Harry Chavill

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

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.