If you read my previous post you are probably wondering if almost three weeks later I am able to un-cross my eyes. The answer is yes, although I must say that trying three different pairs of hard contact lenses in the time didn’t help matters much. Still working on the lenses, but at least this portrait is complete. Here’s a little tour of the project from the original photo to the finish.
The reference photo was taken on the sly by the intended recipient’s daughter. She was back at the old home place in Connecticut for a little vacation and wanted a present for her father, but didn’t want him to know what was up. She couldn’t just remove the photo from the house, so she sneaked a snapshot of it with her cell phone. Not the best way to get a nice square well-lit picture, but at least it was a picture….
It’s pretty obvious that this photo has some problems, among them glare from the glass that covered the original, harsh lighting obscuring a lot of the detail, and uncertainty as to the actual color of the horses. First problem to tackle was straightening up this photo and getting it to the size proportions needed to fit a 5″ x 7″ Aquabord™.
I needed to add some Photoshop foliage to the top of the picture to fill in the space in the 5″ x 7″ format. That was probably the easiest part of the entire process. Next came the drawing, which was where my eyes went buggy. You (or I) look at this photo and think, well, I see all the detail quite clearly. It’s a whole different matter when trying to reproduce that detail that your eye thinks you saw before you had to actually recreate it–especially in the dark areas. I tried every which way to lighten this up in Photoshop so I could perhaps see some of what was going on the the dark areas, but I ended up (after much procrastination) just winging it from the eyeball down to the nose of the front horse. Here’s the painting pre-eyeball…
I had to query my client about the true color of these horses. The photo looks awfully red and I was suspicious that this color was not realistic. She described a color as sort of a palomino trending toward liver chestnut. Fortunately I’ve seen so many of these “ponies” that the description brought up a color instantly to my mind. It’s more like a buff-brown with some golden highlights (oh yeah, easy for me to say), so I played with a few watercolor mix combinations till I thought I got it fairly right…
And so, mission accomplished. It goes to my client as soon as the varnish is dry. She upped the gift-giving deadline to Thanksgiving but fortunately we more than beat that time.
beautiful!
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Thank you! I visited your blog and think you are well on your way to watercolor proficiency. Keep at it, it will only get better!
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Thanks for the encouragement Alli. Still extremely slow but enjoying the process. Have good hopes for a piece I’m working on now. Seeing other’s paintings, especially the various stages of progress, is very helpful.
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Wonderful work Alli! The harnesses look great. 🙂
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what a delightful painting!
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Thanks Ron!
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The final result is gorgeous. Great light play and the coordinated movement of the horses shows through beautifully.
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Thanks so much. I really had to trust that the changes I made to light patterns on the photo would work out.
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The changes worked out nicely. x
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Absolutely astonishing! Just look at all that detail! I really love the end result. Jealous. Wish I had that talent…
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I knew what I was getting into with this one because I had done this other one–https://allifarkasartist.wordpress.com/2013/06/18/we-do-have-attitude/–a couple of years ago. What kept me going was knowing that 1) the pony painting is a lot smaller, only 5″ x 7″ and 2) the original photo wasn’t crystal clear so there would be a lot of detail that I wouldn’t have to include.
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And you could also call it “artistic freedom” to add/subtract anything you like 🙂
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These are terrific…thanks for posting and the suggestion that sometimes a reddish tint in a reference is not really there.
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Reference photos can be annoyingly inaccurate sometimes. If you know your subject matter pretty well you can usually tell when something appears to be “off color”. By the time someone takes a snapshot in iffy light, sends it via email to my monitor which may not look even remotely like the colors the person saw on their phone/laptop–the colors can be wildly different. Going the other direction–artist back to client for approval of a painting–can generate the same difficulty with color. You never know what color cast someone is going to see on their personal electronic device. I’ve found that the hardest colors–for me, at least–to reproduce accurately in a digital photo are those in the blue and blue-violet range. The reds, in this case I think, were a product of over-saturation. Hope all of this makes some sort of sense to you!
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It makes complete sense. I watercolor, and anytime I’ve tried to capture purple, and as you say sometimes blue, it is near impossible.
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