AMERICAN PHAROAH PORTRAIT, 22” x 28”, 2015
This is a portrait of thoroughbred horse ‘American Pharoah’ a thoroughbred racehorse who won the American Triple Crown and the Breeders' Cup Classic in 2015. In winning all four races, he became the first horse in history to win the "Grand Slam" of American horse racing.

 © 2018 Lawrence A. Dyer

Giclee Prints: 22" x 28" on canvas mounted on a wood frame $239.95 . Insured shipping to USA via UPS Ground with tracking number $14:95
Wildlife
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Portraits
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Equestrian
Landscapes
Birds
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For several paintings on this site I thought I would include some of the steps in my painting process. Most of my paintings are done on masonite board that is painted with three coats of gesso, and then sanded very smooth (much smoother than canvas) so I can include greater detail. I usually use a series of photographs as reference material. I sketch the image as the first step. I use a brown colored pencil, because graphite pencils tend to leave a shiny line which is tough to cover with washes of acrylic. Masonite is a forgiving platform to paint on, because if you make mistakes you can use fine sandpaper to erase the paint and start again.

Next, I rough in the image with thin washes, and some are roughed in using burnt umber only. I have used both oil paint and acrylic paint, but the majority are now painted with acrylic. Blending colors can be easier with oils because of the slower drying time. Canadian artist Robert Bateman showed me how to blend colors using a sponge, which I now use in every painting. In almost all paintings I just use the primary colors of burnt umber, burnt sienna, alizarin crimson, ultramarine blue, yellow ochre, mars black and titanium white. If I can't achieve the result I need then I use other colors that I have on hand, but I have only 4-6 that I use. The painting steps are shown below, finished painting above.
Start with pencil drawing. Rough in the image with basic colors.
Build up painting with color washes. Continue to add detail until finished.

Finalize the painting by adjusting the overall impression by standing back from the image and making adjustments (see final painting above). Another tool, is to look at the painting in a mirror and see if it all comes together.