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painting inspiration and technique


Archives:Feb 2010
Dec 2009
Oct 2009



Steps in painting a Cavalier King dog portrait

by Bonnie Hamlin on 2/19/2010 4:07:06 PM
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Vita a Cavalier King Spaniel with his portrait:

I did this commission a few years ago, but I just came across the photos I took of the painting in progress and thought you might enjoy seeing them.
This was a most delightful commission, a beautiful little Cavalier King with a great personality, plus his owners were also wonderful to work with. One of his owners is also an artist, so I was doubly honored to do this painting.

1. After I took hundreds of photos and did some sketches plus spending time discussing just how the painting was to look, the colours, and mood etc. I sketched the image on canvas, very lightly with pencil and then with different colored paints. Just getting the proportions and positions correct, deciding on the warm and cool colors, etc.

2. The second image is still working out the values, developing general shapes and values of the fur.

3. In step 3 I'm still working out the background light areas, with the light area forming a diagonal down to the light in the chest, plus using the values to give shape to each of the forms. Making sure the lights are connected and that they lead to or support the face, which is the most important part of the painting.

4. In step 4 I'm developing the actual fur and moving the background more towards a hint of a fall scene. What I wasn't able to pick up in the photos of the painting is that the oranges and yellows are picked up in the white fur and between the brush strokes. This does tie the foreground and background together.
Also I know the "rules/guidelines" prefer that the foreground or subject is in the warm shades and the distance is in the cool shades. However, I wanted Vita to be surrounded by the warmth that a bright fall setting would provide. So I also chose to ignore this "guideline or rule". I wanted Vita to be part of a whole story not just a warm object plunked on a cool color.

5. I then took the painting and made another visit to Vita's home. It was immediately apparent when Vita came to the door that I had him looking much too young and cute.

Back to the studio for revisions, and then another trip to Vita's home to do the final touch ups.
This is the final painting:

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A phone call can instantly change our focus

by Bonnie Hamlin on 2/12/2010 3:09:40 PM
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February 1st we received a phone call from our son-in-law that our daughter had just been taken to the hospital with stroke like symptom, their 2 sons 1 year and 4 years were just waking up and could I come. Within hours my neighbours had come to take over my ranch chores and take me to the airport. My husband was in the back country skiing, other neighbours and friends tracked him down and drove him to a plane the next day. The MRI showed a slow growing  brain tumor. All our lives are in a holding pattern right now, we are slowly developing a new routine around our daughter's healing.
Life is sometimes strange.

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Some thoughts on the art of Roy Andersen

by Bonnie Hamlin on 12/31/2009 1:21:21 PM
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My art hero of today is Roy Andersen.
I've just been going over the pages of his book "Dream Spinner, The Art of Roy Andersen" by Jan Adkins, and WOW. I've always been blown away by Andersen's use of color. But going back and looking at each painting again, his compositions are amazing, each image is like walking into the final take of a one hundred piece orchestra doing a movie score. Each work has a story, a mood, and amazing movement (even when the characters are still). Each animal and person has a personality that contributes to the overall mood and story. Even if you are not a fan of Western art I'm sure you will enjoy this book, just based on the extremely high quality of the art work.
A year ago I was in the Legacy Gallery and saw an original of Roy Andersen's, what a wonderful experience.
Speaking of the Legacy Gallery, if you are an artist I'm sure you'll be interested in reading Scott Jones blog post "Advice from a Gallery Manager" http://clintwatson.net/blog/15829/Advice-From-a-Gallery-Manager

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Does eye colour affect our colour preference in paintings?

by on 10/18/2009 12:42:24 PM
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Dogs? I think they are colour blind, or maybe not.
My dark brown eyed Icelandic/Spanish friend claims "there are no ugly shades of yellow, but there are hardly any nice shades of blue". I think all shades of blue are beautiful, but I have light gray eyes.

