NEW Discover skills from the experts with our handy tutorials

ANIMALS
Explore
amazing
textures
From fur and feathers
to spines and scales,
learn the basics

In-depth
In-d ep th
pet special
pet special
Capture
Capture your companion’s
companion’s
personality withour
personality with our
step-by-step guide
step-by-step guide

16 expert-led
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workshops
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Embrace colour Embrace new mediums Recreate reality

EDITION

Find out how to apply colour Uncover the skills you need to master Top tips to add drama and
THIRD

to make your paintings pop watercolours, oils, pastels and more dimension to your animal scenes
Welcome to

ANIMALS
rom fur to feather and scales to shell, there’s no shortage of

F variety in the animal kingdom. It’s a blessing and a curse for the
artist – with an almost limitless supply of inspiration, the
checklist of techniques and skills you need to master in order to
do justice to your subject seems endless.
Over the following pages, take a crash course in painting animals, from
understanding the technicalities of texture, to breathing life into your
final works. Whether you want to capture a snapshot of true wilderness
or you’re looking for inspiration a little closer to home, our in-depth
guides reveal the best ways to depict all walks of life. We’ve also got a
16-page special step-by-step tutorial on perfecting your pet portraits, so
you can get to work painting your very own companions today!

Image: Getty Images

ANIMALS
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Contents
112

22
Master Basics
textures
8 How to illustrate animal eyes
54
Capture
10 Create lush dense fur in pastel
movement 12 Capture bird feathers
with loose 14 Build up texture in animal horns
brushstrokes
16 Map out face shapes
18 Learn to use
proportional dividers
20 Approaching Indian ink
22 Master textures

6
Tutorials
30 Improve your
pencil shading
34 Build organic
textures
40 Creative colour
with ink
42 Make spontaneous
bees and butterflies
48 Tips to paint a 90
mischievious hare
54 Capture movement with
loose brushstrokes
60 Produce striking
contrast with pastels
66 Create character
and texture
72 Create a striking
12
Capture
image on velour bird feathers
78 Draw a fox using pastels
84 Add dramatic light to
66
Create
your wildlife paintings 124 character
90 Paint a pet portrait and texture

106 Use thin layers to get

vibrant colours
112 Depict an elephant
in acrylic and oils
120 Eight steps to paint plumage
124 Flamingo painting and the
power of ‘negative shapes’

7
Basics

Th e b a sics
Whether you have half an hour or an afternoon to spare, follow these
quick, simple and fun tips and start experimenting with your art today!

How to illustrate
animal
eyes

Jill Tisbury
explores the
observations and
techniques that
you need to know
in order to re-
create animal eyes

JILL

D
rawing eyes is something that In this short article, we’ll cover those key Northamptonshire, UK
I get asked about often. There elements in relation to feline eyes, but the Jill is an artist and tutor who
are some critical, yet simple same principles will apply for most animals. specialises in wildlife. She
steps to remember that will I’ve used pastel pencils on Pastelmat for loves to experiment, but her
two main passions are pastels
improve the end result. this leopard piece. and airbrushing (acrylics).
[Link]

8
How to illlustrate animal eyes

1 2

Follow these steps...

Being aware of the eye’s anatomy will 3

1 helps you understand where

everything how the eye works and how
fur sits around it. For example, the lacrimal
gland over this eye will cause the fur to curve
up and over it ridging slightly, forming the
eyebrow and giving a shadow underneath it.
I’ll reflect that when I add the fur.

2
Here, see how underlying structures
influence form. Remember that the
eyeball is a globe, and not a flat disk
with the top covered by the upper eyelid.
Check the pupil placement on your
reference – it’s tempting to place it in the
centre of the eyeball portion that you can
see. Here, I’m using a paper stump to
smudge shadows under the lower lid.

3
You’ll only see a perfectly round white-
dot reflection if the eyeball is reflecting
a cloudless sky with bright sun.
Typically, the reflection will contain trees or
similar structures. I’ve started to lay in the
main colours that I see: blue sky at the top,
and a band of white cloud reflection in the Fill your
iris, which I fill in with a range of ochres.
ske tchbook
4
At this point you can add
in the surrounding
texture – in this case, fur.
with
4 The comparison helps to
gauge the strength of the
prac tices
colours in the iris and adjust Because your viewer will be
the values correctly. You’ll also drawn to the eyes, you need to
be able to see where the depict them correctly. Sketch
shadows and highlights need different eyes to become familiar
to be deepened or lightened – with their structure. Draw what’s
4 typically on the eyeball under there, rather than what you think
the brow, and in the corners. should be there.

9
Basics

Create lush, dense

fur in pastels
Following on from her eyes tutorial, Jill Tisbury explains how to
create accurate and realistic fur

T
his feisty little Scottish wildcat
is a perfect model for practising
fur texture with. Here, I am
working with pastels on velour,
but the main principles hold true
for any type of pastel paper. I like to use
velour for two reasons. First, it takes plenty
of layers before it becomes saturated, and
second, the soft ‘tooth’ adds to the final
texture that you’re trying to achieve. Knowing
the make-up of your subject can help too.
Scottish wildcats are ‘true fur’ animals,
which means they have a thick downy under-
layer designed to keep them warm, and a
more wiry outer layer to protect them from
rain. Knowing this make-up helps you
understand what you’re aiming for.
With the method I’m showing here,
the colour and marks are laid down in
three distinct layers to help develop the
realism and depth. I’ve sketched my
image in pencil and added a diffused
background, which I have darkened
slightly around the cat.

10
Create lush, dense fur

1 Lay down a base

The first step is to block in the main colours in the direction
of the fur. I’m using stick pastels for vibrancy and quicker
coverage, working from dark to light. Ensure that you stay a tone
2

darker in the lightest areas to give yourself the space to add in

highlights later.

Develop the definition

2 In this next layer I swap to pastel pencils to develop

definit ion in the fur. Pay attention to where the fur
stands in ridges over underlying bone or lays flat over muscles,
and adjust your direction and hair length to suit. Twisting the
pencil as you work helps keep it sharp for longer.

3
Defining
features
I’ve added the eye and
mouth detail so that I can see
how the colours work
together. Since velour can
take many layers, the more
layers you add, the better the
fur density will look – it’s
worth spending time on this
part. Although the general
direction should be the same,

4
gently criss-crossing the hair Fine details
marks will make the fur look In this final layer, I add the fine
even more natural. details with very sharp pencils. For
extremely fine hairs I find a waxy
watercolour pencil is best. Adjust the
values if you need to, strengthening the
darks and lightening the lights, until you
are happy with the contrast. The whiskers
should be the final thing to add.

Know your limits

At the stage where you’re looking for bits to
fiddle with - stop! A painting can often be
spoiled through overworking. Put it aside and
look again in a couple of days – chances are
it’s finished and just needs your signature.

11
Basics

IVAN
Wigmore, UK
Ivan is a retired veterinary
surgeon who has become a
pastel artist. He works mainly
from photographs, as detail is
of great importance to him.
[Link]

12
Capture bird feathers

Capture bird feathers

Drawing feathers requires a different technique, as explored by Ivan Jones
ere, I will offer some hints and mixture of Derwent and Cretacolor pastel the details. For most of my artwork, I like

H tips on how to give bird

feathers a more three-
dimensional finish, using a
recent commission of an
osprey as an example. For this artwork I
used Rembrandt soft pastels and a
pencils on Canson Mi-Teintes Touch
paper, with a fine sandpaper-like texture.
I have acquired many pastel pencils
over the years, and use Derwent for its
softer texture, while Cretacolor is harder
and can be sharpened to fine point for
my paper to have a little ‘tooth’. However,
if I’m creating a human portrait for
instance, a more absorbent paper
such as Clairefontaine Pastelmat is
better, as it allows for blending to a
smoother finish for skin.

2
Start with the outline Layer on the shading

1 The first step is to draw the outline of

the feathers. I work from photos to
reproduce details as accurately as I can.
The second step is to chose three different shades (light, medium and dark) for
the next layer. You need to study each feather to see where the light falls – one
side will always be darker than the other. To give the striped effect to each feather, I
Each feather then has a base colour stroke with the pencil from the feather edge towards the middle. Note the darkest parts
applied – I use the photograph to choose are always under the feather.
the range of colours I need. This base
colour is then blended to create a smooth
surface using a piece of polystyrene cut to
a pencil shape.

Finish off with the highlights

3 The final step is to add highlights along the central quill using a white pastel pencil
– I use Cretacolor white as it sharpens well and gives the best true white available.
I then add fine details to the feather using very sharp pencils. I look at the photo again to
capture the final touches and to give a three-dimensional effect.

13
Basics

Build up texture in
animal horns
Eugenia Hauss reveals the techniques
you need to perfect textures

C
reating nature is a wonderful
source of inspiration for artists, “Don’t forget
but drawing realistic animals
and various natural objects can about the drop
be a great challenge. In this
short article, I invite you to a drawing shadows from the
journey! On the example of this beautiful
deer, we’ll explore the process of creating a twigs – having
texture of animal horns.
them in place is
Belarus
EUGENIA
important
I am a mostly self-taught artist
specialising in ink. Inspiring for realism”
and sharing my art knowledge
is my way of making the world
a better place.
[Link]

Add an outline

1 Having a part that is almost complete

can be useful as reference. I outline
the contours of the antlers, then add the
main lines of the texture in smooth lines.

14
Build up texture

Draw key lines

2 With the 0.1 ink liner, I apply thinner

hatches – they add more features
to the texture. Don’t overdo the artwork at
this point; we’ll create more details in the
next steps. If drawing deer antlers is a new
thing for you, please be sure to use photos
or even real animal horns as a reference.

Begin to dot

3 Dots make our texture look more

organic. With the 0.3 ink liner, I
create a pattern that emphasises the
outline. The closer the dots, the darker
your texture.

Contour the antlers

4 With the 0.05 ink liner, I add the

hatching, darkening the sides of the
antlers and giving them more volume. I
leave the fine lines of the reflected light by
the contour of the horns to add credibility
to the drawing. Don’t forget about the drop
shadows from the twigs – having them in
place is important for realism.

15
Basics

Map out face shapes

Break down complex ver wanted to draw something, and then refine those shapes until you have a

E
but don’t know where or how to life-like sketch. Its a quick and easy method
faces into simple to start? This bitesize tutorial with the added bonus of improving your
digest shapes, explains shows you how to break a
subject down into basic shapes
drawing skills every time, so why not try out
these skills now?
Jill Tisbury

1
Simplify your image
This method will work for anything you wish to
draw. Choose a reference image and print a high-
resolution copy so that you can see the detail. Also print a
grayscale version on standard printer paper because you
will draw on this copy to identify your shapes. Printing in
grayscale simply removes the distraction of colour
information. Now study the image.

