Harry Chavill
Australian How To Paint|Issue 30

This painting realised an exciting dream for the artist, who had always wanted to paint a gorgeous horse in motion but had never allowed herself to do so previously.

Sue Linton
Harry Chavill

MATERIALS

• Canvas board.

• Artists’ quality oil paints.

• Acrylic paints for underpainting.

• Liquin.

• Reference photography.

I took a series of sequential action photographs and the reference chosen was a combination of the front of the horse from one photograph and his rear from the next. I was initially going to suggest a background with a stormy sky and grass, but got carried away while painting and decided I liked the fantasy look better. I felt the great pose deserved something more that would enhance his movement.

STEP ONE

This painting was a commission of a local stallion that I had been admiring and wanting to paint for years. I have always been ‘horse-mad’ and I think this painting tapped into my childhood horsey fantasies … as it seemed to paint itself.

I wanted the sketch to be accurate to Harry, but I also exaggerated the shape of his neck and rump slightly to enhance the movement. I showed more of his mane. He has an amazing mane – most of which wasn’t on the viewer’s side in the photograph.

STEP TWO

I did a loose underpainting in acrylics to get an idea of where I was aiming, and to play with the feel. I like the idea of an underpainting in acrylic even though I often paint over most of it. I am more confident to go ahead with oil paints knowing that there is an accurate image underneath that I can wipe back to if I lose the plot along the way.

هذه القصة مأخوذة من طبعة Issue 30 من Australian How To Paint.

ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.

هذه القصة مأخوذة من طبعة Issue 30 من Australian How To Paint.

ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.

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