Michelle Wrighton Fine Art and Photography

I forgot that I had a progress photo of Precious on my computer.  Precious’s portrait is being created with a strong contemporary feel to go with her funky and fashionable patent pink colour:)  I have to admit the shine of the patent pink collar is the hardest part to get right.  LOL its not something that I usually paint, but I am sure it will work out in the end.

Sorry about the flash glare on this one, oil paintings are proving as difficult to photograph as graphite!

There is still a fair bit of work to do to get Precious and her patent collar looking perfect, but I won’t be able to work on this until I get a couple of commissions wrapped up.

I’m glad to report that the new carpet has been laid and our house is slowly returning to normal – I today I can finally step back inside my studio!

After painting for the last few pieces, I wanted to get my hand back into drawing mode so I started this Rhodesian Ridgeback as a quick experiment see how graphite works on drafting film.  Drafting film is my favourite support for colour pencil work, but I have never tried it for graphite until now (very few artists use it, although I have found one artist who has been using it as a support for thirty odd years).

Photographing it proved very difficult, but I have finally managed to get a semi-reasonable digital image of this one by scanning it, it is still a work in progress, so not yet completed. Film is a really nice surface to work on, and it is more like painting in graphite and charcoal than drawing that is both good and bad, good because it allows very soft transitions of tone, bad because it is easy to lift off and smudge.

I normally only use charcoal for getting my darkest darks in my graphite work, but I found myself leaning more and more towards the charcoal with this one, and whats more, really enjoying ‘painting’ with it using a variety of tools such as chamois, tissue, cotton buds (q-tips), a watercolour brush and a make-up sponge.

Probably the best thing about drafting film though, is the ability to put a different colour paper behind the drawing.  I used a cream parchment paper, and although it dosn’t show properly in the scan (think marbled/mottled cream rather than solid), the effect it gives in real life is really interesting, and something I am looking forward to experimenting a bit more with.

The reference photo was one of my own, and the drawing is approximately A4 in size and when it is finished I will probably offer prints of it at RedBubble.

The first image shows the drawing with the cream backing:

The second image shows the drawing with a white background:

I’d love to know your opinion on my experiment, and if you use drafting film for graphite and charcoal work, or would like a charcoal pet portrait of your own Rhodesian Ridgeback, I’d love to chat;)

I have done a bit more modelling of Poppy’s face and have started on her eyes. It takes many thin glazes (layers) of paint of various shades of browns and golds to achieve the luminous liquid look of animal eyes, but having made a start on her eyes, Poppy is starting to come to life.

In this next progress shot, I have done a bit more work on the field and have started to add in the red poppy flowers. I’ve also continued with the modelling of her face and started the basic underpainting on her body. Obviously the underpainting is just blocking in shapes (shadows and lights) to create the form of her body before the detail starts to go on in the top layers. I’ve also added some purple to the paynes grey to tie the background in with the dog’s fur, to give depth to the darkest shadows and to start creating some of the red highlights that are apparent in the reference photo of the black labrador retriever that I am using. Thats a handy co-incidence that will work well to tie in the colours in the dog with the background:)

This painting is in a very, very ugly stage that seems to be lasting forever. As much as it looks like it now, this will not be an abstract painting of a dog when it is finished. LOL – at least I hope not!

I am working this painting in the same way that many oil painters use – multiple thin glazes of colour, so it is pretty time consuming. This has taken about 16 hours so far and I would say has at least that many more to go.

Michelle

This is a painting I am working on in between commissions for my own portfolio – it might seem a bit strange but I have very few pieces of my own artwork to show clients because most of the work I have done over the past few years have been sold.  Which of course is a good thing, but I would also like to enter a few competitions and can’t do that when I keep selling everything, so hopefully over the next few months I can add a few pieces (at least six) to my own collection here and there.

I’d also like to experiment with a much looser style and try out some more landscapes if I get a chance.  To help keep me motivated to achieve these goals, I’ve joined in the Australian Art Forum’s Winter Challenge with will run from 1 May to 1 September.

It seems that most artists that paint with a high degree of realism tend to produce  pet portraits with traditional landscapes or portrait backgrounds, and those artists that paint in a bold contemporary style usually don’t paint in highly realistic detail.  I would like to pursue a slightly different direction with some of my artwork, although I don’t think I will ever move away from my realistic and ‘up close and personal’ style, I want to explore combining that with modern contemporary backgrounds.   Bright bold background colours and landscapes full of beautiful saturated colours that border on the real/surreal/hyper real.  Will it work?  Can it be done?  LOL, who knows, but I am sure it will be fun to find out:)

This one is likely to take a while to complete as I am fitting it in between commissions.  ‘Poppy’ is 16″x20″ on gallery wrapped canvas.  This is a big experiment as acrylic is a new medium that I am teaching myself how to use.  The thing I love about being self-taught is that you can try new and unusual techniques because no ‘expert’ teacher has deemed there is a right way and a wrong way.

Personally, I think as long as you use good quality artist’s materials, you can’t go far wrong by simply experimenting to find out what works (or dosn’t) for you:)

So here goes my experiment with ‘Poppy’.  I’ve deliberately chosen to offset the black labrador to the right hand side of the canvas, and to use a landscape orientation rather than portrait.  My vision for this one is to have the dog sitting a a field of red poppies. So I have to learn how to paint flowers as well, which will be fun:)

The first image shows my sketch of the Poppy, and the beginning of the background field, which has been created with many thin glaze layers of paint which has taken about 3.5 hours so far.