16
Map out face shapes

2
Study your reference
You are looking for the most basic shapes. I
can immediately seethe following large
geometric forms that will be structurally useful:
• An oblong for the muzzle
• Another oblong for the back of the head
• Large oval that makes up the skull.
Keep studying your reference to identify all of the
shapes within the image.

3
Begin to draw
Now I have identified all of the basic shapes.
This lynx is mainly oblongs, ovals and a few
curved [Link] we can recreate those shapes
on the drawing paper or [Link] by drawing the
identified shapes on your drawing surface. Don’t
worry about the lines as they will soon disappear
when you start to refine the shapes.

Refine

4 Use your high-resolution reference to see where to link up

your shapes and refine them. Look at the muzzle oblong. I
have rounded the bottom of this to create the front of the jawline, and
Rule of thumb
If you don’t yet feel confident in getting
sizes correct, use a pencil and your
the top to create the nose. Add the line that links the top of the muzzle thumb to get a rough measure.
oblong with the skull oval and you’re starting to see a realistic outline.

17
Basics

Use proportional
dividers
Jill Tisbury explains how to make the
most of this handy tool

any people shy away from

M
There are several
proportional dividers, but ways to use
they are a really versatile proportional dividers
tool once you understand a
few basic rules when it
comes to using them. Over the next couple of
pages, this bitesize explains what they are
and how to use them. If you want a more
detailed tutorial on using proportional
dividers, there are plenty available online.

Measurements on
the dividers help you
to work out scale

Use the points to

work out the
distance you’ll scale

1
Decide proportions
Dividers come in many of sizes and
are used to transfer a drawing 1:1 or
to enlarge or reduce. There will either be a
sliding scale or a series of holes with a
screw or clip to join the two pieces together
to form a pivot point. Decide on the scale
you want and adjust accordingly. The
centre hole will usually be 1:1 scale.

2
Print a copy
Print a grey-scale reference to draw
on and draw a frame on your paper.
I’m transferring 1:1, so my frame is the
same size as the original. At each key point
on the reference you will draw a dot to form
a sort of dot-to-dot map. Although I’ve
drawn a few here, I generally draw the dots
as I work to avoid confusion.

18
Use proportional dividers

3
Begin transferring
Chose a starting point on the
reference and draw your first dot.
Place one divider point on the frame of the
image and the other on the point you drew
to take the measure. Move the dividers to
the drawing page and draw a vertical line.
Repeat from the top of the image, and
where the lines cross, mark your dot. Join
up to create the outline.

Divide and conquer

Using the dot-to-dot approach of
proportional dividers is much less intrusive
than scaling with a grid.

4
Join the dots
Continue working around your
image in this way until you have
an outline of dots. Add as many or as
few dots as necessary and join them
up, paying particular attention to your
reference. Soon you will have an
outline sketch that you can refine into
a full drawing. As your drawing
confidence increases, you may find
you need fewer dots.

“As your drawing

confidence
increases, you
may find you
need fewer dots”

19
Basics

Approaching Indian ink

Don’t be afraid of Indian ink, says Steven Hughes, STEVEN
Michigan, USA
as the creative potential is unlimited Steven is associate professor
of illustration at Northern
Michigan University. His

W
orking with Indian ink has a soft gradation can feel different, with the
vast possibilities for line being more of a confinement to the paintings and illustrations
have been featured in many
expression. One of my figure. By promoting variation in the
exhibitions and publications
favourite ways to work thickness of the line and following the rhythm including the New York Times.
with ink brings the two of your hatching lines into the brushstroke [Link]
opposing sides of the medium, line and application of ink wash, you can create
smooth tonal gradients, together in one stronger unity. Take a go now and see how
picture. The specificity of a line compared to creative you can be!

Wash and wait

Be patient when applying ink washes!
Give them plenty of time to try before
progressing to detailed linework.

Establish a sketch

1 Establish a rough sketch of your subject. For the

fox, I am being loose and using gestural lines
with some underlying geometric structure. I make
sure to create interesting negative space and avoid
concealing any important characteristics of the back
leg with the overlaps.

2
Lay in the outlines
After lightly tracing my sketch onto the final watercolour
paper with a H or 2H pencil, I begin the inking process.
Using metal nibs and a bottle of waterproof Indian ink, I lay down
the outlines and some early details. Variations in thick and thin can
promote a sense of light or strengthen the feeling of overlap. Let
the ink lines completely dry before beginning the next step, or they
may bleed unexpectedly with the application of ink wash.

20
Approaching Indian ink

Wash in a base

3 This step establishes the local values of your figure. In

this instance, I am working with three values and simple
gradients. Tilt your drawing surface so that gravity will pull the
wash downward as you work. I leave the paper untouched for
highlights and the white fur on the fox. I tone everything else
with a light midtone to establish the body’s colour. To achieve a
soft edge, the area is brushed with clean water and painted
into with the ink wash. After the first wash layer is dry, the legs
and a few other spots on the head receive the darkest value.

Add shadows

4 Once the local values are defined, I model the light and
shadow across the fox. Imagining a light source from
above, the form relies on seeing the geometric shapes within the
figure. Save the local colour from the previous step as the
brightest part of the leg and turn the form by making the planes
that face away from the light source a little darker. The loosely
washed-in background is used to create a changing value
contrast with the figure called counterchange. The gradient
allows the head and legs to be darker than the background, while
the tail and back are brighter, giving 3D form and movement.

5
Hatch in ink
The final step helps to integrate the hatching
ink lines with the soft gradients of the ink wash.
Using the brush like a nib to create lines and shapes
with grey tones I add fur texture and smaller marks to
develop more character to the forms. Some areas are
darkened with final adjustments to the value contrast.
Finally, I bring the pen nib back to enhance a few spots
and introduce some spontaneous marks or lines as
texture. These marks are like personal handwriting, so
add them to taste!

21
Basics

Master t ext ure s

Lancelot Richardson shows you how to render naturalistic
textures for a variety of animals in different media

T
extures are important for adding Often it is enough to imply most of the
a more authentic and believable
feel to our drawings, especially
texture – it is impossible to process
every hair or scale at once. Different
Ma terials
when it comes to animals and other textures have their own challenges, as n General pencil - charcoal
organic subjects. Here we are going they can appear complex, but are often n Graphite pencils – Mars Lumograph 100
to look at how to render a selection of different comprised of many repeating, similar (HB, 2B, 4B, 6B)
textures found on a wide range of creatures, elements, such as hair, scales or feathers. n Watersoluble pencils – Faber-Castell
using a variety of media. This is useful because once we detail Albrecht Dürer
Although I will be showing examples these elements in a few key areas, the n Ink pen – Platinum Carbon
in different media, the underlying rest of the texture will be understood n Willow charcoal
principles of looking at edges, shadow from relatively simplified marks. n Conté à Paris – Sanguine (610)
shapes, highlights and other visual cues Silhouette is effective for helping to n Gouache Paint: Permanent White,
apply regardless of material. show rough and furry textures, such as Lemon Yellow, Permanent Yellow Deep,
Light and shadow play an important loose hairs, or bumpy scales. Smoother Yellow Ochre, Winsor Red, Quinacridone
role in describing texture. We can only textures, like fish scales, don’t affect the Magenta, Ultramarine, Phthalo Blue,
clearly see textures in well-lit areas, and animal’s contour much, but we can see Burnt Sienna, Ivory Black
especially on light-shadow boundaries. how they wrap around the forms of the
n Sennelier Ink – Indigo, Red Brown
Shadows have less light, so we cannot animal more easily. Outside of dedicated
n Various synthetic short-handle brushes,
make out texture as easily. Less light texture studies, texture plays an
between #1 round up to 1” flat
means less information! Although we important role in adding visual interest,
n Papers: Seawhites Kraft Paper,
need to make marks to draw textures, and a variety of marks to our drawings.
Seawhites Cartridge Paper,
it is important that we don’t darken lit In particular, look for ways you can use
Clairefontaine PaintON – Naturel
areas so much that they get confused it to describe the contours and forms of
with shadowy ones. your subjects.

22
Master textures

LANCELOT
Brighton, UK
Lancelot is a painter and
illustrator. He’s taught life
drawing lessons at independent
drawing school Draw Brighton
since 2017, where he also runs
workshops on imaginative
drawing techniques.
[Link]

1 2
Contour Local values
To start, the entire contour of the In this step I have applied a light
animal is clearly blocked in, with layer of tone to assign values to
Hermit crab – shells major shapes and segments in the the different shells. The whelk is darker,
MARINE SHELLS have diverse textures, shells. Volumes are important in shell so laying its tone in now will help
and we can see the contrast between two textures, as the texture will follow their separate it from the crab’s shell. Try to
different types of shell in this hermit crab. curvature. Indicating the thickness work with the lightest touch here, as
The crab shell has a mixture of surfaces, around the shell edges is also important the textural marks you add later will
ranging from the smooth areas around in conveying a hard, durable material. darken the subject.
the sides of the legs, to the little spikes on

3
the backs of its claws. On the whelk shell Crab shell
it is living in, the texture is formed by There are a variety of textures
ridges that follow the spiral structure of added here. Sculptural hatching
the of the shell – completely different conveys the volumes of the legs and
to the crab and far more geometric. claws, whilst I have started to indicate
The barnacles are a bonus texture, spines on the front and added darker
characterised by cracks running up to areas for the crab’s markings. Behind
their centre, and a straight, ridge-like the eyes, there is a more pocked texture,
texture running in the same direction. indicated with little dots.

4
Whelk shell
The shell’s texture is primarily
made of two sets of marks. The first
is a spiral pattern following the twist of the
shell and creating a series of ridges. Tiny
‘C’ curves are then added as a second
layer of texture between the ridges.

5
Final details
To finalise the drawing,
I clarified the spines on
the front legs and claws, and
added smaller details of the
crab’s pattern. The underside
of the whelk has been
darkened to show more form
and contrast – this helps to
show the textures of the lit
upper side more clearly.

23
Basics

2 5
Fish scales Tails and fins Repeating patterns
Whilst tails and fins have no scales, Think of the scales as overlapping,
THESE CARP have large, visible scales they do have a distinctive texture. like roof tiles. The scales by the head
that make for a rich texture. Scales can Use clean lines that radiate from the where are foremost, and each row of scales is
seem like a complex subject, but we can the tail or fin starts. Pay attention overlapped right down to the tail, like tiles
find simplicity in their patterns. Scales to the edges, as they may indicate from the top to the bottom of a roof.
tend not to affect the contour of the fish a rippling of the fin.
– they are still smooth – so we want to
Hide
3
focus on how the shape of the scales Scale highlights
distorts with the form of the fish as they Scales are variable between species
wrap its body. of fish, but sometimes iridescent Hide, like on this pygmy hippo, is thick and
scales will reflect light very strongly when it tough, and this affects how it folds – expect to
hits directly. Here I have used fairly thick see thick, round lines, such as around this
white gouache to highlight the reflection on hippo’s elbows and neck. Adding a bit of

Follow these steps...

a row of iridescent scales. ‘wobble’ into your wrapping lines can help
indicate form whilst describing the creased

4
Lateral line textures, such as those around the back.

1
Scale pattern A row of tiny white highlights are
Different markings on the fish create placed across the fish’s side. This
areas of different colour scales. It is thin line is present in many kinds of fish.
generally easier to draw in the markings It is a useful textural detail, as it helps
before the scale texture, as patterns tend describe form and the orientation of
to contrast more than individual scales. the body.

