More bird oil painting

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Here is the finished painting. I thought I had better come clean up front so that you can decide if you want to read on. If so, here is the story of how it was painted.

 
I started the same way as usual, transferring a sketch outline across from one of my photos.
I use the squares method as you can see.

The next step was to block in some of the darker colours in acrylics. I have developed the habit of using acrylics to create a fairly developed under painting before proceeding to oils. I find I can relax and work out any technical problems as I go along. Any errors can be easily over-painted as the paint dries so quickly - too quickly for a finished work in my assessment, but fine at this stage.

I am already encouraged about the way this is going. I can see the serene sort of end product that I am aiming for. It is quite common in my experience for the painting itself to tell me how it wants to be. Sounds crazy I know, but that's how it feels! So let's try mixing the most obvious colour and see how that looks.

Beginning to look like a painting already. Actually, and seriously, I am not sure why I don't simply stop here. From now on I am at risk of losing the freshness which is evident here. Anyway, suppressing my doubts, I refine it a bit more, still using acrylics.

This is as far as I am going in acrylic. The head is shaping up nicely, but I sense that the body is going to be a problem. There is nothing very distinctive about the plumage and I am not sure how I am going to tackle it. You can see in the picture above that the pencilled grid is still showing through the blue background. I have decided that I do not like this particular shade of blue - again, a good reason to try things out in acrylic first. 

Now I suffer my usual panic attack. I have to move to the final painting in oils now and I am fearful that it is all going to go wrong. So, what do I do? I have a fiddle with another painting that I have lying around. It was an experimental approach to painting a Long Tailed Tit. It didn't really work, but maybe that was because I didn't take it far enough. Actually, that was the opinion of Liz Shewan, an artist who was exhibiting at Lyme Regis at the time, when I showed it to her on my Facebook page. ( www.lizshewanart.com ) Thanks Liz, it is great talking to other artists. So this is what I ended up with.

Anyway, back to the Great Crested Grebe. I squeeze out some oils and start experimenting further with the background.

I have used two blues above, French Ultramarine and Phthalo, and added a little Yellow Ochre to the foreground mix to try to pull it forward a bit. I have blended it heavily with a fan brush and you can see that I have slightly over-painted the bird in the process.

So the obvious next job was to try to re-establish the colour patterns on the bird. I have made a start above and I continue below. I have painted the eye and refined the facial pattern a little. Still dreading that body! Carry on and try not to look!

Below I try out some suggestive patterning on the body, it had to come sometime.

Then I brush the patterning out again! I also try to paint some of the water features, a little bow wave and a faint wake.

Finally I settle for a few bolder colour strokes and add a few colour highlights to the water. These actually existed in the original photo and were reflections of the nearby reed bed.

And that is about as good as it's going to get on this one. Hopefully I have achieved something of the serenity I was aiming for without getting too fussy and tight. It is still on my easel and I may have a look at it again this evening in case anything jumps out as being awry.

You can see all my paintings for sale at www.johncrabb.co.uk , just click on the "Oil Paintings" gallery.

Frog Painting

PHOTOS IN THIS BLOG WILL ENLARGE IF YOU CLICK ON THEM

 

OK, so I am going to give an honest account of my experience of trying to paint a frog. This is not one of those normal art demos where the artist seems to start with so much skill that, no matter how carefully they explain it, you cannot really see yourself doing it. This is how it actually feels to be a relative beginner in oil painting. Maybe someone will identify with it. The starting point is this photo of a frog that I took some while back.

I like it because of the frog's characterful face. I also thought it might be easier than birds, it hasn't got feathers after all! 

So I start off the same way as usual. I lay a grid of squares over the photo and transfer it across to the slightly larger squared grid that I have drawn on my canvas.

Here it is. Not looking too bad so far!

 
Then what I do is not really part of the painting process and would not figure in most art demo blogs. What I do is walk about the house looking for things that need doing. The idea here is that I really do not want to start on the painting so I look for excuses not to. Maybe I am the only person who does this, I don't know. The reason is that I am scared. The weather is looking fine, maybe I could go out somewhere for a few hours.

The sketch is looking so good that I am pretty sure that I am going to spoil it once I start laying on colours. I really feel that I do not know what I am doing. More accurately perhaps, I look into the immediate future of the painting and see nothing but uncertainty and potential failure, my failure.

Anyway, after several days and having run out of reasonable excuses, plus it's raining, I make a start.

I lay in a dark green background. Seems safe enough, but already I do not like it. Never mind, ignore it, I can change it later perhaps. Then I try to mix some of the brownish colours on the frog and block in some of the darker shapes. Actually quite enjoying it for the moment!

 
At this stage I am using acrylic paint. My aim is to build up an under-painting that I can then finish in oils. I feel quite safe with this as I know I am not producing the finished work yet. The paint dries quickly and I can easily overpaint it if I make a mistake. One slight problem that you can probably spot from the photo above is that I am steadily obliterating the pencil grid that I drew to guide me. So if major restructuring is required it will have to be done by eye. This acutally turns out to be a real problem a bit later as I attempt to reproduce some of the markings on the frog's face. For the moment though let me just work on the reflection. It is curiously blue looking. I also manage to make some drawing mistakes here that I never quite manage to eliminate from the painting. Ho Hum!

Because I feel safer working on the acrylic under-painting, I decide to continue and add more detail. Actually, it is necessary as I am finding the facial markings and, in particular, the structure of the eyes, rather difficult to understand. Who knew that frogs were so complicated?

Still trying to get the face and eyes sorted out (below) and feeling a bit embarrassed that I am putting so much effort into this stage of the work. Never mind, nobody is watching and no one will ever know. Besides, I feel the need to get this sorted out, even if it is just by trial and error.

After a few hours inconclusive work I begin to wonder if adding some water weeds will take the viewers' eyes off the rather inscrutable face. So I tentatively put some in.

OK, that is about as far as I feel I can go in acrylics. Time now for the final oil painting. Of course this provokes another severe bout of prevarication. It seems like it will be for real now, so I look for other urgent tasks, even non-urgent tasks, to distract me. It is amazing how much there is to do!

About a week later I finally squeeze some oil paints out and start trying to mix some of those subtle colours. My first job is to replace the background with a more lively looking green. Again, backgrounds are a safe starting point. Then it is just a matter of working progressively through the under-painting and refining shapes and colours with the oils. In the process I do away with the water weeds, but perhaps that was a mistake. Not sure. I get so absorbed in the oil painting that I forget to take any more photos as the work progresses. It takes most of the day.

Finally, I stand back and try to appraise the result. It is no good to keep interfering with it in the hope of making it right by a magic accident of brushwork. You have to blow the whistle and accept it for what it is. Here is the final image below. It is just 8 x 10" on canvas-covered board. A portrait of a frog.

I do not often feel really happy with my finished works at the moment. Naively perhaps, I look forward to a time when I will. This was my hope at least until my son, who is a proper artist,  http://www.paintingnature.co.uk/ told me that the difficulties never go away!

Perhaps the best philosophy is just to keep trying and not get too hung up if things do not go well. Years ago the teacher at an art class I attended used to say "That is probably about enough work on one painting" and would then suggest starting the next. Good idea, it will probably be a fox next.

All my paintings to date may be found at http://johncrabb.co.uk/gallery_694720.html