Gay Freeborn
The Process of Making "Fall" from "The Four Seasons"
Using Oil, Brass Leaf & Leaves on Canvas
To see Gay's entire 4 seasons collection click here
I am mainly an animal artist and often paint foxes because I am able to study them
though my window as they run around in the pasture with my horses.
I like to take cues for my paintings from the nature I see around me.
The fox, my dogs and horses, leaves, ferns and moss have all been part of my process.
Often incorporating metal leaf into my paintings, I wondered what it would be like
to press dried and flattened leaves into a plaster-type medium and then brass leaf over them.
Testing the idea on smaller paintings I found that the relief the thick medium provides
creates an interesting texture when leafed, glazed, acid washed and stained.
A seemingly organic result occurred which was perfect for a woodland scene.
though my window as they run around in the pasture with my horses.
I like to take cues for my paintings from the nature I see around me.
The fox, my dogs and horses, leaves, ferns and moss have all been part of my process.
Often incorporating metal leaf into my paintings, I wondered what it would be like
to press dried and flattened leaves into a plaster-type medium and then brass leaf over them.
Testing the idea on smaller paintings I found that the relief the thick medium provides
creates an interesting texture when leafed, glazed, acid washed and stained.
A seemingly organic result occurred which was perfect for a woodland scene.
Trying to replicate the feeling of dappled light in the woods,
I began marking the brass leaf with thinned oil paints
creating possible dappled areas on the painting’s forest floor.
Splattering the metal with acid added green spots similar to the way fungus grows on leaves.
There is no control over the splatters but leaving the acid on longer will burn the brass and turn it black.
Removing it after only a few minutes will turn it green in those places.
So I began to absorb some of the acid with paper towel
but leaving it longer in others.
I never know what the outcome will be and am always ready to change the plan if necessary.
I began marking the brass leaf with thinned oil paints
creating possible dappled areas on the painting’s forest floor.
Splattering the metal with acid added green spots similar to the way fungus grows on leaves.
There is no control over the splatters but leaving the acid on longer will burn the brass and turn it black.
Removing it after only a few minutes will turn it green in those places.
So I began to absorb some of the acid with paper towel
but leaving it longer in others.
I never know what the outcome will be and am always ready to change the plan if necessary.
Then the painting finally begins, layering the brass, leaves and gesso
with glazes made from clear "Liquin Medium" tinted with oil paints.
Letting the darks fall into the cracks and rubbing off some of the raised surfaces
enhances the relief of the foundation’s heavy gesso.
Letting the nooks and crannies “do their thing” without
controlling the outcome is key to a natural look
with glazes made from clear "Liquin Medium" tinted with oil paints.
Letting the darks fall into the cracks and rubbing off some of the raised surfaces
enhances the relief of the foundation’s heavy gesso.
Letting the nooks and crannies “do their thing” without
controlling the outcome is key to a natural look
The painting took on it’s own lights and darks as I added glazes and with the fox in place
I was able to use darker values to pop that sunlit ear and soften edges
where the brass and fur collided.
It took a lot of standing back and looking and going by a feel,
putting myself into that forest through the minds eye,
feeling the warmth of the sun
blanketing the fox and the den like structure of the tree surrounding the fox with saftey.
Final brushstokes of gold leaf paint
also helped tuck the fox into place with the hint of grasses on his tail.
I was able to use darker values to pop that sunlit ear and soften edges
where the brass and fur collided.
It took a lot of standing back and looking and going by a feel,
putting myself into that forest through the minds eye,
feeling the warmth of the sun
blanketing the fox and the den like structure of the tree surrounding the fox with saftey.
Final brushstokes of gold leaf paint
also helped tuck the fox into place with the hint of grasses on his tail.
A final varnish was applied after the painting was completely dry.
"Fall"
Oil, brass leaf and leaves on canvas, 24” x 24” SOLD
Oil, brass leaf and leaves on canvas, 24” x 24” SOLD