There is a theory in Anthropology that suggests that when the original people moved north they needed to see more shades of blue in order to find the white/blue game against the white/blue snow. Because blue eyes were better at this, they survived in what is now Norway and Sweden.
The peoples that moved into the tropics needed to identify subtle shades of yellows and oranges to know which fruits are poisonous, because brown eyes can see more shades of yellow, the brown eyed people survived. (OK so this theory does not apply to the Inuit, who have mostly brown eyes.)

But I was wondering, if you took out all the complexities and emotions of colour, do any of us "see" the same colour when we look at a painting. I started watching people in my studio and sure enough the brown eyed people seemed to be drawn to the predominately yellow paintings and the blue eyes to the mainly blue paintings. But people of Irish decent seem to go to the greens no matter what colour eyes they have.


And dogs? I think they are colour blind, but maybe not...

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Painting Technique and Inspiration Two on Two

by Bonnie Hamlin on 10/14/2009 12:57:37 PM
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Technique and Inspiration for Two on Two
Two on Two

20" x 24" oil on canvas
This is the first in my series of Ranch Rodeo paintings
Inspiration
In September I went to the Woodlands Ranch Rodeo competition. There is just nothing like a small town rodeo! The smiling friendly people, the smells and sounds, there is a feeling of friendliness and moments of extreme excitement.  I was standing against the fence when the scene in this painting took place. I just had to paint it.

Technical
The colour scheme is basically an analogous (yellow/green, yellow, orange/brown) with a double complement (a touch of dark blue and light purple)

Every shape and line is on a diagonal to give the image as much movement and excitement as possible.

The front of the rope is parallel with the front steer's horns and the back of the rope is parallel with the back steer's horns. The parallels also help to give an edge to the dynamics.

I was temped to move the horse and rider and two steers more to the viewer's right. But decided that would take out some of the edginess. That meant adding the background steers on the right to stop the feeling of the horse tipping right out of the painting. Plus this put the yellow shirt in the choice position for the main subject and the front steers head in the second choice position.

The old masters often left the bottom tenth of the painting dark togive a foundation to the work, but I wanted a more intimate feeling and the light foreground gives the steers a place to move into.

I was so tempted to make the background more realistic and detailed, but with so much happening with the subjects, I simply couldn't add another detail anywhere without it being overwhelming. But I did use color and value in the background to add more diagonals to the painting. 

I debated changing the colour of the yellow shirt, to a cooler colour to move the cowboy back behind the horse. But at any second the cowboy will stand in his stirrups and throw the rope almost leaning over his horse's head. I decided the yellow gives more of a feeling of coming forwards - an anticipation of movement.

It would have been fun to have the background cattle taking off in all directions, but in the Ranch Rodeo it is important to not upset the rest of the herd, so I had to have them relatively quiet.

Normally I would have blurred the horse's back foot or hidden it in the dust. But I left the one back foot clear so we know the horse isn't going to slide out and will be able to adjust to a new angle.

Yes the steer did cut in front of the horse, the horse made the adjustment in direction and the roper caught the steer.

As final note: I do often paint and draw from life, something I think is extremely important for an artist, but for action and often commission paintings I rely on my photos. Plus there just is not room in my studio for two steers, a horse and a guy swinging a rope ;)


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Introduction and Self Portrait

by Bonnie Hamlin on 10/5/2009 12:34:41 PM
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Hi
Thought I'd start with a self portrait.  Although not a recent one, I did this about a year and a half ago for an online class I was taking.

I specialize in painting horses in scenes rather than portraits, however, my four legged models sometimes want their two legged companions included, so I have spent considerable time and energy practicing painting portraits in past years. And yes, I usually make my people a few years younger and if they like slimmer, a policy I started many years ago after making my mother in law look older than she was, during a painting demonstration.
No I didn't make this fellow thinner.

Today I'm drawing a cartoon for my first monthly email newsletter. This newsletter will be about hanging paintings. And hopefully will be sent out Oct. 11th. Click here if you would like to subscribe to my newsletter. You must subscribe to receive the e-newsletter, and of course you can unsubscribe at any time.

October newsletter cartoon on hanging paintings:


Present Paintings: I'm presently working on a Ranch Rodeo series in oils, more about that in my next post.

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