A treat this time ! Two items - the first from our Secretary Malcolm Waiwright and the second from a new member Ulrike Michal (thank you Ulrike)
(Sorry no pictures at present they are refusing to be downloaded from Malcolm's email ! As an alternative I have loaded Malcolm's document as a file on the Useful Documents and Hints Page so members can open it there and see the photos)
Our demonstrator for Feb14th, David Prescott, a professional painter with an uncanny affinity with wild animals and birds which took him from his Merseyside home to the San Bernadino mountains of Southern California where he spent many years observing, sketching and photographing the wildlife then translating his studies into perfecting his art. His demonstration painting of an American bald eagle together with the background explanation of the techniques he has developed over the years not only enthralled us but gave us ample food for thought for our efforts. The finished work with all the intricate detailing he included was outstanding and members present were indeed fortunate to have seen a craftsman of this calibre at work.
Malcom Wainwright
14 February 2012
David Prescott
Produced a painting of a Bald Eagle (Haliaeetus leukocephalus) with acrylics
by Ulrike Michal
Materials:
Canvas board, acrylic colours (titanium white, burnt umber, cobalt, yellow ocher, cadmium lemon and orange, burnt sienna), support stick.
The support stick: approx 1m Curtain hanger with knob at one end which is covered in a cloth. The stick serves to draw straighter lines and to rest the working (right) hand on. The left hand holds the stick leaning the left hand on the base of the easel and the knob of the stick on the opposite corner of the top of the painting.
Acrylic colours: Prefers Windsor & Newton as are the best quality (designers quality), he does not recommend Galeria or cheaper colours. Acrylics dry darker than when you put them on. For Gouache he also prefers Windsor and Newton.
Water bowl 1: for white only.
Water bowl 2: for all other colours.
Technique:
1) Background: Acrylic primer ((a)white primer first, let dry and later (b) acrylic of chosen colour applied with sponge (in circles)/thick brush (brushing), let dry. The background may be a gradient into the chosen colour mixed with white (opaque impression). (c) The silhouette of the figure is painted on the background with white crayon. The eyes of the animal are spared (white background colour).
2) Feathers and fur are produced with 1000s of strokes in the direction of the feather/hairline. He uses approximately 20 fine strokes per feather. Observe details/direction of feathers of the model closely. For human skin David uses a bristle brush. Anatomy and proportions are paramount. To produce the feathers of the bird David leans his right hand on the stick and applies fast short strokes in the elected direction. Sometimes he applies water with his fingers to extend lines. In between groups of feathers David leaves some background colour come through (or for example for the side and outline of the beak).
3) Eyes: paints pupils next.
4) For shadows David uses burnt umber and ultramarine blue. The amount of each colour determines production of a warm or cold shadow. Black should not be used for shadows as it makes a picture lifeless.
5) Layering is important to produce a 3-dimensional impression. Layering is used for the feathers of the bird. Brush strokes are applied in the direction of the feather. Sometimes he turns the canvas to apply strokes in the wished direction. Another method he uses at a later stage was to use a dry small narrow tip brush over drying white feathers to apply structure.
6) David tends to dry the brush which his finger, reshaping the tip, after he had cleaned it in the water or sometimes even with colour on. He says it is difficult to get a completely dry brush with acrylics. For Gouaches he always uses a dry technique and dries the brush with his fingers after it’s been in the water.
7) After he has produced the white head of the bird and the majority of the feathers of the head and neck, David uses the technique of “glasing”. He uses a thick very soft brush for this applying a weak colour solution. The underlying colour has to be completely dry (otherwise he would reach an effect called “lifting”).
8) Shading around the eyes: David uses dark brown over the contours that were left with background colour. This gives depth and a 3-dimensional effect.
9) Colour of the eyes: David uses cobalt blue for the irises and white for highlights. In birds he likes to use titanium white for the reflection. He would not use this for wild cats, they have not the same kind of reflection of light from the pupil.
10) Finally he applies feathers of the trunk in brown tones.