Painting Progression-Between Nations-Step 3

In this stage I trace down my drawing onto the canvas.  As you can see, the earth tones of the first priming show through the second layer of cooler gray priming.  When I paint in the studio, I usually work out a drawing first, then transfer it to the canvas.  If I am painting on location, especially out-of-doors, I often paint directly onto the canvas with no preliminary sketches.  The two methods usually produce completely different results, since pre-planned drawing will usually be tighter and more controlled.  Direct painting, on the other hand, will give you a looser, freer picture.  In this planned painting, I am drawing from photos that I have taken on the St. Lawrence River and the Thousand Island Bridge between Canada and the USA.  Once the transfer to canvas is completed, a little spray of fixative keeps the graphite from smearing when I  begin to overpaint the drawing.

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.

Painting Progression-Seasons Greetings-Step 6

The sky in the background is finished off and the afternoon setting sun is highlighted a bit more.  It is positioned near the snowman's carrot nose and sparkling eyes, helping to attract the viewer's eye to the center of interest of the painting.  The snow-laden tree branch, which also points at Frosty's face, also thrusts into the picture, drawing the viewer's eye back in.  The Cardinal is finished in with more color and detail.  The bird is positioned to keep the viewer's eye going back and forth between these two characters.  The Christmas tree and ornaments are painted in and white highlights are added to create a reflective shine.  I add darks and highlights to Frosty's mittens and make small adjustments throughout the painting, where needed.  A light scattering of new snow falling adds greatly to the feeling of depth and a sense of animation.  The signature goes on and the painting is complete!

Painting Progression-Seasons Greetings-Step 5

With all of the basic color decisions made, I can now work up detail in every area of the picture.  It is a simple matter to decide where adjustments need to be made once the picture has a complete color map.  The snowman's face is the main focal point, so I try to accentuate his kind, lovable expression. I add soft blue to his coal black eyes to create a luminous shine. Next, I add a sparkle to them with a white highlight.  A strong, bright red on the scarf and ear muffs give him a dashing, festive look.  I use warm yellow highlights on the mittens and a healthy bright orange on his carrot nose.

In order to liven up the snowman's body, I add strong blue-purple in the shadow areas, and I build a texture over the highlighted surfaces with a dry brush effect of heavy pigment.  Frosty is rapidly coming to life as the paint steadily goes on! 

Painting Progression-Seasons Greetings-Step 4

Now I begin to paint over the initial blocked-in areas of color.  The sky is refined and painted more heavily, blending the tones together.  The background trees are worked up a bit more, adding some detail and texture.  The old fedora on Frosty's head is painted in and the sprig of holly is added, too.  His features, carrot nose and colorful scarf get more hue, texture and detail added to them, and the picture begins to take on more life and a feeling of depth.  More color and contours are added to the woollen mittens and an initial layer is added to the tree decorations.  Each step taken is another building block in the structure of the painting.  The work is evolving as a whole, rather than one part at a time.  In this way, I always know how all the elements in the picture relate to one another.  My goal is to avoid painting myself into a "corner" along the way.