Demonstration: A step by step guide
| © Copyright 2007 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.
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.
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.
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.
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.
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.
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