Painting “Shimmering Solitude,” step 7

Step 7

Shimmering Solitude, 6x6, oil on canvasPainting “Shimmering Solitude,” step 7: I slowly worked up the reflections, and enhanced all areas of the painting a bit. It’s done! I’ll upload a much better picture once the paint dries a bit more. I just wanted to make sure I completed this step-by-step series.

It’s also available. Just drop me a note if you are interested. Thanks for reading!

What do you think? Let me know in the comments below!

Painting “Shimmering Solitude,” step 6

Step 6

Oil Painting WIP, Shimmering Solitude, artist Michael BrughPainting “Shimmering Solitude,” step 6: I accentuated the darks, and I have begun defining the bow by adding some contrast in the harbor. Keeping it loose, I dabble some general shapes into the horizon below the skyline. Next, I will get serious about the reflections (one of my favorite subjects to paint).

How am I doing? Let me know in the comments below!

Painting “Shimmering Solitude,” step 2-5

Step 2

Painting “Shimmering Solitude,” step 2: I’ve added a light wash of cadmium yellow, mixed with a small amount of cadmium red tones the painting. I will follow it up by lightening the sky next.


Step 3

Step 3

Step 3 of my painting “Shimmering Solitude.” I have added a bit of light to the sky and the water reflection, using Permalba white.


Step 4

Step 4, “Shimmering Solitude.” Working in a few details, I’ve mixed up some gray using pthalo blue along with cadmium orange, and now, adding more detail to the sides and shadows.


 

Step 5

Step 5, “Shimmering Solitude.” Working in some color, I place cadmium red along the superstructure, and deepen some of the shadows.

Of course, the color selection is totally arbitrary; the original had a slightly different color scheme. Artistic license, you know. 🙂

What do you think so far? Let me know in the comments below!

Painting “Shimmering Solitude,” step 1

Shimmering Solitude, 6x6, sketch

My new 6×6 painting, “Shimmering Solitude,” begins as a sketch on canvas.

Step 1

This is the initial sketch on a 6-inch by 6-inch canvas. I decided to use the grid method to place the commercial boat on the 6 inch by 6 inch canvas.

The painting will depict a working boat, docked at the end of the day after a productive day on the job, providing jobs and food for their families and customers.

What are your thoughts? Let me know in the comments below!

 

On the drawing board: Freda (update 6)

Michael Brugh's graphite drawing of Freda the cat, update number 6.

The blinds are now finished, and the shadows are developed on the window frame at the right. The illustration board I am using is helping to create its own texture.


Sorry I neglected to give you some attention on the blog, Freda. 🙂
Although I like the texture that my illustration board is producing, I am interested in using another paper texture for my next graphite drawing. J. D. Hilberry recommends Arches 140-lb. hot press watercolor paper. He says to use the reverse side of the watermark.

On the drawing board: Freda (update 5)

Michael Brugh's graphite drawing update number 5, of the cat Freda, using a General 9xxb pencil.

Freda’s coat is deepened by using a layer or two of a Kimberly 9xxb graphite pencil . I discovered the technique when I was looking for a way to create more contrast, and reduce the “shine” that regular graphite pencils make on paper. J. D. Hillberry suggested this pencil as a way to remedy that.

Freda's coat is starting to come together now. I start to show the dramatic lighting by beginning work on the blinds, plus her shadow. She is relieved to actually have a place to sit now!

On the drawing board: Freda (update 4)

Graphite drawing of Michael Brugh.

Update number 4. I lightly filled out the rest of her fur, and began defining the window sill.

Freda now has a complete coat, except for the fact that it is a bit light. I'll accent that more later. At this point, I wanted to start to tie in the background to her, so I started building up the window sill with a combination of an HB woodless pencil and a 2H.

Freda, update 3

Freda in window, update number three. Still using the 2H woodless pencil, followed by a light covering of a HB pencil, I defined Freda's chest and darkened the window sill.

Freda in window, update number three. Still using the 2H woodless pencil, followed by a light covering of a HB pencil, I defined Freda’s chest and darkened the window sill.

Freda in window, update number three. I defined the chest area by lightly shading the sunbeam area on the window. Part of the window sill can be recognized now, and I have also deepened the body, and darkened parts of Freda’s head and side. Again, at this point, I am using a 2H woodless pencil and an HB pencil.

Freda, update 2

Michael Brugh

Freda in window, update number two. I began by defining the head and body with a 2H woodless pencil, followed by a light covering of a HB pencil.

Freda in window, update number two. I began by defining the head and body with a 2H woodless pencil, followed by a light covering of a HB pencil.