Here I have used successive layers of

ink and wash to build up form and
texture, with gouache added on top at
the end to complete the highlights.

4
3

24
Master textures

Amphibian skin
AMPHIBIAN SKIN poses a particular where it is well-lit – to make these stand Wool
challenge, as it often has a combination out, leave these white, but ensure they are Wool is characterised by how it clumps
of complex patterns, as well as the contrasted by strong darks and midtones. together. Denser wool, such as around the
reflectivity of a damp surface. Patterns Amphibian skin can be diverse in neck, forms rounded masses, whilst frizzier
create different local values within the texture, ranging from very smooth to wool has soft edges and forms longer clumps.
same surface, so these need to be quite knobbly. This particular frog is in Pay attention to the shadows between
defined by relative dark and light areas. the middle, with a rougher back and clumps of wool, and soft edges. Highlights
Damp skin will have strong reflections smooth underside. have been picked out with an eraser.

1 2
Blocking in broad Defining patterns
shapes As pattern and texture can be
Using a thin ink wash, I’ve blocked hard to render together, I have
in broad areas of tone to start. A light opted to put in the pattern first as its
pencil was used to draw out the shape own layer. The pattern is organic and
of the frog. At this stage, we are building has irregular edges; try to avoid
a foundation for textures, taking care to repeating your marks, or spacing them
leave the lightest areas white for now. out too evenly, to maintain a natural look.

3
Deepening shadows
Here darker shadows have been
accentuated with thicker ink, and
the shadow behind the frog has an extra
layer of tone added to it. In a few places,
the texture of the skin is starting to come
through as dark shadows are added for
the bumps on the frog’s back.

4
Building texture
Layers of wash have been applied
to darken all areas that are not
highlights. Lots of small marks
accumulate to build up the skin texture
for the whole body. Take care not to
overwork texture in light areas – each
mark you make builds shadows.

5
Refining texture
White gouache is used on top of
the ink for highlights. The knobbly
texture of the frog’s skin has been
indicated with small white highlights,
where light is catching on the wet surface.
These are largely restricted to light areas,
where forms are rounding out.

25
Basics

Feathers
FEATHERS CAN be an intimidating
subject, but can actually be quite
manageable with a logical approach
and some layering. The most important
thing to look at with feathers is shape,
especially the shape of the shadows
between clumps of feathers. Feathers

1 2
will vary throughout the bird’s body, as Sketch and colour Building opaque
well as between species. indication colour
The texture of feathers changes a little Using watersoluble pencil, I’ve In this step I have started to
bit depending on the bird’s pose, too. created a base sketch and then applied lay down more opaque colour. The
Ruffled feathers or open wings often have some colour indications with a thin, beginnings of texture start to play
distinctive silhouettes, but sometimes translucent wash of paint. These colours a role in the edges between the areas
neat feathers will create a very smooth create a foundation to work on. This of different colour features. Edges
outline. When drawing smoother stage is especially important when can be very important to texture,
feathers, look for creases, points where working on white paper, as it stops white as they may show the shape of
they interlock, and directional patterns. patches peeking through later. individual feathers.

5
Finishing touches
To finish up, I’ve used a small
brush to fix the eyes and add thin
feather stripes to the face, as well as
pick out a few highlights on the feathers.
To capture details, I used watersoluble
pencils to add emphasis to the shaft
and barbs of the feathers.

3 4
Shadow shapes Adding light
I find the easiest way to imply To place these lights, we need
feather shape is to start by laying a smaller brush and more opaque
in the shadows. These shadows fill the paint. It is important to retain the
gaps between the ruffled feathers, and shadows, and only add lights where
have characteristic curves, with pointed you need them, refining the details.
ends between the feathers. Don’t worry Feathers are variable in structure, so
about drawing individual feathers – just pay attention to the differences, such
draw the shadows, and they will appear. as one side being lighter.

26
Master textures

Short fur Follow these steps...

WHILST FUR appears

1 2
complex at first glance, as it’s Fur direction Splayed fur
made of many strands of hair, Fur tends to grow in set When fur is relatively
it is important that we simplify directions, and wraps short, it will splay out
it. These meerkats have fairly around the forms of the in some places as animals
short fur. It isn’t affected by animal, such around this change poses and their skin
gravity much, and instead meekat’s shoulder. Whilst it wrinkles underneath. This
follows the forms of the skin is impossible to draw every causes the fur strands to turn
underneath. Pay attention to single strand of fur, we can end on, and we see dark,
your mark length when you still indicate its behaviour shadowy gaps between
are drawing fur; lots of shorter with marks that show clumps of hair.
marks following the direction a consistent direction.
of the fur will imply that
texture. As the fur gets longer,
make sure you include some
4
longer marks. For areas where
the fur is lighter, be more
sparing with the textural
marks – too many will look
too dark.

3
Patterns and 1
layering
The striped markings
of the meerkat are created

4
by layering pencil marks on Light areas
top of each other to build Texture is clearest
tone. Here I have taken care to where there is
make sure that my marks a lot of light. We need to
follow the general direction the take care not to darken
fur is lying in. well-lit areas with textural
marks. Here, sparse,
3 small, directional marks
show the direction of fur
on the meerkat’s face.

5
Silhouette and edges
Hairs become most visible at the
edge of the animal – this helps
indicate fur. Mix up harder edges for
flattened fur with broken lines for
softer fur. Avoid overusing too many
solid outlines on fur.

27
Basics

Reptile scales
REPTILES HAVE diverse scales, even This image was created using gouache,
on a single animal, such as this bearded starting with a transparent wash layer
dragon. Some reptiles have rough and sketch, then building up opacity and
scales with a clear silhouette. Others detail with subsequent layers of paint.
are smooth, like snakes. In this case, In latter stages, drybrush – taking paint
look for places where scales interlock, onto a mostly dried brush and dragging
especially as scale shapes tend to be it on the paper – was used to create the

2
more specific to the area of the body. gritty texture of rough scales. Contour and texture
The rough and spiky scales affect
the silhouette of the lizard here,
and in some other places. Areas like
this are really important for implying

1
Colour transition texture, as they show the shape and
I used the initial washes of paint size of the scales clearly.
to describe the colour transitions
that arise to markings. Layering can be
helpful here, as once those local 2
colours are laid in, opaque texture can
describe the scales on top.

Long and short fur

This lion shows the contrasting behaviours of short and long fur. Short
fur tracks along the three-dimensional volumes of the body – try to
keep your marks short, but pay close attention to direction. Long fur
is indicated by longer, wavier marks, and tends to clump together.

5
Scale variation
Scales can be very diverse, even on
one animal! Here we can see variety
in the flat scales of the underbelly, the
row of lateral spikes, and the rougher
scales of the upper leg and back.

28
Master textures

“Putting emphasis on these

scales helps to show the 3

more complex forms of

the lizard’s head”

3
Form through texture
The face scales follow a
specific pattern, with raised
ridges curving around the features in
arcs. Putting emphasis on these
scales helps to show the more
complex forms of the lizard’s head.

Spines
Spiny creatures like this lesser
hedgehog tenrec represent
a unique textural challenge.

4
Textural highlights Focus first on the edges,
Tiny light marks have been which will show individual
used to describe scales by spines side on, at full length.
their highlights. Putting too many As we come to the central
of these in can look cluttered, so look mass, we see spines end on,
for key places with high contrast, or and should work on drawing
important changes in form. the shadows created
between them.

29
Tutorials

Improve
your pencil
shading
Discover how Melanie Phillips
uses a selection of pencils to draw
a pencil portrait that captures a
pet’s unique personality on paper

30
Improve your pencil shading

MELANIE
Pencader, Wales
A professional pet portrait
artist since 1997, Melanie
works from her garden studio
where she draws dogs, cats
and horses for commission.
She shares her studio with her
artist husband Nicholas and
Tibetan terrier Lily.
[Link]

P
oppy’s owners asked me to draw a
portrait, so that they can remember
the happy times they spent with her.
It’s my job to not only create a
drawing that’s pleasing to the eye,
but one that captures Poppy and not just any
dog. That’s the job of a pet portrait artist. Easy?
Let’s find out…
My favourite support is Italian
Fabriano Hot Pressed watercolour

1
paper. It always has been since I visited Get the drawing right
Italy in 1994. I had the opportunity to try Artists use a variety of different techniques
out different Italian papers, including to achieve their initial drawing. These include
hand-made varieties. I found Fabriano to using a grid method, sketching, tracing and
be a good smooth surface to draw on, projectors. However you get your initial drawing on
and it’s readily available here in the UK. paper, the key is to take your time and don’t press
My students have loved using it over the too hard. I use a 2B clutch pencil. Make sure your
years. It holds lots of layers and can be outline drawing is correct before adding tone.
forgiving if you need to erase areas.
I use a variety of pencils. In this

2
drawing I have used three brands: Straight in with tone
Derwent, Steadler Mars Lumigraph and Once I’m happy with my initial drawing,
Faber Castell. These pencils are I start with detail and tone. I’m using a 4B
available from most art shops. For Faber Castell pencil. It’s possible to work across
rubbing out, I favour Faber Castell’s the entire portrait at once and build up, or to
Putty eraser. I also use a Helix battery- work on single areas at a time. I take the latter
operated pencil sharpener and it’s approach in this portrait – I prefer to start with
brilliant. Who said drawing wasn’t fun! the eyes to bring the dog alive from the outset.

Ma terials
n Italian Fabriano Hot Pressed
watercolour paper (12x10in)
n Derwent graphite pencil HB
n Steadler Mars Lumigraph 4B
n Faber Castell pencils 4B and 6B
n Clutch pencil 2B
n Faber Castell putty eraser
n Derwent battery-operated eraser
n My go-to pencil grades are HB, 4B
and 6B. These give me a variety of
different tones and weights, varying
with the brand.

