Pondering on it for a few months, I had long ago decided to start with the most basic, traditional of poses… the classic head shot. Sticking with the comfortable & familiar the first time out of the gate allows me to get my feet wet and become more in tune with the subject. And yes, that means I do have plans for other paintings of the first Grand Slam winner in horse racing history, stay tuned!
The first order of business is chosing the reference photo. I decided on one I took at Keeneland the day after he won the Classic. While the lighting was rather poor due to a dark, overcast day, it had enough information and an appealing enough angle to make it a good fit for a traditional style portrait. I’m not gonna lie, I toyed with including Bob Baffert with his stylish headband in the painting, but then I decided that image would stand out WAY better as a painting all on it’s own, maybe double life sized or bigger – but that’s all for another day when I try out a Peb inspired shift in style ;).
After working up a sketch from the photo, I’ve transferred it to the canvas. Now is the time to make some hard decisions. This and the underpainting stage (next) are the best opportunities to lock down any changes. There is much greater clarity on what will and won’t work once it’s on the canvas and it’s much easier to adjust and change things at this stage. So after looking at it for a while I’m not sure about the halter. It’s a constant dilemma, some horses look amazing and some not so much in a halter or bridle, this one could go either way. If he had been facing the other way it I would lean more towards keeping the halter as the gold name plaque is usually on the left side of the bridle, and while I could “flip” the direction, I really wanted to show his mane (horses are pretty consistent on which side their mane lays, sort of like a person always having their hair parted on the right). It’s standard in thoroughbred farms to see horses in these classic leather halters, and they look good, but a horse like this also stands so well on his own, naked as a jaybird. There’s a certain dignity and prestige in showing him “au naturel”, so I opted for that.
It’s not something I always use, but an underpainting is a wonderful tool for the artist. It’s sort of a map, a (very) rough black and white layout of the values in a piece. Sometimes they are toned in muted colors opposite of the subject (for me a blue/greenish tone works for most horses, the Old Master’s used a green for people). It sounds strange, but since paint layers are always slightly and imperceptibly transparent, light bounces through them in a way that scientific people can better explain and this creates a sense of depth. There’s many variations of this technique, some more complicated than others, but they all have a use, for both the experienced artist and the beginner needing some guidance. This is also the point where I’ve tested the look without a halter, and I’m satisfied enough to continue without it.
Bring in the Color…
Now the real fun begins, at least until I hit the (or one of many) ugly stage, then back to fun again – it’s that roller coaster ride that seems pretty universal to artists. Those that master surviving the ugly stage will go far. But this is MY playground, my own little universe in which to play God, and I am drunk with the power, or perhaps it’s that second glass of wine.
I start by building up the neck. I always work left to right since I’m right handed, if I work the other way I end up wearing half the painting on my right sleeve, in spite of trying to make good use of my mahl stick.
I’ve worked in the basic shapes, tones and value…
Then I start refining areas and adjusting blends and tones…
Now I’m getting it close to finished, a final tightening of the details and finishing of the overall horse along with adding a background is all that’s needed…
And here is the finished painting, as done as it gets for me (if I could I would probably work on certain pieces forever). I think one under appreciated skill that an artist develops is knowing when it’s finished… it’s harder than it sounds, though some paintings helpfully cry “DONE”, with a painful few scream “Get your hands off my you untalented hack!”. This one hit the sweet spot where I really couldn’t find anything else to work on.
Friday and Saturday after our trip to Keeneland were spent building the underpainting while watching the Breeder’s Cup. Aside from a break to watch the big event, the Breeder’s Cup Classic, it was a two day painting marathon. Witnessing the history that was made that day by American Pharoah, even just on TV, was a powerful moment. To experience this in the heart of Old Louisville, minutes from Churchill Downs and an hour from the Breeder’s Cup itself while painting a racehorse… priceless!
