hThis weekend, and yes... the whole weekend (save for two holiday parties), I spent in the studio working on a large commissioned bird painting.  The request was a blue/grey bird on a black branch on a large canvas.  Well, most of my work, due to the daily painting nature of my art, is done small.  Usually only 6"x6", but this guy... he is 18"x24".

​So, first I set out to find the right blueish-grey bird to use as the subject of my painting.  Google was my friend, and after only a few minutes I found this great bird that is called a Blue-Grey Gnatcatcher.  These guys are small, so why not make him the star of a large painting?

The process I follow is pretty straight forward and works no matter the size of the painting.  First you begin with an already primed surface.  Then you add a wash of color, usually I use magenta.  After wiping the wash with a paper towel until it is a very thin layer on the canvas, I begin to use the same magenta to draw the image.  I tend to spend a lot of time in the drawing phase, making sure I am happy with the composition and the proportions.

Once happy with the drawing, I block in the main hues and values of the subject.  I paint the main subject nearly completely before I paint in the background.  I call this "islands before the ocean".  If I cannot get the subject to look right, the background (or ocean) will never help.  So, with that in mind, I focus solely on the main subject.  

Next is to rough in the background.  On the larger paintings, I use the palette knife to get the paint on quickly.  

After that, I rework the subject's values if needed, making certain that I have the form and volume I need to make a convincing bird.  Then it is time for the bits of 'flair'.  The lost edges, the bringing the background color into the subject (and vise versa).  This is the special part of the painting that takes it from a static painting of a bird and makes it feel as though it is alive.

Finally I do one final check, then I sign it and call it done.

​Simple, no?

I was commissioned to paint another cardinal (my most requested bird to paint).  This time I decided to take a different approach.  I spend a lot of time working on birds with very bright backgrounds of white, blue, green, yellow, etc.  This time I wanted to change the feeling by going with a background that is much darker.  The background might perhaps be the side of a house/shed, or maybe it is getting dark outside.  Who knows?  The goal was to change up the look and the feeling, and I believe I accomplished my goal.

What are your thoughts?  Should I do more dark background birds?

BTW - the name "Henry" is a nod to the grandfather of the person who commissioned this painting from me.  

I was fortunate enough to have someone commission me to paint them four small (6"x6") oil paintings with hummingbirds as the subject.  Any time someone trusts you with that sort of commission, there is a lot of responsibility and a lot of excitement.

Excitement comes due to the realization that someone appreciates my work so much that they are willing to order four paintings at one time.  Excitement comes because it is a subject I haven't done a single painting of.  Granted, I have painted hundreds of birds, but hummingbirds, zero, nada, zilch... that is until this week.

The responsibility is grand.  I carry with me the pressure to deliver four paintings that they will be proud to display on the walls of their home.  I have the pressure to paint four paintings of this new subject, doing justice to this small but beautiful bird.  Responsibility comes in delivering a holiday surprise - and not screwing it up!

The series is now complete.  I am proud of the work.  I feel confident that the new owner(s) of the series will enjoy them for years to come.  I also recorded each painting via time lapse video... so please check out my YouTube channel if you want to watch each painting being created!

​I have a favorite... Do you?

What's next?  I have three more commissions to do!  One large painting and another two small paintings!  All going to different buyers.  I better get crackin'!

​Thanks for reading -- Adam

I was asked recently: "What do you use to sign your paintings?"

I do not sign my paintings in a traditional manner.  Almost all artists utilize some sort of liner brush, some thin paint and a steady hand in order to sign their work.  I used to do this.  I found it stressful though!  I had just spent hours upon hours creating what I felt like was a great work of art, only to have the pressure of not screwing it up while attempting to sign my name with a tool I wasn't comfortable with.  

Fast forward to today.  I now don't worry about the liner brush, some thin paint and a steady hand... instead I now use a tool that actually removes paint from the panel/canvas rather than adds to it.  The tool is a small rubber tipped brush that is designed to remove small amounts of paint from your work.  I decided that I could use this tool, and just sign my name as I normally would with a pen and 'voila', my signature appears on the painting without any stress.  If I were to screw it up, I would just simply push the paint around with a brush and try again (although, I never screw it up with this tool).

​I love this tool.