31
Tutorials

3 4 5
Getting the eyes right Both eyes in Moving on to the ears
The eyes are key, because it’s the I’m not worried about the eyes The ears are great fun to shade,
first place that anyone will look. being finished because I can work as I’m dealing with a different
They must have the illusion of being back across the entire portrait as I go. texture to the rest of her. They’re
shiny and alive, and so it’s imperative to I start to build out from the eyes into smooth with a few light hairs on top.
take your time in this area. I try to look the fur, still using the 4B. I shade the I’m paying attention to the direction
at my reference photo and then back to negative spaces and leave the fur as the I shade in, to match the undulations of
my drawing constantly as I work. I also white of the paper. I then shade over her ears. I tend to work outwards,
leave the white of the paper for lightly, knocking back areas that are beginning nearest the head and shading
highlights and white fur. overbright and stand out too much. out to the tips of the ears.

6 7
Poppy’s second ear Tackling fur!
I’m building up my layers, using
the 6B Faber Castell pencil, too.
B ack to basics I’m taking time to build up layers
gradually on the top of Poppy’s head.
This helps to achieve darker tones. I Draw from life whenever you can. My art I use my 4B Faber Castell pencil, keeping it
don’t need the ears to be finished at this teacher told me never to work from a photo, sharp. I work in the direction of the fur,
stage; I can check back once the main which is ironic as that’s the basis of my job. shading the darker areas in between the
part of Poppy’s face is in. I can then He meant however, learn to draw from life lighter flecks. I use a putty eraser moulded
judge how much darker they need to be. too because it’ll teach you the fundamentals. to a point, to lift off any unwanted tones.

32
B uild layers
Don’t forget you build up your
layers slowly. Starting with a
4B for instance, add each
layer gradually instead of
using a hard pencil pressure
from the outset. You’ll find that
your drawings have much
more depth to them.

8 9
Shading Poppy’s face Wet noses
I continue the same kind of fur Starting on Poppy’s wet nose I
texture as I work through Poppy’s block the entire area in at once. I’m
face. With more surface area filled, I using less pencil pressure with my 4B
realise more tone needs to be added Faber Castell pencil. Poppy’s muzzle is
across Poppy’s forehead and ears. I very much lighter in tone. To convey the
work back into those areas with a Faber delicate shape of her mouth area, I
Castell 6B and the Steadler Mars shade between the white hairs on her
Lumigraph 4B. The Lumigraph creates upper lip. If I cover too many I use my
a darker tone. Keep your pencils sharp! putty eraser to bring them back.

10
Bringing it
all together
Using my 4B Steadler Mars
Lumigraph I start to add some darker
tones into the nose, nostrils and darker
fur. I’m balancing tones across Poppy’s
face and ears at this point, making sure
the tones work overall. I soften the
transitions and shading over areas
using my Derwent HB pencil to pull
everything together.

11
Knowing when to
put down the pencil
I take my time shading the
collar to make sure it’s correctly drawn
noting the highlights and shadows.
It’s essential to keep my pencil sharp.
I keep my fur tones fairly light as I move
down the chest to the edge of the
To the poin t drawing, so that it fades off nicely.
Knowing when you are finished with a
Keep your pencils sharp! I’ve found portrait is tricky. Stand back, look at it
that the safest and fastest way to with fresh eyes and compare it with
sharpen a pencil is by using a your photo. If you feel you’ve captured
rotary pencil sharpener – a great the dog in your reference photo, then
piece of kit and fun to use! you’ve achieved your goal. I hope you
feel that I’ve captured Poppy!

33
Tutorials

Build organic textures

Eugenia Hauss guides you through her process of creating beautiful
and realistic natural textures using ink liners and a brush pen

EUGENIA
Belarus
I am a mostly self-taught
Ma terials
artist specialising in ink. The Ink liners are very convenient because they
main themes in my art are are portable and clean, and are used in this
animals, nature and everyday workshop. However if you would prefer,
things. Inspiring and sharing
you can also follow the steps using nibs and
knowledge is my way to make
the world a better place. liquid inks, because the principles are
www. [Link] similar for both materials.

n A4 coated paper similar to glossy photo

n this workshop, I’ll show you simple yet paper types

I effective ways for how you can create

beautiful, organic textures, using only one
colour. We will explore the possibilities of
the ink medium together!
The theme of our drawing is nature
– an incredible source of inspiration. I
encourage you to use real objects for
n SB brush pen for creating varied
lines. SB means ‘soft brush’ and
provides a thin, flexible brush-like tip.
n Faber-Castell Pitt Artist Pen, size F (F
equals 0.5 mm)
n Faber-Castell Pitt Artist Pen, size S (S
equals 0.3 mm)
your artworks as often as you can. For n Faber-Castell Pitt Artist Pen, size XS (XS
example, I collect various natural equals 0.1 mm)
objects; they make it possible for me n Uni Pin Fine Line Pen,
to take a closer look, to touch and feel size 0.05
the surface. n Graphite pencil, B type
If you don’t have a real object, it’s n An eraser, just in case if you have to
great to use reference photos. My advice remove unnecessary pencil lines
is to gather as many visual materials as
you feel necessary – they will nourish
your artistic imagination and give you
useful information about the texture
and details.
Sometimes I create samples of
textures before proceeding to the clean
copy drawing. This is an excellent
exercise for developing your artistic
skills and power of observation.
I usually begin my ink artworks with
a pencil underdrawing. This method
gives me the possibility to build the
composition thoughtfully. I start drawing
with light pencil lines and general
shapes; then add the smaller features.
As soon as I feel confident
with my sketch and detailing, it’s
then time to start inking.

34
Build organic textures

1
Make an underdrawing
I create a pencil underdrawing. Firstly, I mark
the hill and add rough shapes for the snail’s
body and shell. Then I draw the leaf and the acorn.
The peculiarity of this composition is that the snail
is looking at the acorn, as if with curiosity. As a final
touch, I refine the snail, adding the spiral of the shell
and the horns.

2
Outline the contours
Using the brush pen, I outline the contours
with organic lines, varying the width from thin
to thick. Let your hand be relaxed and have fun!
There is no need to draw all the contours with this
tool, so I leave some pencil lines uncovered. We will
come back to them very soon.

35
Tutorials

3
Work on the shell
I use the S ink liner to reveal the
relief of the snail’s shell. On the
image below, you can see two types of
ink strokes: long rounded lines accent
the prominent points of the shell, and
groups of short hatches unobtrusively
emphasise the three-dimensional
aspect of this object.

4
Draw the moss
I begin the work on the texture
of the moss. With the S ink liner,
I add groups of short hatches and
dots to the hill area. The layering of
hatches creates interesting effects
and increases the contrast in the
drawing. The closer I get to the
bottom part of the artwork, the fewer
hatches I apply. This trick helps to
create a beautiful fading effect.

5
Create the texture
on the snail
I add the texture of the snail’s body,
using the thinnest liner (number 0.05).
This texture consists of small oblong
elements that are closely adjacent to
each other. I also add thin hatches to the
area of the snail’s body under the shell.
By carefully accenting the shadows, the
drawing starts to look more realistic.

36
6
Add dots
Draw dots onto the shell, using the F
liner. The groups of big dots will
make the texture more interesting and
credible. I accent the sides of the shell and
the borders of the spiral, to give it more
contrast and make it varied in terms of
value (this means that you have darker
and lighter objects).

7
Finish the
shell marks
I add rounded hatches to
the sides of the shell and near
the spiral line, using the 0.05 ink
liner. This type of hatching is
also known as contour hatching,
and it works perfectly for
accenting the three-dimensional
aspect of objects.

8
Refine the snail’s body
Using the 0.05 ink liner, I work on the snail’s
body. Thin hatches help me to reveal the relief
of the animal and emphasise its three-dimensional
qualities. The groups of parallel lines can go in
different directions to form layers of hatching; this
way of creating shadows is particularly good for
black-and-white ink graphics.

37
Tutorials

“ It is important to leave
a thin white line on the
edge – it will separate
the acorn from other
objects in the drawing”

9
Draw the acorn
With the S liner, I add dots and rounded
hatches to the acorn, accenting the sides of
the object. It is important to leave a thin white line
on the edge – it will separate the acorn from other
objects in the drawing. Having this in place
guarantees that the artwork will look realistic and
three-dimensional.

10
Develop the acorn
I add thin hatches to the acorn, using the
0.05 liner. The goal is to give the acorn
some contrast but leave the highlights. Drawing
with ink is a process of gradually raising the value
and contrast, so it is better to apply fewer strokes at
a time than too many of them at once.

11
Create the leaf texture
I work on the leaf. With the S liner, I
add some dots to create an organic,
velvety texture. Dots always work great
when it comes to natural objects and
smooth surfaces; you can also use dots of
different sizes in your artwork to achieve
amazing graphic effects.

38
Build organic textures

12
Accent the leaf
Using the 0.05 liner, I mark all
the dark places of the leaf. It is
important to separate the leaf from the
acorn with a distinct, contrast shadow.
Trust your eyes and hand; they will
suggest the direction of hatching and
the level of value in your drawing.

13
Refine the
mossy texture
I work on the relief of the mossy hill. I
apply hatching made with the 0.05 liner to create
darker spots. I especially accent the shadow from
the acorn and ensure that the borders between “Trust your eyes and
the objects in my drawing are clearly visible.
Looks nice! The artwork is complete. hand; they will suggest
the direction of hatching
and the level of value in
your drawing”

39
Tutorials

Creative colour with ink

Use Brusho ink pigments to experiment with colour, says Jill Tisbury

JILL
Northamptonshire, UK
Jill is an artist and tutor who
specialises in wildlife. She
loves to experiment, but her
two main passions are pastels
and airbrushing (acrylics).
[Link]

B
rusho is a highly concentrated
watercolour ink powder. The
pigments produce vibrant colours,
but can be toned down with water.
It’s a very versatile medium, which
suits our colourful subjects well!
Over the next couple of pages, I am
going to walk you through the process of
using Brusho inks, including a few
techniques to achieve creative and
interesting effects. There are plenty of
ways that you can use them, and their
vibrancy really makes the works pop.

Ma terials
n DotsPen with permanent ink
n Masking fluid
n Clear wax crayons
n Tracing paper
n Masking tape
n Water
n Brusho Ink
n Various synthetic brushes, including a #2
and a flat brush

1
Get the drawing right
I’ve drawn my image using a DotsPen on
watercolour paper using permanent ink, so that
it doesn’t run when the colour is applied. I’ve
applied masking fluid for areas that I want to keep
white, as well as a wax resist for more broken areas.

40
Creative colour with ink

2
Keep it tidy
Brusho can be messy, so I use tracing paper to create a
mask to cover the birds while I paint the background. I
wet the area and sprinkle the dry pigments so they ‘bloom’ in
the water. This gives an abstract result – you’ll never get the
same result twice! Use a water to dampen the paper more, if it
needs it.

