Painting
and drawing have always come naturally to me, from as early in my
life as I can remember. It's only natural that an artist draws what
interests and inspires her, and for me drawing animals has come
from an early love for them. I start with an idea, from my imagination,
or it may be from something I've seen, or something suggested to
me. Every good painting though, should start with a strong good
idea.
I like using animals for subjects because they are so well designed
and they also give me plenty of opportunities to paint interesting
textures. I like painting dogs especially, because of their range
of expressions. It is not as obvious as on a human face, but it's
just as important to capture correctly for the painting to be
a success.
After I have drawn several rough sketches of my ideas, I will
then do the research. I like this part as much as the painting.
I get to meet interesting people and their animals. It sometimes
requires a lot of searching to find the right objects or settings
to depict the animal in. I enjoy photography and this is one of
my research tools. I can spend several hours waiting to get the
right photo of an especially energetic animal - waiting until
it settles, or waiting for that split second when it strikes the
right pose. Sometimes I have to go back for a re-shoot, I usually
like showing my animals in action - but even a sitting pose can
be difficult - especially for a camera shy dog. It often requires
2 - 3 people to get a good shot.
I am quite fussy about choosing a model. I like the animal to
have "animation" and good expression, but also be "typy" - exhibiting
good breed characteristics. This is where I do some research on
the breed - talk with breeders and look at many examples of the
breed and books on them. Touching them and feeling their bone
structure also helps to reinforce my understanding of a breed.
For the background, I need objects to place in and around my
subject and it can sometimes lead to interesting phone calls!
One particular painting I needed a fireplace and knew what I wanted
but did not know anyone with one like I had imagined. I called
friends in Real Estate, hoping they had seen one in someone's
home somewhere, but in the end I found it in a little cabin behind
the local Ameliasburg Museum. I photographed it along with some
artifacts.
Modifications from original photographs are always necessary.
The photos serve as a guide only. Shadows and lighting are something
I can seldom copy from my photos, and the colours I use are never
the same as the photographs. I always add many additional colours
throughout the piece. This adds the dimensional elements of depth
and texture to my paintings. When possible, I will borrow objects
I have already photographed to paint directly from them.
The next step is to look over all my research and make more accurate
sketches from them, finally choosing the one design that will
become my painting. If it is for a client, he or she will be involved
in that decision. I them make a full size drawing of the painting
on tracing paper or newsprint and transfer it to my artboard.
Artboard is a "masonite" panel (also called "hardboard") that
has been painted once on the back and twice on the front with
a lacquer based primer to seal the wood. I like to prepare a whole
4' x 8' sheet at once, adding three coats of thinned gesso on
top (sanding between coats, of course).
Once I have the design transferred, I can paint! I used to find
the preparation process to be somewhat trying on my patience,
when I longed to get to the painting stage quickly, but experience
has taught me that without the proper preparation I just frustrate
myself in the painting stage trying to get it right, or making
wasteful changes that could have been avoided. Instead, I have
learned to just enjoy the research and preparation stages, realizing
that they are an important foundation to the actual painting.
How I actually paint is not something that I can easily describe
in writing. It is easier to demonstrate and there are already
many books written on the subject of painting. I will say that
I generally use acrylic paints and I may use many glazes to get
the results I desire. I don't hesitate to change a painting even
after it is "finished" if it just doesn't feel right. I have learned
to listen to that little voice when it says, "It's not right yet"
and it make changes, even if it takes a few years for my abilities
to catch up to my vision of the finished piece. My family also
critiques my work - many times seeing things that I miss.
And one more thing goes into each painting - a lot of prayer.
I believe God gave me this ability to glorify Him and without
His help and Guidance I would have given up long ago. This is
ultimately the goal of each of my paintings - to glorify the Creator,
who created each animal, each so wondrously unique. I have been
blessed to be around them, studying and painting them and I hope
that others are blessed in the enjoyment of the results - my paintings.
