Visiting Northern England: Completed Painting #3

Completed painting.
Bold
Oil on canvas, 20x16"
Rita Salazar Dickerson

I had to ask myself what it was about this ewe that made me want to paint her. There was something about her boldness, the way she carried herself and made her presence known. Plus there were the dramatic markings on her face and her thick wool coat; more than anything I was inspired by the random textures, colors and the light that played off of it. Having already painted a smaller version of her, I knew it would be even more enjoyable doing it large, using tons of paint and adding lots of color.

Stage 1: Drawing with paint, using a thin wash of Burnt Umber and mineral spirits.

I decided on a 20x16 inch canvas so that the head looked almost life size.

Stage 2: Painting in the dark markings.

Painting the ewe's face was the most tedious for me. I know it really didn't matter how accurate the black markings were on her face but I tried to get them as close as possible to how they really were.

Stage 3: Blocking in the rest of the face.

At this point it was just a matter of filling in with a gray paint around the black, blocking it in so that it would be ready for a thicker layer of paint (texture) to portray the ewe's fur. Painting wet-on wet, I wanted to complete this painting as I went, section by section.

Stage 4: Painting the face with a brush and palette knife.

At this stage I paid attention to color and value. Though it might be hard to tell from this photo, I used a lot of purple and blue.

Stage 5: Blocking in the body.

In general, I put more detail into my focal point, the face, and then used broader strokes and colors for the rest of the painting.

Stage 6: The background.

I followed the study rather closely for the background - keeping the strokes and colors varied and spontaneous.

Stage 7: Working on the ewe's neck.

At this stage, capturing the ewe's woolly neck and making it look thick and scruffy was my main objective. Once again I felt like I was playing with paint, my reward after all the detailed work on the face.

Stage 8: Completion.

It was rewarding to compare the final piece with the 10x8" study. To finish the painting I went over all of it again just to make sure I had everything the way I wanted it. I added more blue to her body and  lightened the shine in her eyes just a bit. I accentuated the edges of her wool and randomly pulled some of the paint into the background to give it a softer effect.

Visiting Northern England: Final Painting #1 Completed

Nurtured
24x30", Oil on canvas
Rita Salazar Dickerson

It felt good to come full circle and achieve my goal of completing this first large piece in my series. Doing the little study was fun but there was a sense of satisfaction seeing it painted large. I wanted this painting to be big enough to give the feeling of the sheep looking almost life size, to command a presence in a room.

Stage 7: Painting in the black.

I started by painting in the black markings on the lamb. (I mixed Ultramarine Blue and Transparent Oxide Red in equal parts to make a black.)

Stage 8: Blocking in the lamb.

Next, I blocked in the lamb's body with a flat brush. With this under painting still wet, I then began applying the paint, wet-on-wet (alla prima) with a palette knife.

While I worked, I kept my little 8x10" study close by using it as a reference for color and technique. It was  enjoyable using generous amounts of paint mixed with a paint medium, Neo Megilp; the paint had the consistency of mayonnaise -  smooth, silky and spreadable.

And now it is time to move on to the next large piece in my series. I think it will be a landscape.

Visiting Northern England Series: Final Painting #1

After completing 21 small studies of my "Visiting Northern England" Series, I am ready to move on and begin painting the larger versions of my favorites. Choosing this first one was simply on impulse; when I painted it as an 8x10" I could hardly wait to see it big. I chose a 24x30" canvas which feels like a good size.
Since I have already figured out the composition, colors of paint and how I want to approach this piece, I decided to paint wet-on-wet, completing one section at a time, starting with the ewe's face.

Painting Sheep XII: Stages 1-7, Completed

This ewe was in a different setting from my previous subjects and her surroundings humored me. She seemed quite comfortable keeping company with these two chickens; they add a certain ambiance to any scene and in this case, they make me smile.

Once again, I painted wet into wet paint, but instead of blocking it in first, I decided to complete each section as I go. It was getting late and I needed encouragement to keep me going.  

I started with her face.

And with a number 4, filbert brush, I added thick paint to her body.

I felt like I was piecing together a jigsaw puzzle and I needed to complete at least one piece of it before going on to the rest.

I'm really enjoying the palette knife. When it comes to interpreting a sheep's woolly coat, I love the rich texture it creates.
With the basics of the ewe complete, I felt re-energized and ready to complete the rest of the painting.

Next came the background of a lovely stone wall and then the chickens, adding contrast and personality.

Sheep Painting Series Study XII
10x8", Oil on canvas
Rita Salazar Dickerson

 I wish you could see this little painting in person and be able to view it at a distance. The colors and textures of the thick paint seem to work together better when one steps back to look at it. Hopefully it would be entertaining to you close up and from across the room; my goal with all of my paintings.

Painting Sheep XI: Stages 1-6, Completed

I thought I was done with the "sheep theme"portion of my painting studies of Northern England.

But I was wrong.

Again.

