Well, here it is, the finished Mustang picture I’ve been working on over the last week. A slightly more intense painting session took hold yesterday and before I knew it I was sat staring at a completed picture. It would be fair to say I’m more than happy with it given that it’s not a subject I visit very often. I’ve never been a car fan, so they don’t appear on the radar as great subjects unless they are extraordinary, and even then I pretty much have to force myself to draw them. Just one of those things I suppose. Anyway, the main stimulus for doing this one was that it’s going to be a gift for a friend so that helps to keep the focus and the enthusiasm up at a level where you need it to make a decent job of it.
There is very much a kind of groove that one gets into when doing something like this. At the beginning of the session things are all rather laboured, small decisions about colour tone, wash density, which bit to do next and even which brush to use seem to take forever. but slowly things speed up and it’s all relatively easy to jump from one thing to the other. It must be a confidence thing too. After painting for an hour or so it all starts to feel more natural and intuitive, and this is really evident in ones ability to push concerns about mucking something up to one side and just get on with it. One gets into a flow which certainly doesn’t happen when trying to complete a picture by picking up the brushes for a few minutes here and there. Best to reserve some quality time and get stuck in.
There were some bits that I found quite difficult. For example the bush or hedge that sits behind the car and the way it’s reflected in the bodywork and windshield. In my reference photo the hedge is much larger but I wanted to reduce it’s presence and use it to help frame the car and give more prominence to the big bulbous hood. I’ve never been good at vegetation so this was a bit of a challenge but great practice for future projects. The other bits that presented a challenge were the headlamps. the lenses are a mass of prismatic forms and they are filled with so many reflections I found it quite hard to see what I was doing and replicate them in a believable way. Thankfully they aren’t too prominent in the overall scheme of things so my rather bitty interpretation of them isn’t to jarring. Again, all good practice for the future. I hope you like the final result as much as I do, and thanks for stopping by and reading todays post.
It would be fantastic to say that after only a day of painting that the picture was complete, but I know I don’t work that fast and besides, any faster would be a rush and that’s when mistakes happen. Anyway, as you can see from the shot above it has come a long way from the blue sketch shown in the last post. I suppose at this point the car is about half done.
Barring a couple of small detail changes it was very straightforward to trace off on to the watercolour paper using the lightbox. I use a good old HB pencil for tracing off, and I’ve found that once you’ve captured the image you can then stretch the paper as you would normally and not loose any of the pencil work. This is a really handy discovery and means I can avoid endless hours mucking about with grids and such transferring the drawing on to paper stuck to a big wooden board.
All of us who have been lucky enough to have been on the receiving end of any artistic tuition will have been told at some point or other that there is no such thing as black when making a drawing or a painting. So the first challenge when rendering a black car is working out what colour it is. An old tutor I had at design school always recommended starting with Payne’s Grey and working from there. He’s been proved right so many times. So the picture is built up using various dilutions of Winsor and Newton Payne’s Grey, wash upon wash. This means you can work slowly toward the shade you’re after without putting down a whole load, and subsequently realising it should have been lighter. It’s time consuming, but a lovely technique. To get the slight blueness in the highlights I put a very thin wash of Indigo Blue down first. The bits that look black, but are in fact an intense dark blue, were put down quite thick as those areas had very defined lines to follow. For the area of shadow under the car I’m going to use a half and half mix of W&N Payne’s Grey and Schmincke Payne’s Grey which will give me a slightly warmer shade. I’ll mention here that although I have three tubes of paint here all called Payne’s Grey, from different manufacturers, they are all quite different. It helps to buy a few and find the one that suits your technique the best.
The background contains the concrete telegraph pole shown, and a whole swathe of a large green leafed hedge that sits behind the car in my reference shot. There’s a big tree in there as well so they will go in towards the end of the painting process so that I can build them up gradually and frame the car just enough without swamping it. It’ll be done soon.