Life in the High Country
Visualising the finished painting before lifting a brush is key to this artist’s success.
My plan is to create a story … an interaction between the horse, the man, the cattle, the dog, and the environment. The sunlight and textures will be important elements, and the lost and found edges will give the overall unity to the painting.
I am familiar with the subject, having ridden horses with cattle in the Gippsland High Country. I have filled sketch books, and taken many photographs. I visualise the artwork in my head before I begin to work. I try to “see” the finished painting before I start.
STEP ONE
I tint the selected canvas with an acrylic mix of Maroon and Black. This dark base will allow me to give greater effect with the light. It will push the lights forward and settle the darks back into the depth.
I draw the man leading his horse using a White coloured pencil. It is important to map on the outlines of the lights and darks in the initial drawing stage.
STEP TWO
I begin the oil painting, placing on the light colours with extreme contrasts. The dark tint helps to see the effect this will have in the finished work. This would be impossible on a light or medium toned surface.
I apply the undiluted paint with a crisscross action, giving a suede effect over the whole surface.
A flat synthetic brush is ideal. I judge each tone and colour against those already on the painting.
STEP THREE
The cattle I have selected from my references must be placed in the line of sight of the horse and the man … there must be a connection. The cattle will look at the dog placed in the lower corner, obvious only after the viewer comes into the triangle.
I work on small connecting background areas to have more accuracy with tones and edges.
STEP FOUR
Water is an essential part of life and animals tend to meet at the creek or waterhole, so I have another texture to contrast with all the bush. The scattered light must be well balanced yet not so bright that it takes away from the main characters. I specifically chose blue and green for the clothing on the man; he is not to be the main attraction, imagine how wrong it would be if I had painted him in a red checked shirt, as I had placed him in the centre. He is really only part of the horse and lead in this situation.
FINAL STEP
I take so many days painting the rest of the scene. I consider every stroke I apply and check the colour, tone, and edges. I must keep it as a supportive role and not to distract from my story.
I leave the painting for “more looking than putting” at this stage, but once I sign it, then it is finished!
Ph: 0439 468 654 Email: jan@janlong.com.au Web: www.janlong.com.au I