About Jason Morgan

My love of animals has been there for as long as I can remember, along with my desire to draw and paint, so looking back it now seems inevitable that I would become a Professional wildlife artist

I strive to paint wildlife as accurately as I can, so where possible I like to see the animals in their natural environment, and this has, of course, lead to some very exciting journeys and experiences.

It’s these exhilarating and very personal experiences that I believe help me so much in my portrayal of wildlife in it’s natural environment.

It’s the hidden things that you can truly only experience by being there in person.

My Personal Endorsement

I highly recommend that you explore Jason’s websites by following the links below. On his websites you will find more free demonstrations, original paintings, prints and instructional ebooks for sale.

I have known Jason for quite some time now and not only is he an honest, reliable and all around good guy, but he is also an exceptional artist, as you will soon find out by viewing the wildlife demonstration below.

If you are ever in need of Wildlife Art or Wildlife Painting Instruction, I highly recommend you consider Jason as your source. You will not find higher quality or better value anywhere else!

Jason’s Websites:

===> http://www.onlineartdemos.co.uk

===> http://www.jasonmorgan.co.uk/

Mountain Gorilla – Free Demonstration

	This large painting will certainly need a plan if I am to do the subject justice. The pencil sketch left shows the important things I have in mind to make the eyes the center of interest.
	The first stages are always the same no matter what the subject – get some paint on the whole canvas. I don’t worry too much about the correct colours, but I do always paint in the direction of fur growth, even at this early stage. As per my usual technique a very thin coat of Liquin painting medium was applied to the whole canvas before I began painting in to it whilst it was still wet – this allows the paint to slide more easily.
	With the first coat blocked in and dry I know paint another thin coat of liquin over the fur area to be painted. I then select one of my old bristle brushes (or age one yourself by rubbing the bristles along glass paper) and dip just the tip into thick oil paint (no liquin) in this instance I used white plus a little ultramarine blue and burnt umber. With a very light touch and flowing strokes I then simulated the first (under-layer) of fur texture.
	This image shows the whole fur area textured, it is obviously much too light at this stage but it will be knocked back with glazes later.
	To apply a glaze I once again painted a thin coat of liquin over the fur area, then whilst still wet I glazed a very thin transparent dark over the top.
	With the underfur knocked back with the glazes in the previous stage (which is now dry) I begin to paint in the fur details (see the shoulder area) this is done following the same technique of liquin then a bristle brush with a little paint on the surface
	After the second layer of fur texture has been applied and is dry it is then time for more glazes and perhaps another coat of texture in places I feel needs it. I also strengthen the background.

About Karen

I am a self taught artist who loves to paint, and, if you can learn from loving it, that’s what I did. I am now living in Northeast Oklahoma, but I was brought up in Northern Wisconsin. My favorite things to paint are snow scenes and trees. I really like to see a beginner paint one of my designs in their style even though they don’t even know they have a style.

I think painting is great therapy. I have also made many new friends through my painting. I frequently teach a watercolor class at the local Vocational Technical College. I have also taught at several decorative painting conventions and chapter events.

To learn more about Karen and to view more of her work, please visit her website below:

http://www.karenfrye.com/

Beginner Watercolor Lesson – Learn How to Paint a Bluebird From a Photo By Karen Frye

My Palette

My palette of colors for this painting is: Ultra Marine Blue, Burnt Sienna, Neutral Tint (neutral tint is a transparent black), and Raw Umber. You can use most any colors and it will work fine. The white on the bird is simply the white of the paper that is left white.

Below is the reference photo I used to create this painting:

The photo below is a simple sketch I created for the painting from the reference photo above:

Transfer sketch to your watercolor paper. For best results use 140# watercolor paper preferably paper that is bought in sheets and separated in smaller sheets to fit your frame.

Begin painting by wetting the whole bird with clean water. Wet, but not puddles. Base the bird with a light wash matching the colors in the picture.

Again wash the whole bird matching colors, this time using a darker value of each color. This time, wash in the fence post the bluebird is standing on with a light wash of raw umber.

In this step, you will define the areas of the bird again matching colors with again a darker value of the colors. The eye should have a small white highlight. The bluebirds’s feet are a
neutral tint and the post is detailed with neural tint. (see photo)

This is a very beginner project. Please enjoy painting it.

About the Artist

Rod Lawrence graduated with a fine arts degree, magna cum laude, from the University of Michigan in 1973. Since then he has been working full time as a professional artist.