3
Picking out smaller details
I want to pick out the heads and feet in a fairly
detailed way to contrast with the background,
so I switch to a size 2 brush and use the pigment
more like watercolour. I mix it with water and work
from light to dark on the beaks and face. For the
most vibrant areas I use pure pigment and just
touch it into the damp paper.

4
Finish with an overwash
For the main green of the parrots and the
brown branch, I lay a flat wash, varying the
colour strength or overwashing grey to define form.
I use dry pigment on a flat brush and work into the
damp areas to stipple in the texture. Finally, I
strengthen the dark areas to punch out the
contrasts. I remove any masking when the piece is
completely dry.

Shake it all abou t!

Punch holes in tub lids with a darning needle and sprinkle
the pigment like a salt-shaker. Use a spare piece of
watercolour paper to test the strength or shade of your
colour before committing it to your work.

41
Tutorials

Make spontaneous
bees and butterflies
Kate Osborne reveals the secret to creating unique art with
wet-in-wet watercolour, gouache and unusual printing techniques

42
Make bees and butterflies

N
ature offers so much inspiration to paint through tissue. This conveys separate from the blacks, and also to
for art. I began painting some of that less-than-perfect, hang onto the delicate transparency of
butterflies after a visit to my local crumbling texture at the edges of the their wings.
natural history museum in wings. It’s also fun, and has results that Working small does not necessarily
Brighton, where I was able to are a little unpredictable and exciting. mean working dry, and remember that
access drawers and drawers of beautiful and Painting bees doesn’t need the same puddles of paint can dry in a very
fragile specimens. treatment as butterflies, but you still dynamic way. This workshop encourages
After seeing the butterflies up close, need to keep looseness and wetness in you to keep it simple, taking a risk by
I felt particularly inspired to re-create your approach to painting them. This, of allowing the paint to do its own thing, and
some of the interesting textures. There course, requires the right brushes and find new ways to make marks and
are many ways to do this, and one way is careful timing in order to keep the yellows textures, and enjoy the dynamic results!

KATE
Brighton, UK
Painter Kate is also a textile
designer and figurative artist
whose subject matter is the
natural world.
[Link]
[Link]

43
Tutorials

Bee insp ired

Begin with yellow

1 Start by mixing good puddles of Cadmium or Hansa Yellow,

Burnt Umber and/or Burnt Sienna, and Paynes Grey. Now
take the palest colour (the yellow), and paint the whole body
Best brushes
It’s best to use a round brush with a good
and head, keeping everything wet by dropping in more paint, or
point; sables are brilliant. Look for a brush
adding clean water. Add the wings in a pale mix of brown, and if
that has enough body to hold a significant
the yellow bleeds into them, mop it up and drop a little clean
amount of paint, but can still keep its point.
water into the area – this will ’push’ the yellow away.
For very fine detail of the veins on the wings
or the end of the legs, a sword brush is
ideal. For the darker hair on the body, you
can use a round Chinese brush with the tip
flattened into a comb.

2 Try a bit of alchemy

Now drop in a rich shade of brown
(or brown/grey mix) for the darker
areas of the body furthest away from the
3 Add the legs
With a darker mix of
brown/black, find the
negative shapes of the legs
Wa ter ways
When you pull your brush
yellow. Depending on how wet your paint that are against the body, and through it, the paint in your
is, how wet the area you are dropping it paint the body around them. palette should move like
into, and how loaded your brush is, will Try not to put in every detail – water. It should also have
dictate how much and how far this darker sometimes the smallest enough pigment in it so it
tone bleeds. Learning this bit of alchemy suggestion is enough and lets doesn’t merely look ‘tinted’
will take some practice and patience! the viewer ‘complete’ the when it goes down on
Now let your painting dry completely. picture for themselves. the paper.

44
Make bees and butterflies

S ay i t wi th flowers
If you want to give your bees context, you can introduce
flowers to the scene. Treat the flowers in much the same
way as you would the bees, working loosely, keeping
your paint flowing at the initial stage, not separating stalk
from flower but allowing them to run into one another. It
may be tempting to be exact and keep the petals apart
from the green areas, but this blending echoes the
organic nature of the subject. Once this first stage of the
painting is dry, you can ‘separate’ the flower from the
stalk or leaf with the next layer of tone. When painting
with flowers, be more impressionistic with the bees and
keep the detail down to a minimum. It’s amazing how
little information is required to describe these creatures!

45
Tutorials

Be t t er b u t t erf lie s

Shape, colour and texture Add in the detail

1 Because butterflies are symmetrical, you can draw one half onto a
folded sheet of tracing paper, turn it over and trace onto the other half.
Once you’ve transferred the outline onto watercolour paper, create the initial
2 I take a strip of masking tape and tear it down
the middle, before sticking it onto the image,
leaving a small gap. I then paint over the gap with
stage of your painting, using some nice puddles of paint – make sure the blue gouache. When the tape is removed, it will leave
whole area is covered. Before it has a chance to dry, place a layer of kitchen an irregular-edged blue stripe for detail on the wing. I
roll over the image and let it absorb the paint. You can now add rich, vibrant then make another longer stripe, this time running
(and very wet!) colour on top. I’ve used mixes of Cobalt Teal, Perylene Red, the entire length of the wing. There are now two
Viridian and Indigo. Leave the tissue on until it is a little short of dry, before stripes on the top wing, and just one on the bottom
peeling it off for some lovely textures. wing. I repeat this on the other side.

3
Add more detail
The hairs of the butterfly’s body can now be
painted on with a round brush flattened into a
’comb’. The wing veins are painted with a sword
brush. For the red part of the wings, I’ve taken some
Chinese/tissue paper and painted it with a rich mix
of red paint. Once dried, I tear it into two circles. Next,
I paint some textured craft paper with bright red
gouache, and use this to print onto the tissue. The
circles are then stuck onto the wings with glue. Finally,
I print on the yellow gouache dots using my finger.

Wi th a trace
You are looking to get the pattern as near symmetrical as
possible, so it may be worth using your tracing paper
again to ensure this if you’re not confident doing it by eye.

46
Make bees and butterflies

Find your edge

If the outline of your butterfly has been lost in the painting-through-
tissue stage, find it again using opaque gouache that more or less
matches your paper colour (add a little Yellow Ochre to the white if
you need to). Just paint around some of the outline, such as the areas
where the wings meet, where the tail and wings meet and around the
butterfly’s head.

47
Tutorials

Tips to paint a
mischievous hare!
Hannah Dale is known globally for her beautiful wildlife illustrations.
Here she shares her process for bringing a hare on the run to life

I
HANNAH ’ve had to develop a different way of
Brigg, UK working over the last few years. Gone
The creator of best-selling are the days when I could lock myself
giftware brand Wrendale away in a studio for hours and immerse
Designs, Hannah has
become known all over the
myself in a piece of work – I have three
world for her characterful young children and take a very active
and engaging watercolour role in our business so this has meant that
illustrations of wildlife. painting time only comes here and there,
[Link] often at the kitchen table where I can keep
an eye on everyone while I paint (we even
bought an extra long kitchen table so I can
leave my paints out rather than having to
pack them away each meal time!).
I found this pretty difficult at first but
Ma terials
I’ve slowly adapted to being able to work Hannah uses Winsor & Newton
in quite a fragmented way and it suits my Professional Water Colour paints. She uses
lifestyle perfectly. It also means that if an the pans rather than tubes because they
idea pops into my head suddenly, I can offer more convenience.
quickly get to work with a sketch and put The surface is Winsor & Newton Classic
the ideas down on paper rather than Water Colour paper, 300gsm cold press.
having to wait until I can get some proper The size is 16x20in, which she uses for a lot
studio time. of her work. This paper has a nice toothy
Having studied zoology, animals and texture and handles the paints well.
wildlife have always been a great passion The brushes Hannah uses are Winsor &
for me and I never tire of painting them. Newton Sceptre Gold synthetic brushes
We’re lucky enough to live in the and Series 16 sable brushes. The sizes
Lincolnshire countryside and have range from 00 for the very fine details to 16
Capturing the essence of a spritely limitless inspiration right on the
hare might seem a difficult task,
for the loose washes. Hannah gets through
but follow Hannah’s approach and
doorstep. In this tutorial, I’m going to a lot of brushes, especially the finer grades,
you will be sure to create give a step-by-step guide to painting a so she views the synthetic sable brushes as
something to be proud of. running hare. I must have painted an excellent and less expensive alternative
hundreds of hares over the years and it’s to the standard sable ones.
a real passion for me, but each painting Hannah’s initial sketch was created
always unveils a new character, which using an HB pencil.
reveals itself as the painting progresses
– I always find it an exciting process.

48
Paint a mischievous hare

49
Tutorials

1
Create the sketch
Starting with a blank sheet of paper can seem pretty daunting, and the
first marks can often feel the hardest. I want to paint a running hare and
getting a sense movement and energy into a piece of work is quite
challenging – I’ve started with some quick pastel sketches, which I find
useful for experimenting with different compositions and poses. As a
general rule, I want to avoid parallel lines and introduce as much contrast
as possible in the lighting and colour palette to stop the final piece feeling
too calm. It takes quite a while to complete this step – I keep changing
things, and then leaving it for a few hours before coming back to reassess.
For me, it’s really crucial to get the elements right at this stage to save a lot
of wasted time later on.

2
The first wash
Use a mirror I’m giving the painting its first wash

as you work using a mix consisting of Burnt

Sienna and Yellow Ochre, along with a
touch of red. I want the red to show
I look at my work through a
through subsequent layers of paint and
mirror at regular intervals – it’s
provide the painting with a warm base.
like looking at it with fresh eyes
One of the key points of this stage is to
and you immediately spot
eliminate any white in the painting that
anything that’s not working or
will not remain white in the finished piece.
that might be missing – it can
In this case, the only white of the paper
save a lot of head scratching
will be the glint in the hare’s eye and a
later on!
little dab on the tail.

3
Add a contrast colour
The next stage is to establish the
light source and work out where
the shadows will fall. This instantly starts
to give the hare some form and he begins
to look three dimensional. I’m using
violet, French Ultramarine and a tiny bit
of Burnt Umber. This mix contrasts well
with the warm wash and introduces a
cooler element.

50
Paint a mischievous hare

4 5 6
Start work on the fur Now for the ears Develop the fur
Now I want to build up the areas of For some reason, when painting hares and I’m now adding layer
shadow while introducing the rabbits, I always start with the ears when it upon layer of fur – there
appearance of fur. With watercolour, I like comes to focusing on the detail. I think it’s because is a huge variety of colour
to give the impression of fur rather than you get a good range of colour and light contrast within fur and building up the
paint each individual hair, and it helps to within the ears due to the way they fold, creating a layers help to make it look
work with more of a dry brush for this deep shadow in the centre. Hares have a good range more realistic. I’m sticking
effect rather than the wet washes in the of colour variation in the ears with the black tips. This with oranges, purples and
previous stages. I’m still working fairly then becomes a good benchmark for the rest of the browns and always being
quickly across the whole painting here, to work and if you are constantly asking yourself ‘is the mindful of where the shadows
build it up with consistency rather than shadow on the foot as dark as the shadow on the are and where the light would
focusing on a small area. ear’ etc, it helps to make the final piece coherent. be hitting the animal.

