Beginning a New Bird Portrait Series: RAVENS

Raven Watching and Raven Warning (c) Pat Dolan - 2017 - 9"w x 12"h - Available

I've long been an admirer of Crows and Ravens. I've collected photographs, stories, websites and more in my efforts to learn more about these intelligent birds. And since I've been painting bird portraits for awhile now, it was only a matter of time before I began a series on Ravens/Crows.

And since my first Hereford portraits on black canvas, the idea of painting Ravens on black canvas was a natural first step into this series. I had originally planned to add colors - to liven up the personalities of each bird. I've seen wonderful crow paintings by such artists as Dean Crouser and Bev Jozwiak and I love all the colors they add to their works of art.

My first attempt on black canvas included using blues, purples, black and white to illustrate what I believed to be the personality of the Raven I was painting. I generally work on several paintings at a time, and I had three separate works on two easels and my drawing table. The second and third paintings wouldn't allow me to use anything other than black and white paint to portray the Ravens I had selected. The longer I worked, the more it became obvious that MY paintings were destined, at this time for sure, to remain monochromatic in black and white! Much as I wanted to add a dab of bright blue or shocking red, the birds involved were very much against such a portrayal!

Raven Watching (c) Pat Dolan - 2017 - 9"w x 12"h - Available

As artists, we do learn from our works. It sounds absurd that a painting tells the artist how to paint it or what colors to use, but the longer one works as an artist, the more one pays attention to the communication between the art and the artist. It is vital now, for me, to pay attention to what my piece wants to say and how it wants to say it.

Raven Warning (c) Pat Dolan - 2017 - 9"w x 12"h - Available

So here you see the three paintings I have thus far been working on. The one on top is, I think, not quite done. The other two are now at the framers to be suitably enhanced by a subtle black with silver-rubbed-into-the-wood frame. We tried lots of different frames - the black frames did nothing to enhance the work. The gray frames that had the slightest tint of wood tone or other warm color definitely clashed with the work. Finally we tried the black with a hint of silver and the paintings both shone with delight. The art also tells you what frame to use!

All three in the Raven series are 9" x 12" acylic paintings on black canvas. I'm uncertain as to whether or not the top Raven - which feels to me like a young bird - is complete or not. I have the feeling that it is not, so I'm just waiting for it to tell me what's next...perhaps a touch of blue to the eye, guaranteeing that it is a juvenile Raven. Time will tell - or rather, the bird will let me know!

Framing: Step by Step Tutorial

Above is Step 1: the finished artwork and the 1/4" foam core on which it will be mounted for the Dakota Shadowbox Frame. The art is 8 1/2" x 11." The frame is 11" x 14." The foam core has been cut 1/2" shorter than the art, allowing the art to extent about 1/4" all the way around. The foam core lifts the work off the backing and creates a bit of a shadow behind the image to further set it apart from the backing board.

Use a nail to create holes in the foam core - all the better to get the needle and thread through for attaching the art to the foam core.

Step 2: Marking the back of the art through the holes in the foam core so that one can sew the art exactly where it belongs on the foam core.


Step 3: the first knot in the back of the art. Make sure this does not pierce the front of the work and also that the knot is secure so you can pull the threads taut later, as you go around the piece.

Step 4: Sewing down the first corner. Bring the thread from the art up through the back side of the foam core.

Step 5: Securing the first corner by going back down through the foam core for the second stitch - then back up the first hole to begin moving on to the next corner.

Step 6: At corner two; put the needle down through one hole and, noting the marks on the back of the art, run the needle through the back of the art from one mark to the second mark (making sure not to pierce the front of the work). Pull the thread semi taut and move on to corner three.

Step 7: Repeat the same procedure for the third corner.

Step 8: Using the same procedure for the final corner, pull thread taut - checking all corners - and then knot on the back of the work.

Step 9: Some prefer to put a dot of fabric glue in each corner to secure the artwork in place. This step is optional. The black backing board must then be marked so as to insure proper centering of the art. Lightly pencil in just the corner markings as measured by a ruler. For this frame, there is 1 1/2" on each side and 2" on the top and bottom.

Step 10: Assembling the frame. First, was the glass on both sides. Then replace the glass, followed by the wooden spacer - which can easily be seen below - first separated, then adjoined.


Step 11: Replace the backing board and it is ready for hanging.

Here is the completed piece - "done" - almost... but I forgot to sign it! I'll be taking it apart and signing it prior to my show. I prefer to use a fine-line gel pen in gold or silver for signature on a black background. On light backgrounds, I use pencil.

Chaos/Opportunity - framed 11" x 14"(c)Pat Dolan