Lawrence has exhibited in many group and one-man shows, including the prestigious Leigh Yawkey Woodson Art Museum’s “Birds in Art” and “Wildlife: The artist’s View” shows. From these shows, his work has been chosen several times for their national tour. His art has also appeared as covers, illustrations and features in many outdoor magazines.

A log cabin in the hardwoods of northern Michigan, overlooking the North branch of the Manistee River, is home for Lawrence and his wife, Susan. The symbol preceding his signature in each of his painting shows the importance of his family in his work. The oddly shaped “S” is for his wife Susan (an accomplished basket weaver and instructor), and the “M” and “B” represent their sons, Matthew and Brett.

To learn more about Rod, please take a moment to visit his website by following the link below:

http://www.rodlawrence.com/

About this Demonstration

This acrylic painting demonstration is from the Book Titled: “Art of Acrylic Painting (Collector’s Series)“, published by Walter Foster Publishing. This demonstration was reprinted here with permission from the Artist, Rod Lawrence. All the artwork and text that appears within this demonstration is protected by Copyright laws and cannot be distributed, copied , republished or sold without the permission of the Artist. Thank you for your cooperation.

“Wolf” – An Acrylic Painting Demonstration by Rod Lawrence

Cropping In

I especially liked the angle of this wolf’s head and the bright backlighting. When cropping in on the head, I left enough negative space around it to close in on the wolf without confining it too tightly.

Step One

First I mix the overall base color for the head using cerulean blue, white, and smaller amounts of burnt umber, violet, and ultramarine blue. For the background, I create several values using many different combinations of burnt umber, cerulean blue, ultramarine blue, white and violet–sometimes adding yellow ochre and cadmium yellow light. I apply these mixes wet-on wet, blending as I paint.

Step Two

Now I transfer the main lines of the background branches from my sketch to the painting, beginning with the background mixes from step one. I apply washes of both lighter and darker values to soften the edges and slowly build up the foliage forms. Then I use a darker value on the area just to the left of the wolf, and I apply both light and dark values to the areas above and to the right of the wolf’s head. In the lower-left corner, I start to add some lighter value “holes” (the negative spaces) to the background.

Step Three

Now I wash in the background lights using a mixture of white, yellow ochre, and orange. I build the lightest areas using white mixed with yellow ochre, cadmium yellow light, and cerulean blue. Then I transfer the facial and fur details from my sketch, painting them with a slightly darker value than the base color; I also build up the eye and nose darks, applying several washes. And I add fur details with a value in between the base color and the darker values.

Step Four

When painting the lightest areas, I use thin washes and slowly build my paint into thicker layers. Then I lay on a darker value to create depth, indicating deeper areas of fur and dark markings. When painting fur, look for clumps of hair as well as color patterns. Fur varies in length and color, and it tends to clump in areas where it is thicker or where it is constantly compressed by movement. Take the time to really see how the clumps overlap, shadow each other, and weave in and out. This will help you paint fur more realistically.

Step Five

Now it’s time for color washes (see the samples below), which will enhance the wolf and begin changing the overall look of the base color in some areas. I use a lot of water, treating these mixes like subtle watercolor washes. When dry, these colors will look darker than they do when applied, so you must use some restraint when painting them. This wolf is primarily a grayish-white, so I do not want to add too much color to the body.

Buff + white +cadmium yellow light	Burnt umber + cerulean blue + ultramarine blue + white + violet + dab of yellow ochre	More burnt umber + more cerulean blue + more ultramarine blue + white + violet + dab of ochre
Burnt umber + ultramarine blue + cerulean blue + violet + dab of buff	Burnt umber + cerulean blue + ultramarine blue + white + violet	More burnt umber + cerulean blue + more ultramarine blue + white + violet

Step Six

I establish the eyes with yellow ochre and add a cadmium yellow light wash around the wolf to warm the highlights. Then I paint the next darker value, adding cerulean blue where I want a more grayish-blue and adding more burnt umber where I want more intensity and warmth.

Step Seven

Now I’ve finished with the darker values. Next I apply yellow ochre washes to the head and chest, sometimes adding burnt umber and cerulean blue. For the eyes, which need subtle washes to make them look more realistic, I also add a tiny bit of white and cadmium yellow light.

Step Eight

For more contrast, I emphasize the eyes, nose, and ears with a mix of cerulean blue, ultramarine blue, burnt umber, and violet. I start the wash above the eyes and between the ears, continuing over the base of the ear on the left. Next I use thicker paint to construct the darker areas. I continue adding the darker value throughout the wolf’s head, applying washes for small changes and several coats of paint to cover really dark areas. Then I mix my darkest value–burnt umber, ultramarine blue, and violet–and apply it over the last wash.

