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Richard De Wolfe - Fine Artist

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Puppy Love - Step Five

December 8th, 2010

I have resolved the dilemma of what to do with the bedding and cushions by using a colour scheme that is primarily purple with golden yellow accents. The purple is a restful, nocturnal colour and the gold is on the opposite side of the colour wheel, ... 

Puppy Love - Step Four

November 10th, 2010

I continue to add detail, slowly building up colour and form primarily with thin washes and glazes using mat medium. I darken the background with a mixture of burnt umber and black to really punch out the foreground. Everything other than the bedding... 

Puppy Love - Step Three

October 27th, 2010

At this stage I begin introducing local colour throughout the painting. I wash in flesh tones on the face and arms of the sleeping girl. I begin accenting details on all three characters in the picture. Simple washes of colour are blocked in on the b... 

Puppy Love - Step Two

October 23rd, 2010

Once the drawing is well fixed, I tone the entire surface with a thin wash of blue-gray acrylic paint, thinned heavily with mat medium and water. I add some slightly darker washes of the same colour, particularly in the bedding. Next, I begin buildin... 

Puppy Love - Step One

October 22nd, 2010

This is a picture I am painting primarily for licensing. Companies pay me a fee to use this type of art to illustrate a product such as puzzles, calendars, greeting cards, soft goods, etc. for a specified period of time. This piece is titled "Pupp... 

The final stage of this painting should pull everything together. I apply a final glaze of acrylic color over the dark areas of the horse with a mixture of burnt umber and ultramarine blue. I do not want to obliterate the warm sheen of umber on the... 

At this point I darken the local color of the subject, adding detail. I continue to add more intensity and depth to the dark areas and shadows. I also paint in the lightest areas and add detail to the bridle and reins. 

Now I paint in the light areas, basically blocking them in, thus creating a third tonal range. This is how I systematically establish the darker shadows, the local mid-range colors and finally the light colors and highlights, which tend to be closes... 

In the first stage of the painting, I blocked in the basic mid-tones. Now I add darks to begin establishing more depth to the picture. I am controlling separation of the background from my subject by painting darks in the background nearest to the ... 

This is the first stage of a small painting that I completed recently. I have blocked in washes of colour in a loose fashion initially. I have used warm tones on the subject and a cooler blue in the background. 

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May 9th, 2010