progressively closer to the viewer as I go.  This allows me to build an illusion of depth into the work.

To keep the work from being too 'cold', I add warm yellows and pinks to the clouds, suggesting late-day lighting from the left.  I block in the snow-covered hills and move forward through the heavily laden spruce trees.  The last thing I do at this stage is to begin adding more form and colour to the mailman's sleigh and the mailbox where he has just made a Christmas delivery.

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!

Across the Miles

Here is the beginning of another new 'horse and sleigh' painting.  These pictures are especially popular with my clients for such things as Christmas cards and puzzles.  This one is called "Across the Miles".  It is a depiction of the mailman making his delivery rounds by horse drawn sleigh.  The scene is a snowy landscape in rural America, just before Christmas.

This canvas measures 16 inches high by 20 inches wide.  Once I have worked out my initial drawing, I transfer it to stretched canvas, then spray it with workable fixative.   Once that is done, I'm ready to start painting!

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.

Snow Day!

One of the great things about living in Canada when you are a child is winter. Adults may dread it, often finding the cold and snow a hardship to deal with, but children look forward to it all year long. The great thing about a northern winter to a child is lots of snow! When the weather gets stormy, most school buses do not venture out and many schools close for the day entirely. This creates an unscheduled holiday that kids really appreciate.

I created this painting as an illustration for art licensing. I wanted it to be colourful and dramatic in order to convey the excitement of the children. I used my granddaughter Ashley as a model for both the boy and the girl. My work boots fit Frosty perfectly! I added the glow of the sun to warm up an otherwise cool setting. The painting is 9 inches by 12 inches, painted in alkyd on board.

Sleigh Ride!

This painting has been very popular for my collectors and also licensing clients. It is the perfect Christmas image, both nostalgic and exciting! The horses are galloping briskly along the roadway with a frisky dog leading the way. The period dress of the sleigh's occupants suggest Victorian times, when horse and sleigh were the main mode of winter transportation. You might also notice a buffalo skin rug in their laps, which was used to keep travellers warm. The old wooden pump in the lower right corner is now a thing of the past. These pumps were carved entirely out of wood by skilled craftsmen!

The limestone house in the background was once owned by my wife and I. The beautiful blue spruce tree stands just as I have painted it, beside the house in Kingston, Ontario, Canada. The historic stone church in the background actually exists in Barriefield, just across the Rideau River.

I chose to paint a colourful winter sky in keeping with the animated feeling of the overall painting. This gave me the opportunity to reflect all of these colours in the snow and gives the picture additional life. The painting measures 18 inches high by 24 inches wide. It is painted in alkyd paint on a canvas support. The original is not for sale, but prints are available at: http://fineartamerica.com/profiles/richard-de-wolfe.html Merry Christmas and Happy New Year!

An Old Fashioned Christmas

I thought it was time to post a real Christmas painting. I call this one "An Old Fashioned Christmas". Plenty of nostalgia depicted here, about a much slower and innocent time, when most people lived in the country or at least very small towns and villages across Canada and the United States. In those days the main mode of winter transportation was by horse drawn sleigh or 'cutter'. The scene is typical of many communities in Easter Canada and the North- eastern United States. It is dawn on Christmas morning, and people are gathering at the church for an Early Christmas service.

My composition is based on an "S" pattern. The eye enters from the lower left following the direction of the horse and sleigh, over the bridge to where the figures in front of the church are congregated, and finally the church itself. The stone mill beside the church and the mail boxes in the lower right corner lead the eye back to the horse and sleigh approaching the bridge and the whole process is repeated. The snow covered spruce tree acts as a visual stop and keeps the eye from wandering off to the left.

The painting measures 48 inches wide by 30 inches high. It is painted on stretched canvas, and as I usually do, I worked in alkyd paint. I found this cutter in a Sotheby's auction catalogue and I loved the ornate style. It is being pulled smartly by a high stepping Hackney Horse.

Collecting the Sap

Here is another painting that I think is well suited to the season, here in Ontario. Our maple sugar and syrup making season has just ended for another year. The tradition of collecting sap from sugar maple trees is well known in eastern Canada and the north eastern USA. It is done in early spring when the sap stored in the roots of the maple tree begins to travel back up the trunks of these trees, to feed the buds that will soon blossom into leaves. Small holes are carefully drilled around the circumference of the tree and 'taps' or 'spiles' are driven into these holes to collect some of the sap as it flows upward. The sap, in turn, is allowed to drip into pails attached to the tree, or as is most common today, into a network of plastic tubing, which may run for miles to a central collection point. The sap must be boiled down quickly to avoid spoilage. It takes approximately eleven gallons of raw sap to produce one gallon of delicious maple syrup.

For the most part, tractors and modern equipment have replaced the horses and sleighs that were traditionally used in collecting the sap for delivery to the 'sugar shacks' for the long process of boiling over a wood fire. If you look hard enough, it is still possible to find teams of horses, such as the Belgians pictured here, being used in the bush to bring tanks of sap to the wood fired evaporators and maple sugar shacks.

The title of this painting is 'Collecting the Sap'. This painting measures 18 inches by 24 inches. I painted it on stretched cotton canvas, using alkyd paints. Prints are available.

Madawaska Sunset

I thought this painting would be appropriate at this time of the year. We are down to the last days of March, spring is officially here, and the weather is definitely showing a warming trend. I painted this picture some years ago, when we owned a cottage on the Madawaska River, south of Algonquin Park, in Ontario, Canada. This is the view from that cottage, which sits high on the river bank, just to the right of this painting. It is a late afternoon picture and the sun is setting in the west. I loved the contrast of the warm light reflected in the water, surrounded by the cold blue of the melting ice in the foreground. The three Canada Geese tell a story of the changing seasons and the new life which will soon burgeon throughout the north.

The title of this painting is 'Madawaska Sunset'. The painting measures 18 inches by 24 inches and it is painted in alkyd paint on stretched canvas. Like most of my paintings, prints are available in a variety of sizes.

This Time For Sure & Home For Supper

This one is called "This Time For Sure". I wanted to paint a typical day of pickup hockey, played by a bunch of country kids, on a frozen farm pond. When I was a kid, we played like this, sporting any equipment that we had. Many times we would not have skates available and we would play in our boots. The 'net' would usually be non-existant too, and we would improvise with a couple of blocks of firewood from home.

Once again, this painting is done in alkyd oil on stretched canvas and measures 16 inches by 20 inches.

This one is called "Home For Supper". It features the same scene, but in the moonlight instead of mid-afternoon sunshine. Often, we played on the ice until the sun went down and supper time would arrive after dark. Finally realizing that we were late, we would drop our sticks and head for home , a hot meal and the warmth of a country kitchen.

I painted this picture smaller than the others, only 11 inches by 14 inches. It is painted on canvas using acrylic paint.