Something new and a coupon too

The last few weeks I've been focused on painting and shows so I decided to take a break and work on my Etsy shop. Sadly it's been neglected lately so it was time to get back to it and try something new. I just added a new section to the shop called Painting Project Singles. These are instant downloadable PDFs and they take you step by step through one painting.

To get the ball rolling I'm starting with projects from our book Creative Colored Pencil Workshop so if you have the book, you already have the first 2 projects. But for those who don't have the book, it's a great way to pick and choose which painting you want to do and you don't have to spend a lot to do it. I'll be doing some new projects in the future to add to the series so check in at the shop from time to time.

The first 2 projects focus on mixing colored pencil with other media. Above I'm combining them with oil pastel to paint a loose, impressionistic landscape. The project below is my froggy from Paynes Prairie. He's done with watercolor and colored pencil. I take you through each step with a full color photo and instructions. I also include a line drawing, the original source photo and materials list.

So check out the new listings and tell me what you think! Do you think it's a good idea? Do you have a particular subject you'd like to see in a step by step format like this? I'll be doing more landscapes for sure but I'm also thinking of doing some seasonal type things like pumpkins with gold leaf backgrounds for fall or maybe do one with a bird nest and eggs. You know how much I love painting those! I would love and appreciate your feedback so leave a comment if you're so inclined.

To introduce these 2 new projects I'm sharing a coupon for 50% off the Painting Project Singles that's good through May 31st.  Share with your friends and happy painting!

A new landscape painting step by step

Hi folks. I hope February is treating you well. I thought I'd share the step by step process from painting my newest landscape. This one is a diptych done on 2- 20x20 canvases so the final size is 40x20. I love texture so before I started painting I prepped the canvas with crumpled tissue paper (you can see a close up below). I just use the white stuff that you use in gift bags, wad it up into a ball, open it up and apply it to the canvas with either a matt acrylic medium or matt Mod Podge. If you try this, be sure to use the matt version, not the gloss. You get better adhesion with the acrylic paint this way. Paint a layer of the adhesive on the canvas. Apply the tissue and then do another layer of adhesive on top. After the tissue is dry I painted both canvases with red acrylic.

As you can see I stacked the canvases on my easel. Of course this is the best way to get continuity when doing multiple panels. I sketched the design first with a white pastel pencil and then started blocking in color.

Once I knew where the basic elements were I started loosely putting in the greens. I use a large brush and keep the strokes mostly open and separate. I don't want to cover up too much of the red because there's still lots of layering to do and I like to leave a bit of red peeking through over the whole painting for interest and consistency.

Here, I'm working my way down the canvases with yellows and greens, still keeping things loose.

I added some purple on the ground area under the trees. Once all of the canvas is covered I go back and begin putting in more color, building layers. The colors I used were permanent sap green, permanent green light, cad yellow deep, arylamide yellow light, orange, purple, cobalt blue and white.

This gives you a better idea of what the texture is like. You can also tell that I don't cover all the red.

I added some purples to the tree trunks and then started adding leaves to the foreground to cover bits of the trunks.

Last layers were adding light to the foreground and brightening up the sky. So, there ya have it. I called this one Dappled. Have you tried adding texture to your canvases? If you do, I'd love to know what you use and how you do it so please share in the comments!

No tricks, just a work in progress

I've been back in the studio painting- nests of course. I'm not sure how long I'll be painting these but for now I'm going with the proverbial flow. As long as they keep hold of my heart and mind then I'll keep on making them.

Recently, one of my students was wondering what my process is for painting the nests so I thought I'd post a few work in progress pics.

Here you can see I've already got the gold in place. Before I can apply the gold I prep the canvas. The first thing I do is apply a layer of Super Heavy Gesso with a large palette knife. You can see the texture on the canvas surface. That layer of gesso is pretty thick so I leave it to dry over night. When it's dry I coat the canvas with a primary red acrylic. 

Then I use a white charcoal or pastel pencil to sketch in the outline of the nest. This gives me a map for the adhesive size used to adhere the gold. Once the size is tacky - that takes approximately 15-30 minutes - I place the gold leaf, brush off the excess, and this is what the canvas looks like.

In this next step I've coated the rest of the canvas, all areas without gold, with burnt umber. After the paint is dry I use the same pastel pencil to sketch in the main elements. I mark the edge of the nest opening, the largest pieces of leaves, plastic, or other bits of debris the birds used for building.

I paint those large pieces in first and then use a liner brush to start building the layers of grasses and twigs that are woven together. When I build these layers I work from dark to light starting with a burnt sienna\burnt umber mix and adding other colors as I get lighter and lighter.

Fledged

12x12

acrylic and gold leaf

The final strokes are the lightest ones, the ones that make the painting pop and give it depth. I think the toughest challenge about these paintings is photographing them because of the gold leaf. In every photo the gold looks a little different. It all depends on the angle, the time of day, the light- if it's overcast or sunny outside. You can see the difference even in these progress pictures. At the same time, that's my favorite thing about these paintings- the way the painting changes with the light. It's not a trick but sure is a treat! LOL, I know..... way too corny but couldn't help myself. 

Happy Halloween ya'll!

Stages of the latest portrait

The days of the week have all run together lately. I had a rush job portrait commission so this piece has been my only focus for the last week. It's now done and in the mail to the client. YES- made the deadline! While I was working I took quick shots with my phone so I could share the progress online. Here are the steps as it went.

 I used a blue Canson Mi-Teintes paper. I know some of the photos look more grey than blue but I did shoot with the natural light from the window in front of my drawing board.

 First layers on skin and shirts.

 I used a variety of browns and golden yellows on his shirt. Building up the skin tones was trickier- using a lot of deco orange, pumpkin and mineral orange and burnt ochre.

 To get the blond hair to be blond and not turn green on this blue paper I had to layer white pencil first to keep the yellow and blue from mixing.

 It took a little while to figure out the reds for the other shirt. What finally worked was using peach and vermillion in the light areas and permanent red for the overall color, tuscan red for the shadows.

Calling it done!

The stages of Pouty Face

Many times when working on a portrait I post pictures of the piece in progress on my Facebook page. I've found that people really love to see the progression and the layers build up. I've noticed that artists and non-artists alike enjoy seeing how it works so here is the progression of colored pencil layers as I was working on the Pouty Face portrait I shared in the last blog post.

Here I've just got the basic outline in and I'm working out my palette while starting to get some darks blocked in.

You can see that little strip of paper on the side- that's where I test my colors. For this portrait I'm working on a dark blue Canson pastel paper. It's actually darker than it looks in the photos. When I took these pics I was just using my phone at the drawing board. The board is right in front of 2 windows so sometimes the colors shift depending on the time of day I took the picture.

So here I'm beginning to build up skin tones. Any time I'm working on colored paper I cut an extra strip of the same color paper to test the pencils on- especially for skin. On this paper I couldn't use any of my usual portrait colors that have yellow in them. You know what happens when you mix yellow and blue..... he didn't need to have green skin.

I used lots of peachy and orangey tones to work the skin. Surprisingly deco orange got used a lot. I hadn't considered it right away but it really worked.

In this pic the lips look a lot more orange than they really were. They were a bit of a challenge though to get them pink enough without them turning purple on the paper.

He's almost done here- just building up the background colors and the red of his shirt. I went back into the eyes to push the values a little more and then back into the hair to fill it out with more strands.

Pouty Face is done and Pouty Face happens to be my youngest grandson. He is quite the character so I'm sure I'll be doing more portraits with his very expressive self.