Demonstration: A step by step guide
| © Copyright 2008 Eric Wilson All rights reserved |
Wherever I display my Art, people want to know how it was done. I am now putting together some workshop pieces to show how
my paintings are developed stage by stage and the techniques I use to achieve them.
my paintings are developed stage by stage and the techniques I use to achieve them.
STEP1
I wasn't taking this picture too seriously at this
stage, as I was still experimenting with pastels
and wasn't sure if the Schmeike sandpaper
surface I was drawing on was capable of
delivering fine results. I had sketched the cub out
loosely on paper and then transferred it to the
Schmeike pastel paper. I was using pastel pencils
and doing some smudging with my fingers, the
face started to take shape and so I decided to
continue.
stage, as I was still experimenting with pastels
and wasn't sure if the Schmeike sandpaper
surface I was drawing on was capable of
delivering fine results. I had sketched the cub out
loosely on paper and then transferred it to the
Schmeike pastel paper. I was using pastel pencils
and doing some smudging with my fingers, the
face started to take shape and so I decided to
continue.
STEP 2
I liked the way the 'tooth' of the pastel paper held
onto the pastel and felt confident to build up
layers of colour. The eyes are always the key to a
cat portrait and I was happy to see that I could
'glaze' over with a light magenta to show some
reflection giving life and the illusion of wetness to
the eyes. It was important not overdo this
however, as I had to bear in mind that the eyes
were actually in the shade and not reflecting
direct sunlight. With that in mind a magenta was
used in preference to a bright white which would
have been a mistake. I was beginning to spread an
undercoat of raw sienna colour across the body
by this stage.
onto the pastel and felt confident to build up
layers of colour. The eyes are always the key to a
cat portrait and I was happy to see that I could
'glaze' over with a light magenta to show some
reflection giving life and the illusion of wetness to
the eyes. It was important not overdo this
however, as I had to bear in mind that the eyes
were actually in the shade and not reflecting
direct sunlight. With that in mind a magenta was
used in preference to a bright white which would
have been a mistake. I was beginning to spread an
undercoat of raw sienna colour across the body
by this stage.
STEP 3
Over the raw sienna, which was done with a
'wash' of softer pastel, I started to build up the
direction of the fur with darker strokes.
Direction is all important, as when it is done
with a careful understanding, it gives a clear
shape and solidity to the whole body. A
framework upon which to build.
'wash' of softer pastel, I started to build up the
direction of the fur with darker strokes.
Direction is all important, as when it is done
with a careful understanding, it gives a clear
shape and solidity to the whole body. A
framework upon which to build.
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