Saturday evening the client returned from attending the days Breeder’s Cup races, and after some time spent basking in what had just happened in the sport of horse racing, we turned to the painting. I then made the one suggestion that would kick the fun factor with this piece up quite a few notches… “how about we make this horse American Pharoah”? At it’s current underpainting phase, the details that needed changing were negligible, and I don’t know of any horse that I wanted to paint more at that moment. The client agreed, and we were off to the races!
The Day After: Meeting the “Pharoah” At Last!
So with the final plans of the painting settled on and ready to implement, we took the opportunity to head out in the wee hours to see if there was any chance to get a peek at the big guy, the Champ, American Pharoah.
Unlike the previous three days, Keeneland was a ghost town. We were able to park right near the Breeder’s Cup barn area, and having received some inside info on which barn he was stabled in we easily found the right spot… it was where a growing crowd of press and photog’s were gathering. Eventually, a car pulled up and owner Ahmed Zayat and his family emerged, and took a moment to revel with the crowd over yesterday’s victory. Then, as anticipation was at it’s peak, there was a commotion down the row at bit, as Bob Baffert, American Pharoah’s trainer and hometown boy-done-good for Southern Arizona (U of AZ graduate, started his career at our humble track Rillito) brought him out through a different door… sneaky bugger!
He was everything he’s been billed to be… calm even when surrounded by the crowds, yet engaged and interested in all the attention he could get! You wouldn’t guess by his demeanor what he’d just accomplished a day ago. I have to make a confession, I actually passed on the opportunity to pet him, the crowd was too thick and I dare not miss a moment of photo taking, and even I can’t paint a “touch” ;)!
My husband, Lemorris, long since separated from me somewhere on the other side of the crowd (normally slow moving and easy to find, I can be hard to keep up with when there are horses around), did not hesitate at the chance to touch the Pharoah and made contact with the big guy’s soft muzzle. I’ll admit to being a bit jealous, but I wouldn’t change a thing. I got some nice images and am already working on painting idea’s (yes, that’s plural). Bonus, Lemorris’ arm (holding his cell phone) can be seen photobombing many pictures, not just mine, including one by Barbara Livingston used in a Blood Horse article (here). It’s his blue sleeve that stands out…
You can see many of the better photos I got got in my American Pharoah album:
Finishing the Painting
Pumped up even more than ever to get to work on this piece after meeting the subject, we returned and I got down to another painting marathon. Fortunately there was no shortage of images to help me get details like the tack and silks right. Working over the next three days, this piece was like riding a bike downhill with a back wind pushing you forward.
At first I worked on making little changes to the details (tack, rider’s gear, etc), including his trademark perked ears and chewed off tail (both of which I adore). Then I started building color in transparent layers…
The finished piece will look great on the wall it going to hang on. At the clients suggestion, I varnished only the horse with a gloss finish, leaving the rest matte… enhancing the impact. Unfortunately none of the photo’s do it much justice, so you’ll have to trust that it looks much better in person.
The Reward for Completion
Not that a carrot on a stick was needed, but mine was a trip to Churchill Downs Wednesday before leaving the Bluegrass at O’ Dark Thirty the next morning. Things didn’t start out like we had hoped… apparently they don’t allow public access for morning workouts (except for Derby week, the last time I was there), so we headed across the street to what had become our go-to breakfast joint… Wagner’s.
Directly facing the backside entrance for the track and with a large dirt parking lot filled with horse trailers, Wagner’s is THE place… a down to earth, old school blue collar eatery (and Pharmacy), opened back in 1922. With every exposed wall space adorned with endless Derby win and racing photo’s, this place embraces it’s connection to it’s neighbor. But, as it turns out, it doesn’t open until 8 am… for breakfast… near a racetrack! Oh well, on to our other regular stop for an awesome cup o’ joe… Sunergos.
We got to Churchill Downs later on just before the races, and being the first time my husband had been there, it was fun to re-explore, and easy on a quiet day like a Wednesday. This track is amazing, and after Keeneland the difference in size was tangible. It was also nice to see a full page ad in the program with my Woodford Reserve label. After a nice afternoon watching the races under the twin spires, we headed back to the house to prepare to head to our next destination… Florida.
