Work In Progress: Peaches, Update 8

Work in Progress: Peaches, Update 8

            As I sit here in my kitchen this morning, writing my latest update, looking out into my back yard, it’s pouring outside. We’re under a severe thundershower threat. I welcome the rain, however. I like rain. In addition to loving art, I’m a gardener, too - have been for many decades. All the plants in our garden – the Azaleas, the Camellias, the Andromedas and the Hydranges - can use the water. Although we’re in the midst of an El Nino, here where I live, we haven’t received a great deal of rainfall yet this winter.

            I’m also sitting in my kitchen writing this, rather than in my den, because we’re in the midst of house training a new member of the family – Heidi - a beautiful little cocker spaniel girl. She’s chocolate and tan, with interesting tan eyebrows – and light, blue green eyes. We’ve got the kitchen blocked off to keep track of her until she’s trained. She’s a good for us, keeping us from dwelling on the loss of Peaches, and we’re forming a bond – a long one – we hope.

            Now, to Update 8 of the portrait of Peaches. The portrait is taking shape, as I’ve gotten more of the details in. I’m keeping sharp points on the pastel pencils now, sharpening them often with a single edge razor blade. Using a sharp point, I drew in the fur details over the entire body, and then started working in the details. Three dimensional form is now becoming evident. At this stage I’m working in details of the fur. I’ll put in some darks using a combination of Carb Othello (CO) dark ochre, Pitt Pastel (PP) burnt umber and a bit of PP caput mortuum here and there to define the masses. Within the masses, impressions of hair is stroked in with PP brown ochre, CO dark ochre, and highlights with CO ivory and white. I’ve also introduced CO 692, golden ochre light to the fur masses, as it seems to be a good match for the lighter fur. I also use it to highlight hair strands.

            At this stage the colors are just worked together, blending them to soften the look of the fur, to define edges and deep shadows, to define errant hair, and to highlight areas struck by light. Layering in the colors also eliminates the color of the paper. I also define the outer edges of the body form by deepening the background with PP burnt umber.

I’ll continue in this manner over the rest of the body, defining edges and shadows, bringing out highlights, and hinting at individual hairs here and there.