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Author: onlineart, Contributing Editor
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| This detail shows the importance of having a toned canvas. Imagine how different and less solid the painting would look if the canvas were white. Even at this early stage I follow the fur direction with my brush strokes. |
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| I continue blocking in the body the same way I did the head. The main colours I am using here are different combinations of Naples Yellow, Raw Sienna, Burnt Sienna, Titanium White and Cadmium Yellow, plus Alizarin Crimson and Ultramarine Blue which I add to the body colour to grey the fur on the shadow areas (i.e. red and blue = purple, which is yellows compliment, so greys it). |
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| With the body blocked in I begin to mass in the soil. As it's quite a large area to paint, I first cover the area with a very thin coat of linseed oil, or more recently I have been using Liquin, then wipe most of it off with a sheet of kitchen tissue. This allows the paint to slip and flow much easier on the board. The soil was blocked in using Burnt Sienna, Naples Yellow and White with a big synthetic brush. Then I used a fan brush to blend the area together. |
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| I blocked in the scrub and grasses on the right using the same technique as I used on the soil and it has instantly made the lioness come forward in the painting. I can now get quite a good idea of how the finished painting is going to look. I also continue to add a little more colour to the lioness wet-in-wet as it's much easier to judge colour. Now the whole of the canvas is covered with paint. |
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| This detail of the scrub and grasses show how I am overlaying more detailed grasses over the blurred ones. This is a very easy way to add depth and recession to an area and can be completed wet in wet for a more painterly effect or over dry paint if you want more distinct, sharper brush strokes. I generally paint the distant objects wet in wet, then allow the painting to dry before overlaying the foreground for this very reason. |
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