This cutie was studying my neighbors when I snapped its picture. I used a second reference photo of a field of weeds for the background.
Golden High Flow Acrylics can be used much like watercolor, so there’s a comfortable familiarity for me. They’re great for glazing. I love the glow that appears when a layer of Nickel Azo Gold is brushed over pretty much any other color. I’m struggling with detail, though. I either overdo it with a bold color or wash everything out with too much white. For this one, I ended up using some colored pencil for the finer lines.
I used a watercolor canvas board for this tiny 5″x7″ painting. Next, I’ll try these acrylics on paper.
Some fruit, heavily burnished.
The photo shows a handsome crow. My sketch makes it look a bit heavy.
Most of the animal photos I’ve been using come from Paint My Photo.
Many of my quick sketches are in a Strathmore gray toned sketchbook using a set of Prismacolor pencils bought twenty years ago. They’re no longer made by Berol, so once I use up this set of twelve, they’re gone. And that white is very nearly gone. I have Caran D’Ache Luminance and Pablo sets, so I’m in no way suffering for lack of fine pencils, but it will be sad all the same.
Three fast sketches on gray toned paper.
I finished this 9″x12″ colored pencil drawing based on a photo I took of one of my favorite farms. I started with a piece of Strathmore 500 Bristol Vellum and a light, complimentary watercolor wash–orange on top and purple on bottom–and then covered the entire thing with colored pencils (Caran D’Ache Luminance). The sky has about six or seven layers of different shades of blue, but the light orange still shows through as little glowing dots. I’m trying to decide if I like this effect and if I should stay away from complementary colors when it comes to an underpainting. It certainly gives a moody effect. I’m really pleased with this. Sometimes I think I could be content painting only barns and horses.