MATERIALS
• Atelier Interactive Acrylic Paints: Cobalt Blue; Pthalo Green; Arylamide Yellow Light; Cadmium Yellow Medium; Burnt Umber; Carbon Black; Titanium White; Napthol Red Light; Crimson.
• Modelling Compound.
• Sand.
• Atelier Liquifying Medium.
• Painting Knives.
• Large four inch brush; Number 8 flat brush; Number 2 pointed brush; and Number 0 brush.
STEP ONE
I started with a rough sketch of the composition. My initial sketch is usually quite rough, but expressive. I use it to work out the lines of action and flow of the eye. I used photographic references for this picture, but it was important to use the photographs as reference only (rather than copying them exactly) to ensure that I was painting my own story. I could then take pride in the fact that my painting was totally original I changed the posture and lighting of the birds to create a more dramatic scene. I have several Rainbow Lorikeets as pets, so I am never short of inspiration or reference for the birds. Observation of them playing and interacting leads to knowing exactly what pose or action I want to put into a painting. After completing the rough sketch, I drew the image straight onto the canvas.
STEP TWO
The first coat was a mixture of modelling compound, clean sand (for extra texture), and Pthalo Green paint. My primary objective here was to build up layers of 3D texture by using a combination of painting knives and brushes. Applying the mixture right up to the outlines of the birds and their sunflower feast, I created a long, spiraling curve to lead the viewer’s eye right through the main area of interest in the centre of the canvas. When this was totally dry, I repeated the process for a thicker texture.
STEP THREE
This was the most fun part of the whole process. I grabbed the biggest brush I could find (usually a large painting brush from a hardware shop) and swept on a liquified mix of paint to work into the texture. This part needs to come from within … it is a time when any built-up emotion of joy or frustration comes out into every brush stroke. Keeping my arm loose and free, I worked in long sweeping brush strokes right across the canvas – always in the direction of the spiraling curve. Here I was using different mixes of Pthalo Green, Cobalt Blue, Arylamide Yellow and Titanium White. The lighter tones were dry-brushed over the texture in sweeping strokes. The outside of the picture has cooler and darker tones while the inside is warmer and lighter – to draw attention to the centre.
STEP FOUR
Using a Number 8 flat brush, I blocked in the main colours of the birds and flower – applying some shading and feathers as I was going. Working with acrylics means that you have to work quickly if you want to achieve good blending. The Atelier Interactive paints allow me to keep spraying the surface to keep it alive. I also put the paint on fairly thick, to make it easier to blend. I used the same flat brush for this whole step; even the thinner lines were done using the edge of the brush.
STEP FIVE
At this point I decided that the petals of the sunflower should also be textured and raised off the surface. I wanted a smoother texture than before, so I just used Modelling Compound and Cadmium Yellow. I laid this on thickly with my Number 8 flat brush, with the brush strokes extending down the entire length of each petal. While I was waiting for this to dry, I started some detail on the birds with a Number 2 taklon pointed brush.
STEP SIX
This was where I spent time on detailing the main areas of the picture. I didn’t detail the whole picture; only the areas that I wanted to draw the viewer’s attention to. In particular the eyes … they give the birds character and believability. The sunflowers are an important part of this painting, so I spent considerable time on detailing them. I am always considering the lighting of the picture. I believe lighting is one of the most important aspects of a good illustration. Take note of the yellowish light wrap around the back of the birds’ heads, reflecting the bright sunflowers. Good lighting gives the painting depth, mood and extra realism.
FINAL STEP
The final stage was to finish off the incidental parts of the image, such as the branches and leaves of the sunflower plant. I didn’t want them to become a feature, so I kept them muted and soft. They curved to keep with the flow of the background. I dry-brushed a purple mix of Cobalt and Crimson into all of the shadows throughout the picture, thus giving it nice cool and dark shadows.
MASTER HINTS AND TIPS
• Pay particular attention to lighting the scene – it determines the mood but can also be used to lead the eye to certain parts of the image.
• Experiment with different textures and mediums.You always need to grow as an artist, and experimentation expands your knowledge and skills.
• Use tone and shadow to give your paintings depth. Exaggerate the tonal values to make maximum impact, or reduce them to make something flat or subtle.
• Always have something to say in your paintings.A picture without a message is usually dull and lifeless. Give your paintings some purpose.