The next progress shot shows how I have started to block in the main shapes (shadows and highlights) in the underpainting using various dilutions of paynes grey.

More work on the underpainting and additional glazes on the background.

Stay tuned for the next updates on Poppy!

Michelle

This is my latest painting of a gorgeous rescue Greyhound “Teddy”.  Rendering his fur realistically was a bit of a challenge.  I will probably leave this for a few days then make some minor adjustments before varnishing it.

This one is acrylic on gallery wrapped canvas.

Michelle

This is the first full acrylic painting I have done using Art Spectrum Colourfix paper as the support (I usually only use for acrylic to paint the background or underpainting then add the details with colour pencil). This one of ‘Kruger’ is 9″x12″.

This support seems to work exceptionally well to help portray the bristly nature of the Shar-Pei fur (although their coat’s look soft and silky, they are actually a bit harsh and prickly!).

I get so involved when I am painting that I always forget to stop and take photos so that I can post a work in progress post, but I managed to get a couple this time, the first is the initial sketch, the second with a partial underpainting and then the final portrait.

This Shar-Pei pet portrait features on dog breed merchandise such as stationery, clothing, prints, greeting cards, tote bags and more.

Michelle

Apart from some minor adjustments that I might add in the next day or so, this is the (almost) completed portrait of our Chinese Shar-Pei, Tia.

Achieving depth and dimension with her black coat and all those wrinkles was a great challenge, but I thoroughly enjoyed working on this and I am really pleased with the resulting portrait, although I might need to get a better photograph in better light!

“Tia”

Pastels on Velour Art Paper

10″ x 14″

Tia - Shar Pei Pet Portrait in Pastels

2006

This is the reference photo I used for Tia’s portrait – as you can probably see I took this photo with the flash on (something that is not usually recommended), just to make sure that I could see all the curves and contours of her wrinkly face! Most of the photos I have of her are either very black, or if she is in full sunlight, her eyes will be closed, so using the flash was the best way to get a nice detailed photo, then it was simply a matter of making her fur darker than it appeared in the photo to make it look like my dog rather than the washed out/faded reference photo.

This Shar-Pei art pet portrait features on dog breed merchandise such as stationery, prints, greeting cards, tote bags and more.

Shar-Pei Breed Info: Shar-Pei’s are an ancient dog breed, and are still fairly rare, although thanks to tv commercials such as the toilet roll ad with the wrinkly puppy, “Rolly” they are becoming more popular.

The breed is best known for its wrinkled apprearance which is caused by the excess skin they have. generally puppies and young dogs appear to have more wrinkles as older dogs grow into their skin a little bit. (This is actually a good thing, as Shar-Pei’s do suffer from skin conditions do to the wrinkles and rough fur irritating the skin.)

The name “Shar-Pei” literally means “sand-skin”, or loosely translated to “sand-paper-like coat” which refers to the unique characteristics of the Shar-Pei coat – its roughness and its shortness. The Shar-Pei also has another distinctive characteristic that is shared with only one other breed, the Chow Chow (also a Chinese breed) – both breeds have a blue-black tongue!

Of course I am biased, but Shar-Pei’s are an incredible breed – totally devoted to their families, highly intelligent and excellent watch/guard dogs!

More information on the Shar-Pei breed can be found at http://www.sharpei.com.au/

Cheers

Michelle

I am thoroughly enjoying working with this velour paper with my pastels and I am really pleased with how this portrait of Marcus, a Long Haired Dachshund has turned out. I can see that my pastels and this velour support and quickly going to become my favourite medium for working in.

I couldn’t help myself, after finishing this one I have finally started a portrait of my own dog Tia, she is a black Shar-Pei and it is proving to be a very interesting challenge creating black wrinkles that look realistic! I will add a blog entry with her portrait when it is finished.

This is probably my favorite piece that I did in 2005. The look in this dog’s eyes just says it all, he is laying there patiently waiting for his owner to come back.

“Waiting” Coloured Pencil, 11″ x 14″, 2005

This piece was completed purely in colour pencils on cream Stonehenge paper and took well over 55 hours of work to complete. It was worth it though, because it was awarded First Place in the Painting & Drawings: Animals class at the Art Show I entered – pretty amazing seeing as colour pencil is such a new Fine Art medium and because the other entries included oils, acrylics and pastels!

This Bullmastiff pet portrait features on dog breed merchandise such as stationery, prints, greeting cards, tote bags and more.

We lost our little girl Jack Russell Terrier over two years ago to a brain tumor. She was nearly 11 years old and such a gutsy, happy little dog – a true Jack Russell Terrier in every way. Even though I am a pet portrait artist, it took a long time for me to be able to do her portrait.

Created with soft pastels on black Art Spectrum sanded paper, this is one of those pieces that just seemed to paint itself and I am really pleased with the result. I can now really understand why many of my clients who have commissioned commemorative portraits of pets they have lost as it feels almost like having them back again, that probably sounds really strange, maybe its being able to see that familiar loving face every day. Of course a painting can never replace a dearly missed pet, but it certainly does help to heal the pain a little.

Jack Russell Terrier in Pastel

‘Harley’ in pastel: 9″x12″

At the moment I am working on a commemorative portrait of Cleo, a Bull Terrier cross. I had the choice to do it in graphite or colour and decided on graphite, I’m not quite sure why as apart from one ear she is a white dog, and rendering white fur on white paper with graphite is a bit of a challenge! I will post a picutre of Cleo’s portrait when it is finished.