Just when I am convinced there is not a single new sheep painting left in me, I get re-inspired.

The memories of this ewe came clearly back to me. It was a beautiful day. We were traveling by car, on our way back from a nearby village. The sun's light was shimmering on the backs of the sheep as we passed them by. I couldn't resist this scene and my daughter, Emily, clearly understood. I moaned that I didn't bring my camera. But Emily had hers. "Here," she said, "Take my camera and you can walk the rest of the way home."

As I was randomly photographing the sheep in the pasture, this ewe caught my attention. She seemed curious and trotted up to me, baaaa-ing as she came. Her boldness was unexpected. I laughed nervously. Suddenly, I was glad there was a stone fence separating us; it gave us each boundaries.

Sheep Painting Study XI
10x8", Oil on canvas
Rita Salazar Dickerson

It seems like it was just yesterday that I was there. The air was crisp and the sky was blue. As I turned to leave, this ewe became the leader as she and the rest of the sheep escorted me to the end of their pasture. They stood at their gate and watched me walk away. It was a beautiful walk home.

Painting Sheep X: Completed

Adding the thick paint and texture was so much fun that I forgot to take photos of the remaining stages. These sheep paintings continue to bring back fond memories of being there.

Sheep Painting Study X
10x8", Oil on canvas
Rita Salazar Dickerson

It's hard for me to believe this is already the tenth in my series of painting studies of sheep. I have a few more images from my visit to North Yorkshire that I must record on canvas, though the inspiration for the subject matter will be the English countryside.

Painting Sheep X: Stages 1 - 3

It was an overcast day. The air was damp and cool.

The light was soft and the humidity acted as a filter for my camera.

All was quiet on this country road except for the clicking of my camera.

The green rolling hills stretched out as far as the eye could see.

Tomorrow I will add texture and detail.

Painting Sheep IX: Stages 4 - 5, Completed

Painting always makes me happy. But there is something about painting this little lamb that makes her extra special.

Little Lamb
Oil on canvas,  10x8"
Rita Salazar Dickerson

She was born in the same month as my little newborn granddaughter. They live not far from each other. And when I was thinking about a baby gift for her, to welcome her into this world, I thought that a painting of this little lamb would be ideal.

Painting Sheep IX: Stages 1 - 3

When I visited the countryside of North Yorkshire, late winter was rolling into early spring and it was lambing season.

The green pastures were dotted with sheep. Anticipation was in the air. Everywhere I looked there were little lambs with their mamas or well rounded, expectant ewes.

As I blocked in the shapes and colors of this little lamb, memories of that beautiful afternoon came quickly back.  Pablo Picasso said, "Painting is just another way of keeping a diary". How true!

Painting Sheep VIII: Stages 1 - 4, Completed

I looked in my closet where I keep my canvases and found this little 5x5" that seemed perfect for this 8th painting in my Painting Sheep Series.

This particular ewe seemed deserving of her own portrait; she has such an interesting face. Plus, painting this composition on a square canvas was nice for a change.

Sheep Painting Study VIII
Oil on canvas, 5x5"
Rita Salazar Dickerson

Painting Sheep VII: Completed

I decided to paint the background and the ewe's face a bit softer than I have in my last several paintings. For the majority of it I used a paintbrush and then blended with my palette knife.

Sheep Study VII
Oil on canvas,10x8"
Rita Salazar Dickerson

And then it was time for my palette knife. There is just something about a ewe's thick woolly coat. I love the challenge of interpreting it on canvas.

Painting Sheep VII: Stages 1 - 4

I woke up this morning wondering if I had any more sheep paintings in me...

Turns out I do.

This ewe and her lamb inspired me with her regal pose; so confident and peaceful.



Her little lamb resting close.

I am continually entertained by the variations in features, markings, and character of each sheep I have painted. I guess that's what keeps me going.

Now that I have blocked in their shapes with color its time for lots of paint and my palette knife. 

Painting Sheep VI: Completed

Sheep Painting Study VI
10x8", Oil on canvas
Rita Salazar Dickerson

When I repaint this study into a full size painting I plan on cropping off the top (most of the background green above their heads) so that the sheep are pulled into the composition a bit closer.

 It will look more like this:

Right now I'm feeling like all the green in the background is unnecessary.

More to come!

Painting Sheep VI: Stages 1-4

These first steps in the painting are important. The shapes, color and composition are all decided during these stages. If I like what is happening now, I am usually happy with the end result.

Stage 1: I painted in the drawing with a thinned mixture of Transparent Earth Red and Ultramarine Deep.

Stage 2: Blocking in the background with a mixture of Cadmium Yellow Deep and Cobalt Blue.

Stage 3: I blocked in the foreground shadows with a mixture of Ultramarine Deep and Cadmium Yellow Deep.

Stage 4: With varying amounts of Titanium White and the dark brown I created with Transparent Earth Red and Ultramarine Deep I painted in the shapes of the sheep.