Step Nine – Final Step

With a cerulean blue, yellow ochre, violet, and white mix, I punch up the detail of the fur tips around the eyes, in the cheek and muzzle, and on the chest. Next I use white with a hint of violet to paint the backlit edges, starting with washes and then switching to thick layers of paint. I drag the tip of my round brush into the background to create the finer hair highlights. Next I add the final details, beginning with washes of white tinted with yellow around the left ear. I also paint some darker and lighter fur in the cheek and throat area to emphasize contrast. I apply a bluish-purple tint on the nose; then I stroke in the fine, delicate whiskers.

About Barbara

Barbara A. King is a self-taught artist. Born in Irvington, New Jersey. Barbara took to art as soon as she was able to hold a crayon. Throughout her childhood, Barbara developed an appreciation for her majestic surroundings. She would often sit in tress for hours with pencil and pad, or sit in a meadow with a canvas. Years of artistic expression made it clear that Barbara’s life would be centered upon her passion for art.

To learn more about Barbara and to view her work, please visit her website by clicking here.

Oil Painting Demonstration – Peacock Feathers

Materials Used for this Painting

My Palette of Colors

Acrylic Yellow Lemon

Dioxazine Purple

Cobalt Blue

Indigo

Cobalt Turquoise

Raw sienna

Perlene Red

Thalo Yellow Green

Viridian

Ultramarine Violet

Raw Umber

Sap Green

Van Dyke Brown

Warm White

Metallic Gold

(One Coat Glazing Medium)

(Two Coats damar Varnish)

My Brushes

# 6 Bright

# 4 Bright

# 2 Bright

# 0 Bright

# 2 red Sable flat

Small soft mop brush

10 X 30 Canvas or what ever you have.

STEP 1

Cover the canvas with lemon Yellow acrylic paint. You can draw your peacock feathers on the canvas. Your lines will not show. I do not draw in the lines when I paint. I did this so you all can see the shape of how to start a peacock feather. The main part of the feather is shaped like an egg.

Start with what I call the eye.

Work your way out to the outside of the feather.

Oil colors for the eye: Cobalt Blue, Indigo, Dioxazine purple.

Make a mix of these colors for the eye.

Brush in the mixed colors for the eye.

First ring around the eye. Cobalt Turquoise, using a sharp chiseled edge of the brush. Go in the direction that the feathers grow,around the eye with short strokes. Now blend and soften the edge, with a clean dry soft mop.

Second Ring: Mix Raw Sienna and a small amount of Perlene red # 6 Bright brush. The brush should always have a very chiseled edge. Soften edge with soft mop brush.

Third Ring: Mix Tholo Yellow Green and Viridian With # 4 or 6 Bright what ever brush works better for you. Always use short strokes at the top of the feathers. I can never say this enough “CHISELED EDGE”.

Next Ring: repeat second ring.

The last ring , mix Ultramarine Violet and Raw Umber with a # 2 Red Sable flat Brush.

Lightly pull lines though all the rings in the direction the feather grows. (to the top of the feather)

Used your mop brush very softly go over all the rings to smooth out any hard brush lines.

Feather Quills is a mix of your greens, purple, raw umber and warm white.

The top of your quill is your green mix. Middle quill is your purple and raw Umber mix. Bottom of the quill is warm white.

Blend the colors together were the colors meet.

When all your feathers are done and quills are done, move to the outer edge of the feathers.

Now the fun begins!!

Mix Sap green and Van Dyke Brown more to the green side. Use a # 6 Bright. Your brush should have a very very chiseled edge.

Keep your feather lines very close together. If you have a maulstick , this would be the time to use it to steady your hand.

This part of the painting takes a lot of time and patience. The feathers must be from the top to the bottom of the quill. You can fill in as you go. You will be going back and forth to your palette many times to reload your brush. You will also have to see what feathers are going to be in the background and what feathers are in the foreground.

When your painting is dry you may use a light coat of metallic gold on your painting. Use the Metallic gold only on your eye and feather rings. This is optional.

When your painting is dry, put a thin coat of glazing medium on your painting. When the medium is dry use one coat damar varnish on your painting. Six months later put your second coat of damar varnish on your painting.

When I painted Proud Peacock I did things a little different with the background. I did not use an acrylic paint. I used a mix of gel, cadmium yellow and titanium white. This is for you people who don’t mind waiting for a background to dry.

I hope you all enjoy painting peacock feathers. Just a little note to all the people who are new oil painters. Never give up and don’t let any one tell you, you will never be a good painter. If you would like to see more of my work, please go to www.barbaraaking.com

If you have any questions, please let me know.