We flew out early enough the next morning that we arrived in Tampa hours before banks opened. It was nice to see the sun again as I’ll begrudgingly admit (as much as I complain about it in the desert). We drove inland to Dade City, where the humongous VW show, Bug Jam, would get to experience the unique presence of my automotive aritst husband, Lemorris, the feature artist and creator of a shirt design that had already been selling like hotcakes long before the show…
Little Everglades Ranch
That same afternoon, the Bug Jam organizer and “Head Honcho” Randy was kind enough to arrange a private tour with the owners of a beautiful property called Little Everglades, up until recently home of steeplechase racing, as well as fox hunting, a working cattle ranch, mud run’s and many other fun events and purposes. There were only a few horses on site, but the facility was amazing, and seemingly endless. Our hosts were more than gracious; it was like we’d just met old friends, I can’t wait to have some paintings from their place to share with them! Besides the neverending cattle dotting the rolling hills, we saw many different types of water fowl, a few Sherman Fox Squirrels, and (a highlight for my husband, at least as long as he was safe in the car) an alligator!
The Mighty Bug Jam
The next two days it was all Bug Jam… a cornucopia of cool events like a camp-out, cruise and poker run. On Friday afternoon, downtown Dade City streets were closed accommodate all the cars that arrived from the cruise, and then everyone headed over to the fairgrounds for a great multi-band concert. On Sunday, the actual car show (the main event) had anywhere from 700 to a gajillion cars (or at least more that I was able to see before my feet gave out). It was a visual feast of creatively where the medium was a volkswagen… all the colors, accessories, and sheer brilliance of presentation fed all the senses!
They Lost Me at “Oh Look… Horses!!”
Of course once the the local sheriff’s posse showed up on horseback… I succumbed to a more narrow focus. “Volkswagen’s? What Volkswagen’s?” I talked with some of the deputy’s for a while about horses and American Pharoah, and even forgot about the humidity for awhile. Did I mention the humidity? Sweat apparently doesn’t evaporate in Florida, it just accumulates and hangs on you like a bad haircut. Aside from that, though, the weather was amazing… OK, a bit hot (upper 80’s), but once again… SUN!
After two days of being on our feet enjoying all these events, we were both starting to show some wear and tear. So as the show wound down and all the cars started rumbling off into the sunset, we said our goodbye’s and hobbled our way to the car, heading back to Tampa to spend the night in a hotel near the airport (we were flying out of Tampa ridiculously early the next morning). We checked in, grabbed some fast food and slowly hobbled like the walking wounded that we were up to our room, and completely passed out for the night. It was our 24th anniversary, and after a trip like that I’d have to say this’ll be hard to top for number 25!
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Visit my Specials page for awesome Holiday Deals, including a great Black Friday/Small Business Saturday/Cyber Monday 60% off in my Etsy Store Nov. 27-30, 2015!
It was the kind of commission I would have dreamed about as a fledgling equine artist; a valued client wants a large mural sized piece painted on location in Louisville, Kentucky. What to do? Well, for starters… plan it in autumn (or as we call it here in Arizona… summer) during the Breeder’s Cup, conveniently to be held for the first time ever at Keeneland in nearby Lexington, then make haste to hop on a plane with paint brushes in tow! So started our 2 week lateral trip from the southwest to the south, including over a week in Kentucky, followed up by a visit to Florida!
Old Louisville is the largest contiguous collection of Victorian mansions in the United States, which means it’s an amazing wonderland of old houses and large, ancient trees adorned with full on fall color. The whole area is positively dripping with character and class. There’s also a prestigious Art Fair held every fall at St. James Court, the heart of Old Louisville that includes notable historic buildings like the Conrad-Caldwell House. I’ll most certainly be looking into that event. The fact that all this was located less than three miles from Churchill Downs just added to the mystique. It was also the first time I’d experienced “real” autumn in over 30 years, bringing back fond memories of my childhood in Minnesota (perhaps if I’d had any “adulthood” in Minnesota the autumn and winter memories would be less fond)!