7
Time for reflection
The form is really starting to take
shape now and I’m happy with the way
the fur is looking. I like to take a bit of a break
at this point and come back to the painting
with fresh eyes – it’s a good time to view it
through a mirror, which reveals any areas
needing a bit more attention.

“I like to take
The ‘it’ factor a bit of a
The most important ingredient in any
artwork is a passion for what you are break at this
painting. I worry much less about the
materials and paints than really engaging point and come
with the subject – for me it’s about
capturing a character and expressing that back to the painting
in watercolour. Even if it’s not technically
perfect, this will give the painting a kind of with fresh eyes – it’s
magic that is hard to define but is evident
at a glance. a good time to view
it through a mirror”
51
Tutorials

“I just need to make

the final tweaks to
the shading, add
the whiskers and
some splatters”

H ave faith in yoursel f

I didn’t study art beyond school and for a long time I felt
I had to apologise for not being ‘professional’. I had sold

8
Check the shading
thousands of prints and still didn’t have the confidence
This is a good time to check that the balance of the piece is working.
to call myself an artist or even to sell my original
I want to make sure that the darkest and lightest areas of shading
paintings as I was too embarrassed to put a value on
are in the right place. It’s really important to make the final piece coherent
them. I think as an artist you are your own worst critic
and ensure the whole range of shading, from white to black, has been
and I am definitely no exception – it’s so important to try
used in all the right places. It’s also a good time to adjust the warm and
and get past this and tell yourself ‘I am an artist!’
cool highlights to make sure there is good colour contrast as well.

9
The eyes
Often the most daunting
part, the eyes can make or
break a piece and really give the
subject its character and personality. This
painting is of a lively brown hare, full of energy
and mischief and the eyes must reflect this. I spend
quite a bit of time building up the shading and the
whole colour palette and tonal range is used
within this small space! I think this is key to
a successful eye – the very lightest and
very darkest part of the painting exist
right next to one another.

52
Paint a mischievous hare

10
Finishing touches
Nearly there now – I just need to make the final tweaks to the
shading, add the whiskers and some splatters, which also
help to add to the movement and energy of the piece. I’m focusing them
around the back feet as if he is kicking up mud as he goes along! It was
my original intention to paint more detail in the grass at the bottom but
upon reflection I don’t think it needs it. I like the way it sits there like a full
stop at the end of the outstretched foot, anchoring the painting nicely.

53
Tutorials

Capture movement
with loose brushstrokes
Alex Egan uses her watercolours with the lightest of
touches, as she gives depth to a scene featuring koi carp

ALEX
Norwich, England
Alex studied fine art at Bristol.
She loves to paint animals,
but she’s also inspired by
subjects of beauty in the
natural world – particularly
trees, which she considers to
be beings in their own right.
[Link]

W
atercolours are my medium of
choice when
I paint animals. The fluidity of
the paint helps to give a real
sense of movement and
vitality. This particularly applies when painting
koi carp. I’ve illustrated these beautiful fish a
number of times and it’s crucial to get the

Ma terials composition right. They need to flow down the

page and it’s very different from doing, say, a
I’m using a lightweight watercolour paper landscape, which has clearer guidelines as to
that has a bit of texture, but isn’t too rough. where the horizon goes, for example.
It’s an A1 size sheet cut in half, because the I usually start by sketching a few
final image is to be approximately 46x33cm. ideas, to see which looks most pleasing.
I dampen the paper with a light spray of I’ll also tidy up my work surface, so that
water and then stick it into a board using I have clean palettes and plenty of water
gum tape to stretch the paper. I always to hand. Once I start painting I have to
stretch the paper when using watercolour work fairly quickly, otherwise the paint
because it wrinkles when it gets wet, but if can dry and leave a mark I’m not happy
it’s been stretched it’ll always dry flat. My with. However, there are times when you
brushes vary from some large flat broad soft want the paint to dry completely, such as
watercolour brushes for the initial layering the background. This is when you can
on of colour, then to some fine sable round plan the next step and what colours and
ones. I like to use a rigger brush for detail. brushes to have ready.

54
Movement with brushstrokes

55
Tutorials

1
Prepare the paper
Fast & loose I cut four strips of gum tape (available in art
shops) to size so they’ll be ready to use. Then
I like to start with big broad I prepare the watercolour paper by spraying it lightly
brushes, so that I don’t have on both sides (I use a house plant sprayer but any
too much control. It’s easy to well-washed out kitchen cleaner or similar spray
overwork things, so I’ve learnt bottle will do). You need to have a wet sponge or
to start a painting very loosely cloth ready to wet the gum tape and then apply
to develop a nice feeling of quickly to each edge of the paper, to stretch it on a
movement, particularly when board. Avoid getting creases down the edges, and
painting koi carp. note that it’ll look wrinkly while it’s still wet.

2
Start sketching
I usually make a few sketchy
drawings to work up the bigger
one from. Once the paper has dried
I lightly sketch out the final design
from my small drawings.

56
Movement with brushstrokes

3
Paint the background
I prepare two colours – Prussian Blue and
Sepia – in small dishes, by adding water to
each colour to create a very diluted mix. I then start
painting with some big, broad brushes, using
kitchen paper to pat off any excess. I work quickly at
this stage and don’t worry too much about going
over the edges of the fish, which I’m leaving white
for now. While the background paint is still wet,
I use a combination of wet and dry brushes to
create ripples and watery reflections. I avoid
making the water too detailed because I don’t want
this to detract from the fish. I then let the paper dry
with a small pug to guard it.

4
Starting on the fish
I’m using a limited palette for the koi carp:
Winsor Lemon Yellow, Cadmium Yellow,
Cadmium Orange, Vermillion and Payne’s Gray.
I block in fairly diluted colours on each of the
fish using a smaller flat brush and a smallish
round sable brush.

57
Tutorials

5
Adding depth and shading
I’m constantly applying more layers of paint
to build up the depth of colour. This gives
more luminosity to the final painting, but you’ll need
to let it dry between layers. I start adding light
shading to give the fish shape, using diluted
applications of Payne’s Gray.

6
Putting back the pencil detail
I notice that I’ve lost quite a bit of the original
sketch from the wet paint, so I decide to add
more detail back using a soluble pencil to help guide
me and firm up some of the outlines.

7
Tricks of the trade
Sometimes when working quickly, I have a
clean brush standing by to take off excess
paint that I’ve put down with another brush.
Watercolour can be unpredictable to work with,
so I’ve taught myself a few ways to deal with this
unruly medium. Kitchen paper is useful for dabbing
off excess paint, but this need to be done with care
because it can leave unwanted marks.

58
Movement with brushstrokes

8 9
Standing back Adding more depth
At points throughout the painting
it’s a good idea to pause and take a
to the background
I mix up a darker solution of the paint
Insp irat ion
step back. This is a little tricky to time using the same colours originally used for the I recently came back from a
when using watercolour, but when I feel background along with some Payne’s Gray. I use big wonderful trip to Japan, and
that I’ve more or less finished, I stop and brushes to cover the area quickly, and then smaller I managed to see many other
take a good look at my work. I decide the brushes for the fiddly bits around the edges of the incredible sights – including
background needs to be darker to make fish. Spraying areas of the wet paint with the water quite a few koi carp in
the fish stand out more. bottle creates a pleasing droplet effect. ornamental gardens. I also
saw some traditional and
ancient Japanese paintings of
the fish in one of the museums
in Tokyo. I find them very
inspirational when I’m
lacking in ideas and feeling
despondent about my own
work. Seeing some original art
always lightens my mood, and
I come away freshly inspired
and keen to get going again.

10
Finishing touches
I mix some white gouache
paint to add highlights to the
fish and use a medium-size brush to
apply a few white spatter marks, which
creates movement in the painting. It’s
time to stop – I feel the painting would
become overworked if I do any more to it.
It’s not always easy to know when to
finish, but ‘less is more’, and experience
and practice enables me to know when
the time is right.

59
Tutorials

Produce striking
contrast with pastels
Kaz Turner shares her techniques for creating
a vibrant tiger that leaps off the paper

KAZ
Wrexham, Wales
After studying illustration
for children’s publishing at
university in Wales, Kaz
now specialises in wildlife
art and pet portraits.
[Link]

uring this workshop, I hope to

D demonstrate how versatile the

medium of pastels is in creating
truly stunning works of art.
The softness and luminosity
of pastel sticks make them the ideal choice
for backgrounds; whereas pastel pencils
(when sharpened to a fine point) have two
types of lead for precision: hard and soft.
Photography
However, I personally find these attributes You’re unlikely to find a
not as important as colour range. photograph you’re 100 per
I work mainly from photographs. cent happy with, and you’ll
This allows me to make any changes to probably make some
the drawn composition should I wish to changes. But there are
do so. In choosing this particular shot, I some things you should be
was able to capture a sense of the tiger’s looking for in an image. First
presence, which I try to convey with all of all, composition is a must.
my work. Not only did it present great Get this incorrect and you
tonal values, but also areas of really dark will struggle. The eye must
contrast against the lighter shades. The lead the viewer in. Also look

Ma terials combination of these aspects always

makes for a great painting.
at where the light falls on the
subject. If this is not obvious
For this workshop, Kaz used Anthracite Pastelmat 360 As I select my colours ready for my and you feel it needs to be,
gsm, measuring 50x38 cm. This media is lightfast and acid painting, I use spare pieces of Pastelmat make it so. Watch out for
free, and the velvety surface holds many layers without as testers to find the correct shades I bleached white in a
being abrasive on the fingers. Kaz also used Winsor & wish to use. Once I’ve started, I never photograph; there could be
Newton Artists’ Soft Pastels for the background, plus a use a colour I have not already selected, lots of shades underneath.
range of hard Conté sticks for the underpainting. The as a small amount of a new shade would You’ll also want an image
tiger’s detail was worked using a number of pastel pencils stand out in the painting. I always use with a good use of contrast.
including Derwent, Faber-Castell and Caran D’ache, while Pastelmat for my pastel work – the Finally, do not be frightened
Conté 630 White – a pencil made from oil and clay – was combination of this surface with pastel to change and move around
the ideal solution for the animal’s sharp white whiskers. pencils is ideal for showing off the the subject matter.
effectiveness of the medium.

