Drawing the American Saddlebred -Transferring the Outline Drawing

Once I have gotten the drawing as far along with all the outline details on it and I feel that the drawing is finished I take new piece of tracing paper and keeping the lines I want I trace the horse in reverse.

This serves two purposes. By seeing the image in reverse any errors that I have missed seem to show themselves. It is similar to holding your picture up and looking at it in the mirror, it forces you to look at it in a different way.



















It is at this stage that I make any final corrections. I also make sure to press a little harder with the pencil to be sure there is plenty of graphite on this side so I can easily transfer the final outline sketch to the fine quality paper I am going to use to complete my drawing.

This also limits the amount of excess graphite which can be a problem when rubbing over the back of a sketch with a soft pencil before transferring the final outline drawing, which in many cases can cause unwanted smudging over the paper which will have to be erased and may damage the surface of the paper.



















I also find this method better than using the graphite transfer papers as you have to press to harder to get the image to transfer clearly and more often than not score the surface of the paper which should be avoided.

Thank you for coming to look at my artwork.

Drawing the American Saddlebred - Outline Drawing

Once this stage has been reached the entire painting from completing the sketch to the finished graphite pencil drawing should take approximately five hours or less for a piece this size 5-1/4 x 5-3/4"; provided of course I don't make a real hash of it (which I have been known to do on occasion).

Now begins the time consuming part of drawing as the sketch is gradually tightened up, the shapes refined and the details are slowly added.


















I begin by adding more detail to the large muscle masses of the hindquarters, forearms, shoulders and chest to use as reference points and make sure that the basic drawing continues to be in proportion.

Corrections are made as necessary on the diagonal set of weight bearing pasterns and fetlocks which are attached to the supporting legs, and have more stress placed on them than would normally be seen when the horse is standing motionless with the weight evenly distributed on all four legs.

I do not use an eraser on my sketch but keep working back and forth over the lines changing them as necessary reworking and refining.



















Then add the main tendons and muscles to the legs and chest; the indent where the windpipe runs down the throat and muscle lines on the crest of the neck.

After being sure to have the throat join in correctly under the cheeks, I work on the head adding the details to the ears and eyes making sure that they are positioned correctly. Then added the forelock and a little definition to the mane.

If at any stage the sketch gets to the point where I am having difficulty with finding the correct lines, I simply get out a fresh piece of tracing paper and take the outline of that lines I wish to keep and leave the messy sketch behind. Then I carry on with refining the drawing.

Drawing the American Saddlebred - Thumbnail Sketches

While at horse shows I often try to spend some time in the barn area seeing the many different breeds of horses being prepared for the show ring, then watching some of the demonstrations and performances put on in the arena over the course of the weekend.

I make many quick thumbnail sketches of what I was seeing as well as taking photographs as reference materials for later when I no longer have a live model in front of me.


















Each drawing or painting begins with a series of thumbnail sketches to capture the movement which made an impression on me that I wish to share with those who will see the final painting.

After going through the thumbnails I had made of American Saddlebreds it was the sketch in the upper left hand corner that I decided I would like to develop further.


















Most of my working sketches are done on layers of tracing paper. First I trace the sketch that pleased me, making any changes to the proportions if I feel it is necessary at this point. I refine the outline from the rough shapes and give an indication of the main muscle masses, the various moving joints and add the hooves.

This is the basis for my first outline drawing.

The Ones That Got Away - A Work in Progress

How is it that it is always one of your favourite lures that snags on something submerged in the lake and it is lost? Although I hear many "fish" tales about how it was taken by a "big" fish that snapped the line.















This painting is about half way finished. The under painting has been completed and now the texture is gradually being put onto the stump. The lures need a little more light and shadows added to them.

I will post this painting at a later date after I have worked on it again.

Onions and Baskets - A Work in Progress

This is a painting I started back in the early part of the year with another piece that I completed (see post on 17 March 2010).

I have added the onions to the painting which are almost finished.














I still have to paint in the background, the wooden table and do a lot more work on the two baskets.

I will post this painting at a later date once more work on it has been completed.

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

Morning Sentinels - A Work in Progress

These are the twin pines that are almost at the top of the hill at the back of my property. I have painted them many times, in every season and at different times of the day and night. Each time it is as though seeing their beauty and majesty for the first time.

The morning sky has been painted in using Antwerp blue and alizarin crimson. The clouds are a mixture of Antwerp blue, French ultramarine blue and a touch of burnt sienna.

The trees were lightly drawn in and parts of the treetop have been painted silhouetted against the sky. It should be interesting to see the final result.

I will post this painting later once I have completed the trees.

Trilliums - A Work in Progress

This is the first in a series of the Provincial Flowers of Canada.

The Trillium (Trilliium grandiflorum) was chosen as the provincial flower for Ontario in 1937. It is an official symbol of the Government of Ontario and is often used in heraldry in Canada. It also serves as the official wild flower for the state of Ohio.

These charming native woodland wildflowers are a harbinger of spring.

They start flowering for two to three weeks beginning in late April to mid May depending on local conditions.

The plant is most commonly found growing in rich deciduous or mixed upland temperate forests of eastern North America.

They're from southern Ontario, Canada in the north, east across to Nova Scotia, and south into the USA to the northernmost part of Georgia and west to Minnesota.

The simple elegance of these delightfully unusual single stemmed flowers, have a whorl of three leaves and single, large 2" - 4" (5cm - 10cm) three petal flower with slightly ruffled edges. They are white when they first bloom and often turn pink with age, making them one of the best-known and easily recognized wildflower.

I will post this painting at a later date when it is completed.