Hello me again.

Having a very bad hair day. Still, at least no one can see me.  Except just you of course!

Yes....... now where were we, before we were so rudely interrupted by the perils of housework. And, yes, it still looks a mess.

Anyway, EYES.  Yes; eyes have a filmy layer of liquid protecting them. So, the only real success I have found is treating them how I would reflective water. Thankfully, water is one of my most favourite things to paint, because you can splodge around, letting your paintbrush fly, in a watery manner, without it looking strictly 'wrong'.

The thing to notice about water, is that many many different colours seem to miraculously appear in a reflection: some that don't seem to even be physically present. It is the same with eyes, the eyes are reflecting the colours surrounding the subject. So, brown eyes may have very subtle other colours playing in them, depending on what those eyes are watching. Is the dog playing is the grass, what greens can you see reflected in his eyes? Oooh, sounding like a teacher again.

I usually start, by really making sure I can see those eyes well. For example, if I am painting from a photograph, sometimes I use a magnifying glass: to really have a close-up inspection of the colours. Remember, your painting will only be as good as all the colours and detail that you can actually see, so don't scrimp! I now have one of those head magnifying glasses, which sit on the crown of your head. It's great for getting out splinters, too!

So; if the base eye-colour is brown, add just a few varied colours to that brown on your palette: a dot of red into the brown, or make a green-brown, depending on the eye you are painting. Try to get the feeling of reflection when you are painting your eye. NEVER use just black (except for mixing). Black, just seems to deaden anything it touches.  I do however readily mix dark brown with black, for really dark areas. Even better: try deep blue with rust brown for a really lovely (and surprisingly) dark colour, which just misses being black. This is a great colour for dark woods.

She's not quite finished yet, but is coming on nicely. "Woof!" I really like the softness of Bonnie. I am very happy with the taughtness/stretch of movement in the neck, too. She looks as though she really has turned to look at something interesting, doesn't she? I think it's a ball, don't you? It's a very subtle painting, and since she is sitting in white snow, I may not do much more to it. Are you happy with it?

Often, you get one or more very white points of light, reflected in the eyes. These are always great fun to paint, because they always bring the eyes to life. However, be careful here, check all those points: are they all bright white, or are they an off-white: with a little brown, or a little black?

I think you'll be surprised how well it all comes out: if you took the time to check your measurements. I hope these tips help. For myself, I am still learning all the time. I never try to copy any subject 'exactly', so I don't advocate being so accurate as to paint an eye perfectly. Somehow, creating an exact copy of something, always loses something illusive: just as a card-board cut-out does for a human being. It also somehow crops your creativity; your natural flow. By painting, you are creating something new, something not yet seen before!

SO GO GET EM arty farties!!

Ps. A good alternative to Turps (for cleaning your oily brushes) is alcohol. It is a solvent, after all. Leave your brushes to soak for a while, then use washing-up-liquid. Hmmmm Cognac! However, if you are tempted to drink it; please do so before, not afterwards!

www.boundlessgallery.com and www.moorethanart.com or questions@moorethanart anytime