60
Striking contrast with pastels

“I always start with the eye area as

this is the focal point to any animal
portrait painting”
The original drawing

1 I use a general HB pencil to sketch

the scene. I avoid a great deal of
detail as I tend to remove the lines, using
an eraser after transferring it to the
[Link] lines show through the
pastel using tracedown paper.

61
Tutorials

2
Start from a focal point
I always start with the eye area as this is the
focal point to any animal portrait painting.
I begin with the white highlights first, and then add
the palest colours proceeded by the darker shades
in and around the pupil. Following the pupil, I leave
gaps in the blackness of the eyelid for the white fur
to drop down. I always find it’s best to establish
some of the tiger’s black stripes in advance, as the
white fur sits over the top of its edges. Next, I apply
the green and ochre hues over the white in light fine
strokes, finally continuing with the orange across
the nose area. This area is then worked from dark
to light – all using pastel pencils.

3
Establish head shape
Having established a starting
point, I continue above the eye
area. I apply a background edge using a
soft pastel in black, to account for all the
fine hairs that run off the tiger’s contour
– especially around the ears. After
edging the ear from orange, ochre then
to cream, the centre is a layer of black,
ochre and green all smudged together. I
then draw in lots of fine white curly lines,
topped with a layer of green and cream.
The lines are random, but run in the
direction of the tiger’s form and shape.

4
Colour cheek
Continuing with the side of the
head, I use oranges, ochres,
and creams once again, noting that
the layers of fur are running
downwards. I work on the section
directly underneath the eye using
greens and greys first. I then use
white to cover the coloured layers
using wavy lines, exposing the
original underpainting. I add green
to the whiter area, then lastly, I add a
layer of orange – ready for the nose.

62
Striking contrast with pastels

5
Getting the nose right
The nose area is the most challenging as its structure
spreads out into various directions. The line work runs
above the eye, across at the bridge of the nose and curves in a
downward stroke half way across the width of the nose, leaving
a small triangular patch sitting centrally, just underneath the
bridge. I follow this to the tip of the nose, using small light
strokes of ochre and cream, continuing with darker shades in a
circular motion to the side for depth. As I reach the fleshy part
of the nose, I use grey before edging off in white, then I’m ready
to apply the palest of pinks for the nose. Before applying the
highlight of white, I add a dash of crimson and ochre, finishing
off with black for the nostril.

6
Work on muzzle and mouth
I now begin working around the cat’s muzzle, putting in
all the black areas first, sweeping in with the white at a
diagonal angle. However, I make sure to leave space for the
whiskers, which I drew in with Conté 630 White. I then work on
the shadow areas using grey and green in the lower corner of
the bottom lip over the black. I now need to create a 2D effect
on the teeth, so I paint a mixture of ochre and yellow on the
backs of the teeth. Moving towards the middle, I paint in a
yellow towards the front, then a cream on the bottom half,
with a white at the tip of the teeth. Once I’m happy with the
result, I blend a small amount of pink into the black behind the
teeth. I then proceed to the chin, which is all fine strokes of
white, plus yellow, green and grey for the shadow areas.

The ca t’s whiskers

Whiskers can prove difficult with pastels; if they are
vague or pale, then they are best in pencil. Use a pushing
motion of the pencil for depth and clarity. An indent in the
paper using a blunt device works well, as the pastel won’t
fall into the wells made by the indent marks, so you can
see where the whiskers lie. Heavily defined whiskers can
be painted on using white gouache: the right consistency
requires patience, so do a test run. I use the Conté pencil
630 White made from oil and clay. It has a superb heavy
white lead – ideal if you find using a brush difficult.

7
Underpainting
Having completed the main facial features, I
now move onto the underpainting. This is not
only a great way to define colour values and
contrast, but also adds depth and body. Without it,
the image would appear flat and lifeless. With the
use of hard pastel sticks, I establish where the lights
and darks are in my painting. This prepares the
base ready for the details, which are drawn over the
top in pastel pencil.

63
Tutorials

8 9
Add layers Emphasise contrast
In this step, I paint the longer fur I start with the darkest area, the middle section, so that I
between the face and neck. can build my colours from dark to light bearing in mind
Starting with the black stripe first, where the contrast is. I lay down black first – for the stripes as
I quickly move onto the white layers, well as the shadow area. I then work towards the top with a barely
rubbing them lightly into the visible, very dark orange. I use a golden yellow to highlight the
Pastelmat’s base, as I add a layer of edges of the fur and a lemon with an upward stoke as the fur
yellow and ochre part way through. reaches the top of the tiger. The highlight is cream, with several
Shamrock and grey in the shadow areas white strokes done with an edging of tiny orange pencil marks.
keep the luminosity in the pastel layers The bottom pattern is a bit tricky: I use orange into cream at a
fresh and transparent. Finally, I add fine, diagonal angle, flicking the pencil out at the bottom edges and
light spontaneous strokes, some more blending for a natural look. I add black and grey between each
heavy than others. shape, running into white near the bottom.

10
Create background
The need for con trast For the background, I cover the
Pastelmat in a soft black pastel,
Don’t assume that working from dark to light is always best. Light areas which I rub in using an artist’s sponge.
should be worked at the initial stages. When working with shadows, I then work in a mixture of orange, green
people tend to use black as the main colour, which is fine, but remember and cream directly to the side of the cat to
it is contrast with the surrounding colours that are the most work. add a warmth in the shadows – still using
Contrast is the difference between the tonal values, which allow a soft pastels with a circular motion.
subject to appear 2D or 3D. Colour can highlight, add shades, shape and
form to a subject; without contrast, the subject matter will appear flat.

64
Striking contrast with pastels

65
Tutorials

66
Create character and texture

Create character
and texture
Rebecca de Mendonça captures the energy
of a beautiful Arabian horse in pastels

REBECCA
Devon, UK
Rebecca co-founded The New
Pastel School and teaches in
the UK and Italy. Her book
Pastels For The Absolute
Beginner, published by
Search Press, is available now.
[Link]

P
astels are the perfect medium
for drawing and painting
animals, with so many different
Ma terials
marks available, as you can see n Faber-Castell PITT Pastel
in this book’s tutorials. As a Pencils, including a light
tactile medium that we hold in and a dark brown, black,
our hand, it is easy to convey what an animal white, dark blue and
would feel like to touch. yellow/orange
We can work quickly with pastels, n Willow charcoal, a pencil
which is a great help when capturing eraser and a sharp scalpel
character and personality, and fantastic for sharpening pencils
for movement. A smudge here and a n Straight-edged plastic or a
swish of the hand there can bring a blade to refresh surface
painting to life. n Conté crayons, in black
However, knowing when to smudge and white
and when to leave a sharp mark n Unison pastels; a white
untouched can make a huge difference and a cream, (Grey 27 and
to your work. 28); a range of blues, such
Don’t underestimate the importance as A 52, BG 2, BV 9, BV 18;
of some structural knowledge where subtle greys and light
animals are concerned. It is a good idea browns, such as BE 2,

1
to do some homework, looking at bone Grey 6, Grey 16, A 31; rich Create a B&W sketch
structure and muscles. brown, such as NE 1; I call my initial sketch in black and white my
But remember when you are painting pinks, such as Portrait 5, ‘scaffold’, because it is a frame that
an animal, it is not just about what it RE 4; and yellows, such as everything else is built on. With willow charcoal
looks like – there is personality and Y 2, Y 16 and white Conté crayon, I am using both lines
energy to convey as well. Think about and areas of light and dark to describe the
n Surface is Art Spectrum
what it feels like, use your other senses structure of the head, while looking for lines of
Colourfix Pastel Primer
as well as your eyes… flow and a sense of form.
painted onto mount card

67
Tutorials

2 3
Establish the eye Create form with lights
The eye is the focal point of this picture, so I get With white and cream pastel pencils, I sketch
started on it straight away, working over my in the white of the eye and the lights on the
initial charcoal sketch with a rich soft Unison brown, lower lid and eyelashes. I create the shine on the eye
and a black Conté crayon for the large black pupil. itself with a pale blue soft pastel.

4
Highlights and sparkle
White pastel pencil is fine for gentle
highlights, but I need the richness of pigment
from a soft Unison white for the eyelashes and
sparkle. As I need detail, I cut off a sharp piece. For
that wet look, I put the sharp light mark over a
contrasting dark, and I don’t smudge the last mark.

Working from li fe
or photographs?
Do both; meet the animal, experience its size and
movement, feel its energy, stroke it, take your own photos.
Gather rich 3D memories to supplement 2D photographs.

68
Create character and texture

5
Deepen the darks
To develop the darks more than
the charcoal base I sketched in
earlier, I use black pastel pencil and a
sharp black Conté crayon. A horse’s
eye is round, and I use curves of light
and dark to describe the shape.

6
Find the form
It is now time to start filling out the
head, thinking of structure and
tone, and paying attention to the
direction of short strokes to give a sense
of the form. Using Unison soft pastels
(light creams, off-whites and subtle
greys), I soften them in with my fingers,
creating a layer that I can work over.

D o your
homework
A little bit of knowledge goes
a long way. Look at bone
structure, muscles, how the
animal moves. With horses,
understanding the shape of
the skull helps.

7
The flow of the mane
For the mane, I make linear marks, using the
edge of soft pastels and charcoal, following
lines of flow. The mane sits over the bony structure
of the head, so I can use it to show contours. I can
also use it to give the picture some extra life and
feeling of movement.

69
Tutorials

8 9
Define with the background Go soft with the muzzle
To help achieve movement and tonal variety, I The muzzle is the softest area on the horse’s head. I
introduce part of the background using some initially sketched the darks in with charcoal, and now I
light and dark blues, smudging them in with my blend in some pink underlayers on the lighter areas, softening,
hands. This is a first layer and will be developed blending, and smudging with a light touch. Unison pastels are
further as the piece progresses. the ideal choice for this.

10 11
Move to darker shading The head collar
To describe the gently changing contours of the The head collar needs darker darks and more
muzzle area and nostrils, I use a mixture of definition, which I do with a sharp black Conté crayon
charcoal, pastel pencil, soft pastels and Conté crayons in and a white for the highlights. I create the rope effect with
greys, blacks, creams and whites, developing the subtle curves of light and dark. The coins and decoration I draw gently
changes of lights and dark shadows. It takes time, patience with charcoal, and some yellow/orange Conté and PITT Pastel
and very careful observation. Pencils, building them up in layers.

70
Create character and texture

12
Metallic shine
To give the impression of sparkle and shine on the
coins and chain, strong contrasts of dark and light
are needed, applied with sharp, confident marks, and left
unsmudged. This is a lovely opportunity to contrast these
hard, sharp marks with the softness of the horse’s coat, and to
really exploit the full potential of pastels.

