Gallop I and Gallop II

FROM TOP:   "Gallop I (Gray)" and "Gallop II (Dark Bay)," from the 2009 Belmont pARTy, both 6" x 12", equine paintings in acrylic on canvasboard, $249 each or $479 for both. Inquiries may come to me.

 

Today's pARTy reference photo was provided by equine photographer Juliet Harrison. I'd like to thank Juliet for sharing her imagery with us on our first open invitation pARTy. Juliet's photography portfolio is wonderful, her book exquisite eye candy, and she also provides reference photos for artists.

 

The reference photo (which you can see here), from Saratoga, depicts two Thoroughbreds in full gallop, complete with jockeys and the track scene as a backdrop. Initially I planned on painting each horse on his own panel, with the gray one pulling away and the dark horse digging in. Somewhere along the line, however, I began liking the idea of them running free, and never added the jockeys, rail, or background sheds. I'm debating still whether I should leave the dirt/track surface in the foreground or carry the grass to the lower edge of the canvas.

 

The idea of diptych's has always fascinated me. I've done it on a couple other occasions (Pounce is one), and really enjoy the challenge painting companion pieces provides. It's even more challenging to get those works completed within the course of a day that also included delivering artwork to a gallery and the end-of-school-year carnival.

 

I haven't seen Linda Shantz's painting yet, nor any of the Belmont pARTy participants. I understand Linda would like to have them all posted by Monday. You can review all the artwork on the Virtual pARTy blog.

 

Meanwhile, here's to a safe trip and a good race.

Enjoy your weekend!

Kim Santini

ksantini@turtledovedesigns.com

 

Warming Up

I cropped the photo a bit - one, to eliminate the sliver of negative space near the lower hind, and two, to accent the forward motion of the horse and the relationship with the jockey. My original intent was to include all of the jockey, but I couldn't find my proportional wheel and chose the wrong size board.  I do like the energy that's still caught, despite the jockey's  decapitation - but in many instances the painting would be ruined due to lack of proper planning. I just lucked out today.

So I began with a wash of ultramarine blue, bleeding to a pthalo blue red at the bottom. The ultra is a cooler blue, and the pthalo a warmer one. Cooler colors = distance, and I wanted that balance from the get go.

Then I started roughly blocking in the shape of the horse and jockey. I'm not worried about nit-pickey details, just rough forms, and beginning to establish values. It's not important to even have the right colors down now, because so many more layers will go overtop.

I modified the tree line from the reference photo. I needed a diagonal to sort of intercept the trajectory of the horse. Too many horizontals can overwhelm an object that is moving in that same direction, so I wanted to break it up.

Now I'm adding broader strokes of color - more realistic or correct in both tint/hue/value - and paying closer attention to details and proper drawing. I do a lot of relational measuring at this stage - I'll compare the head's length (usually the first thing I firm up drawing wise) to the rider's forearms to the thigh to the neck - and just continue on building their relationships based on size.

I'm trying to build up the entire surface of the canvas simultaneously at this point. I don't want to end up with a halo-effect background (you know those ones where you can tell the background was corrected/finished after the foreground/middle of the painting). I am continuing to model the shapes and make drawing adjustments, too - like I noticed the horse's head was too small. Notice also that I've only indicated the placement of the bridle and reins - they will be the last pieces to get painted, so as to allow for smooth and loose brushwork underneath.

I'm also setting the reference photo aside mostly by now, and trying to imagine the scene in front of me. What is my time of day and how does that impact the sunlight? How will the light glance off spots? what other colors will collect in the shadows? I squint at my painting from across the studio - does it have the proper sense of depth? 

I step back and use my thumb/hand to block out different areas of the painting from across the room. Does it all work well together? that's what I'm trying to determine.

The biggest test is if the shapes balance each other out. This is a totally different concern than questioning if the subject looks like the reference - I'm studying instead the relationship of the forms in the painting, and looking for adjustments that will make for a better composition. I'm never so concerned with creating an exact replica of the photograph - we already have a nice photo, so why try to recreate it? I am using the photo as a starting point to create a moment in paint that is tangible. For instance, I made the horse's face the brightest point in the painting because the piece is about him (not the jockey's pants or the blanket number, which were equally bright in the photograph).

I continue to lay down paint, working from a large brush to a smaller one in the final layers. I also am mixing my colors using the same palette - pulling from pools mixed in a prior layer. This retains harmony throughout the painting and makes it easier to go back and touch up or modify previous marks.

And now the piece is done. Working title "#3 Warming Up," 8" x 16", acrylic on canvasboard, $529. Inquiries may come to me.

Thanks for following along with today's Preakness pARTy,

Here's to a safe trip for all,

Kim

ksantini@turtledovedesigns.com