My sister-in-law expressed interest recently in having some small quail paintings commissioned. So, when I had a little extra time and a square of toned canvas left over from another project, I thought I would do a little quail.
There isn’t a whole lot to say about it. It is a California Quail—the kind that we have running around here in Utah. the canvas is an 8″ square and it’s painted in oil.
I suppose it might be interesting to note that a general rule in oil painting is fat on lean—you thin the first layers and build it up thicker on top. Thinned oils will be difficult or impossible to lay down on unthinned paint unless it is already dry. Which is why I follow that rule until my last layer. I often like to let everything dry for a couple days and then come back and do some glazing with an oil liquin mixture (usually burnt sienna, my favorite pigment). Below is an in progress shot, before I did any glazing or added any of the environment.
This is the landscape I was working on a few weeks ago. The client was giving it as a gift, so I’ve held back on posting about it.
I started out with a few thumbnail sketches that I sent to the client. The bottom right was approved so I got to work.
I toned the canvas with burnt sienna. It’s one of my favorite colors, and it make for nice temperature contrast when you are painting a lot of cool colors over it.
I tend to paint pretty thin. I usually move across the painting filling in areas at medium finish and then going back over it for details. That, of course only works because I sketched in the composition first. When painting from life, it works better for me to bring the whole painting up together, rather than moving across it.