ACEO - Old Buildings 1-2

Driving through the countryside it seems that more and more of the old barns and some of the farmhouses are being neglected and left abandoned.

One barn on the Lindsay Highway collapsed this year.

Now all that remains of it are a few broken beams, some sheets of tin still partially attached to the fallen roof which rattles in the wind and the stone foundation that has survived for over a century.

But eventually, even all of that too, will give way to the weather and time and disappear forever.

Old Buildings 1

If you would like more information about ACEO please go to my post on 11 March 2010.














Old Buildings 2

The ACEO shown here are all original watercolour paintings using Artist quality Winsor & Newton paint on 300lb. Arches 100% rag, acid free watercolour paper. They are priced at $20.00 each and sold unframed.

The American Saddlebred – Finishing

All that remains is to add the grasses beneath the horse's feet where the shadow will fall. This serves to ground the image giving the illusion that the horse is actually standing on the ground instead of floating in the air.

Remove any slight smudges that may have occurred during the course of layering in all the details. At this point I like to spray a final light layer of fixative over the surface to prevent any of the graphite moving from where it has been placed.


















The final step is to sign the completed 5-1/4" x 5-3/4” graphite pencil drawing of the American Saddlebred.

I hope you have enjoyed seeing the way I work from the original idea through to the completed drawing.

This framed original is available for $150.00

Thank you for taking the time to visit my blog and look at the artwork.

Drawing the American Saddlebred - Chest, Neck and Head

I finish the mane first as it is the furthest point to the left on my drawing that hasn't been completed.

I do this is to prevent myself from smearing graphite across an almost finished piece which is a very likely possibility (I know this from past experience).



















Again working with the darkest shadowed area on the chest, foreleg, neck and the inside of the ear, I start the first layer of graphite.

Gradually adding each layer and going over the areas until only the white of the foreleg and any highlights are left without graphite.



















I will remove any excess graphite and then apply another layer of workable fixative over the newly finished area.

The darks are added onto the head and forelock.


















I often find that the head usually requires more time to complete than any other section of the horse as there is a lot of detail to fit into a small area.

I usually start at the top of the head and work my way down adding more details as each layer of graphite is added, finishing by removing any loose graphite and spraying lightly with the fixative.

Drawing the American Saddlebred - The Forequarters

The drawing is a little over halfway finished.

The darkest shadows are again established on the forequarters.


















The main muscle masses and tendons are defined and detailed. This serves as a guide to give the direction the pencil lines will follow.

Starting up at the withers the layers of graphite are applied to the shoulder and worked down through the leg until the only white paper that remains are the highlights.


















The shadowed area at the withers beneath the mane is put in to finish this area. Then the shadow beneath the mane is indicated to define the edge of the mane and to set the darkest area on the neck.

Carefully remove any excess graphite and apply another layer of workable fixative is applied to set the graphite and prevent it from moving.


















Thank you for taking the time to look at my artwork and I hope you will return often.

Drawing the American Saddlebred - The Barrel

All the lines on the barrel are curved as though to wrap around the body and create the illusion of roundness.


















The darkest shadows of the underbelly are put in first, and gradually the depths of values are built up, leaving only the highlights which is created by the white of the paper showing through without any graphite.


















The excess graphite is carefully removed and a light coating of workable fixative is applied.

It is time to move onto the forequarters.

Drawing the American Saddlebred - The Hindquarters

I will now start working on the hind quarters.

Once again establishing my shadowed area first in a mid tone and gradually working up the layers of graphite.


















As I lay down the lines of graphite I follow the direction of the muscles and curve the lines, this gives the illusion of roundness, rather than using straight vertical lines which would make it appear flat.

Where the white stockings are on the leg I lightly indicate the outline and add the shading to the leg and joint to give shape and roundness, leaving the paper to remain white.


















I will establish the dark shadow on the underbelly and finish the flap of skin in front of the stifle.

Before proceeding further now is a good time to remove any excess graphite from the paper and apply a layer of workable fixative.


















The far hind leg is completed in the same manner.

Once again the excess graphite is carefully removed and a layer of workable fixative is applied to the drawing.


















It is now time to proceed to completing the body of the horse.

Drawing the American Saddlebred - Beginning Stage

I use either 90lb. d'Arches watercolour paper or Grumbacher Paper for Prisma Pencil for most of my pencil drawings. This drawing is on the Grumbacher paper.

After transferring the drawing I lightly block in the areas where there will be highlights and make sure everything has been transferred and all the muscle masses are well defined and easy to see and exactly how I want the line drawing.


















Being right handed I work from left to right when putting the shading onto a drawing. It prevents my hand running across graphite already laid down on the paper and smearing it across the drawing which will need to be erased afterward and can cause the sharpness of the drawing to be lost.

I find that a mechanical pencil works best for me, as it always has a sharp point and I do not have to take the time to stop and sharpen the point as I would have to do with a regular wood encased graphite pencil.


















I start with the darkest shadows on the tail and put down my first layer as a mid tone. With each layer I continue to go over the one laid down before, gradually building up a darker value in the shadow, and each successive layer until I reach the mid tone layer of the tail.

By this point my darkest values are well established with up to four layers of graphite.



















Now I start working into the lighter tones always being careful to leave the highlights as the white paper showing through without any graphite on it.
I continue to work the layers over the tail until the lightest tones have been put down.

After carefully removing any loose graphite from the drawing I will lightly spray it with a fine layer of workable fixative.