Getting Set Up to Paint
First thing we tackled almost right off the plane was to head over and pick up the 4’ x 6’ canvas I’d had on hold at a local art store. Even though I’d reserved a mid sized car, it was very fortuitous thatthey instead, at no extra charge, gave us a much roomier Ford Edge crossover. We arrived at Preston’s Art Center to retrieve the canvas, and immediately felt right at home. It had the comforting feel of a cozy hometown art store cluttered with fun art stuff, like a heaping slice of home cooking for us.
The Temporary Studio
The house itself was a beautiful, grand old red brick piece of history. My working space was in the basement, while we’d be sleeping way up on the 3rd floor. Our joints were quickly reminded how unaccustomed to stairs we were, having lived in Arizona 30ish years where most homes are only one story (no basements. either). The basement was very comfortable, with a large TV that picked up TVG so I could keep up with racing… and the perfect chair (hint: I want one – see photo below). It also featured walls linedwith colorfully lit shelves inset into the wall to showcase expensive bottles of bourbon and other libations. One of these alcove’s, of course, held the 2015 Woodford Reserve Kentucky Derby bottle featuring my artwork on the label, which naturally acquired the artist’s signature before we left.
Getting Ready to Paint
This whole painting adventure had clearly shaped up to be a practice in flexibility, something that’s actually part of my working method, so it didn’t phase me. If any painting I’m working on seems determined to take another direction, I’ve learned not to fight it, and giving in to that inevitability actually makes for a fun ride.
I started prepping the canvas while the game plan was nailed down. Similar to my piece Two Horse Race (above), a race horse or two galloping across the canvas, but almost life size. I couldn’t imagine anything more fun to paint… or so I thought (foreshadowing). I chose to do this piece in acrylic, as the shorter drying time would help me be more productive with my limited time. Not really a problem, acrylic used to be my primary medium, so aside from some rebuilding of my supply inventory, it wasn’t an issue.
I used black gesso to prepare the surface, it makes working easier when a dark background is desired. Then I went old school and used the grid-method to transfer the chosen reference images to canvas. You can see the grid below (in feet) on the canvas and (in inches) on the image, helping guide the proportions as I sketched from the source image, which was printed at 4 inches x 6 inches so it would scale up neatly from inches to feet (see what I did there). I sketched in the possible second horse to test it out and see if it helped anchor the composition, but it was unanimously decided to go with a solo horse for maximum impact. Then I began the monochromatic underpainting, big fancy words for a black and white first layer of a painting.
A Break to Visit Keeneland
Painting plans in place and initiated, I was feeling good about where I was at and was ready to day trip it over to Keeneland for morning workouts and racing the day before the Breeder’s Cup (Thursday). We’ve done this “Thursday the day before the Breeder’s Cup” thing before, in 2010 when it was held at Santa Anita in the Los Angeles area. The traffic was typical LA weekday traffic, and the track had moderate crowds in the morning while pretty dead for the races later in the day. Not the case with Keeneland, it took us 30 minutes to work our way by car to the grandstand (where I was dropped off) once we reached the track and another 45 minutes for my poor husband to park and meet up with me by the rail (far enough away he needed a tram ride back to the track).
In spite of the congestion, it was a beautiful day in a beautiful setting. We saw (and photographed) lots of big name Breeder’s Cup horses. It was like the Oscar’s for racing fans, minus the red carpet, designer outfits and fashionistas. We did, however, just miss Amercian Pharoah’s planned workout, but since it happened on the training track we wouldn’t have seen it anyway, like most of the fans there. Hewasalso a no-show for paddock schooling after the 3rd race (as was announced) later on, but it WAS Keeneland, a track like this was enough. Surrounded by rolling hills of bluegrass dotted with the wooden fences and pristine stables of horse farms, it’s a magical and serene location for anyone who loves horses. The specific celebrity horses that were there were but the cherry on top, though I’d really hoped to get my eyeballs (and camera lens) on THE horse… American Pharoah… was there still a chance? Be sure to tune in for Part 2 to find out!