13
Bring it together
It’s time to ensure the piece works as a whole, by
standing back and assessing what is needed. I use
pastel pencils to make fine and subtle changes to describe the
‘flea-bitten’ brown marks, subtle shadows, and texture of fine
hairs, using the dark colours of the background for shadows.

14 15
Boost bone Make the final touches
structure with tones I decide that the piece would look more dramatic by
I develop lighter tones to darkening the background. Such changes are easy to
emphasise the bone structure, using make with pastels, meaning that the painting can evolve
soft cream and white pastels, using constantly and quickly. At this stage in the work, I constantly
sharp shards to make light hair-like step back and review the piece after every few marks. Last of
marks, using very little pressure. all, I add wisps of fine hairs and whiskers.

71
Tutorials

72
Striking image on velour

Create a striking
image on velour
Using some fascinating techniques, Jill Tisbury takes you
through the process of creating depth on this material
JILL Transfer the image
Northamptonshire, UK
Jill is an artist and tutor who
specialises in wildlife. She
loves to experiment, but her
1 You can sketch directly onto the
velour, but it’s often very difficult
to make corrections if you are not a
two main passions are pastels confident drawer, so tracing from your
and airbrushing (acrylics).
sketch can be a good alternative. I use
[Link]
proportional dividers to ensure that I
get the correct proportions, because I
enlarged the image directly onto velour
using a 2B pencil. I work from both
colour and greyscale printouts, as well

W
orking with pastels
on velour is a bit of a as a digital reference photo.
‘Marmite’ subject. I
often hear comments
Block in the background

2
about the difficulty of
creating detail on I usually begin with the background
velour, but it’s one of my favourite surfaces to – this allows me to better judge the
work on, so I hope to give another perspective colour balance of the main subject (plus I’d
on it and encourage you to have a go. Velour can smudge the leopard if I painted it first!). I
take plenty of layers of pastel, allowing you to start with Burnt Umber 4 and Madder
create rich colour and depth in your work. Brown 4 pastels to develop the darkest
Also, the nature of the surface helps areas in the background, then I use
create the natural textures found in the Autumn Brown 1 for the lightest areas. I fill
great outdoors, so it’s a good choice for in the gaps with Conté Orange.
rendering wildlife. If you have difficulty
adding in details on velour, I find that
having sharp pencils really helps – so
scalpel and sanding block at the ready!
For this project, I chose this stunning
Materials
reference image of a Chinese leopard n Daler-Rowney Artists’ Soft Pastel Sticks
because I love the vibrant colours and n Conté à Paris Pastel Pencils
the expression on the cat’s face. n Caran d’Ache Pastel Pencil
Typically I work from a digital reference n Faber-Castell Pitt Pastel Pencils
because I can zoom in and out for detail, n Faber-Castell Albrecht Dürer
but I also print off colour and a greyscale Watercolour Pencil
copies – the greyscale is handy for n Drawing board and velour (sand colour)
checking tonal values. n Low-tack masking tape
If you are going to paint from a photo,
n Clay/colour shapers or blending stumps
make sure you have the photographer’s
n Proportional dividers (optional)
permission. This image was taken by my
talented husband at the Wildlife Heritage
Centre in Kent, so a plate of homemade
cakes secured the rights…

73
Tutorials

3
Blend the Quickly block
background
The background currently looks
very patchy, but stay with it – it’s now time
4 in dark areas
For the main subject I’ll change
to pastel pencils. Depending on the brand,
to blend. The goal is to sufficiently blur the they can vary greatly in hardness and
hard edges and transitions between saturation. For the under-painted layers I
colours to preserve the shallow depth of mainly use Caran d’Ache as they have a
field. I use a hard (black) colour shaper so beautifully creamy consistency and give
that I can apply a bit of pressure. I adjust lovely strong colour. The first thing I do is
colours as I go and, when I’m happy with quickly block in the darkest areas with
the result, I’m ready to move on to the black, so that I don’t lose the positioning
main subject. of the spots.

Iris and highlights

5 Work on the eyes

The eyes are my favourite part –
6 The highlights are reflections
of what the leopard is looking at.
When this shot was taken, there was
this is where you can start to blue sky with white clouds, so the
breathe life into the subject. I start with highlights are made up of a very light blue
the orange because it’s quite a fierce with white. The eye itself is obviously
colour and will be subdued by the other nestled in an eye socket, so I need to
colours of the iris. Carefully observe the capture the shadow that the eyebrow will
highlights and the shadows because they cast over the top of the eyeball and the
are key to making the eyes look real. darkness around the rim.

74
Striking image on velour

7
Detail and blending
The reflection on the eye rim is
a very light cobalt blue. When
first applied the blue looked a little too
strong, so I gently blended it with my
finger. After adjusting the values I am
happy with the eyes and can move on
to the nose.

8
Nose and tongue
For the nose, I start with a light
peach base, then darken with a
flesh colour. I then use Caran d’Ache’s
Pastel Pencil in Payne’s Grey 50%.
Holding the pencil sideways creates
subtle shading. Finally, I blend the whole
thing together with a light glaze of flesh
colour. I use a light pink to quickly lay a
base for his tongue and dark pink to
add the shadow to the left.

9
Block in fur –
lights
It’s now time to give our
leopard some fur. Velour can
take many layers of pastel,
which helps create depth, so I
usually tackle the fur in four
layers: darks, lights, midtones,
and detail. I’ve already blocked
in the darks, so I can go
straight to the lights, paying
attention to the fur direction.
Sharpening
I’m often asked about the best
method of sharpening pencils.
Block in fur –

10
I just remove the wooden
midtones casing with a craft-knife and
I then add the midtones rub the lead to a point on a
and block in the main colour areas so I sanding block.
can get a rough base of the leopard’s
colouring to build on. Even with a few
basic shades, the form really begins to
take shape. The fur direction and length
is crucial here because underlying bone
and muscle will cause the fur to stick up
and form ridges. The colour may look a
little fierce in places, but it will soften as
I work over it later.

75
Tutorials

11 The detail layer

In this final layer, I start to work over the fur to blend the transitions between colours and
adjust the values to create shadows. For subtle darker shading, I use a darker grey held
horizontally to gently skim over the existing colour.

“In this final layer, I

start to work over
the fur to blend the
transitions
between colours
and adjust the
values to create
shadows”

12
Finishing touches
First I use a pastel pencil to add
the whitest chin hairs. I create

A rt cruiser them by pushing downwards quite firmly,

almost in a stabbing motion. For the
This piece was actually whiskers I use a sharp white watercolour
completed on board a river pencil and again push outwards from the
cruiser during one of our many root of the whisker. Don’t forget to add ear
trips to the Norfolk Broads. hair and eyebrow whiskers. Finally adjust and
blend any changes to the background tonal
values. The leopard is now complete!

76
Striking image on velour

77
Tutorials

Draw a fox
using pastels
Rebecca de Mendonça shows how she creates
a cunning fox with a combination of soft pastels,
Conté crayons and pastel pencils

I
n this tutorial I am going to show you how variety of textures in the fur, and the
I draw a cunning and alert fox with soft cunning gleam in the eye. I decided to
pastels, charcoal, Conté crayons and pastel focus on the head so I could really enjoy
pencils. I want to share with you how the textural qualities of the fur.
I work on the whole piece, building up I am working on mount card that I have
darks and lights to create the form, and then primed with Art Spectrum Colourfix
continue to refine this initial drawing and primers, but you could easily do this
gradually work into areas of detail. project on pastel paper if you don’t have
At each stage I stand back (or sit at primers. It is a good idea before starting
the other side of the room with a cup to have a play with your materials, trying
of coffee) and assess how the piece is out marks and textures for yourself on
going, so I can constantly tweak it as a spare piece of paper, and varying the
I go along. I like to think that this results pressure that you apply. Try flicking,
in a unified and balanced piece of work. smudging and using the side or end of
We can create many different textures the pastel in turn.
by varying our materials, from very soft
Unison pastels, to hard Conté crayons
and pastel pencils.
For my reference I am using
a copyright-free photograph by Jiri
Sifalda from the Unsplash website.
I was inspired by the rich colours, and
the way it captures a moment when the
fox looks alert, and I want to get that
feeling into my painting. I also love the

Ma terials
n Mount card
n Art Spectrum Colourfix primers, colours
White, Burgundy and Raw Sienna.
n 2” decorator’s brush
n Unison pastels – range of blues
n Unison pastels – range of warm browns
and oranges
n Pencil eraser
n Conté crayons
n Charcoal
n Faber-Castell Polychromos cream pastel
n Faber-Castell Pitt Pastel Pencils
n Scalpel for sharpening pencils

78
Draw a fox using pastels

REBECCA
Devon, UK
Rebecca co-founded The New
Pastel School and teaches in
the UK and Italy. Her book
Pastels For The Absolute
Beginner, published by Search
Press, is available now.
[Link]

79
Tutorials

1 2 3
Priming the surface Charcoal sketch Conté crayons for
I like to work on Art Spectrum I loosely sketch the fox in with under drawing
Colourfix Primer, which I paint onto charcoal. The charcoal is a soft I really love using Conté crayons
mount card with a 2” decorator’s brush. grey, which is similar to the colour of for my first layer of drawing animals,
This gives me a surface with two or three animal’s skin, so is ideal as an initial as they contain less pigment than soft
colours combining to create a lively sketch. I always try to understand what pastels. Because of this, they can be
surface, but again, you could easily create it is about an image that conveys the easily erased and smudged out if
this artwork on pastel paper or other character of the animal, and what the I haven’t put them in quite the right
pastel surfaces. Here I’ve used White, story is that I am telling in this picture. place. It’s a bit like a first colour sketch.
Burgundy and Raw Sienna, and made the Here it was the intensity of that eye that These two colours, similar to Burnt
brush strokes follow the direction of the really mattered, so as I draw I think Sienna and Raw Sienna, are a great base
fox’s coat. These warm browns combine about how I am going to show that. for the fox’s fur. The underpainting will
to make a really ‘foxy’ colour, but if you’re I am also looking for dark areas, as they show through and blend with the pastel
using paper, I’d choose a warm brown. describe the form. colours I lay over it.

“I love the sharp

edges I get with a
broken black Conté
crayon – they are
great for details”

4
More darks,
including the eye
Now I have the rich sienna
colours put in, I can work into those
darks a bit more, using charcoal and
a black Conté crayon for emphasis.
This is slightly harder than the other
Conté crayons, and makes quite
a permanent mark, which is why
I used the more forgiving charcoal
to start with. I love the sharp edges
I get with a broken black Conté crayon
– they are great for details such as
eyes and noses.

80
Draw a fox using pastels

5
Colour in the eye
I build the colour of the eye with a mixture
of Unison pastels, in warm browns and
a natural earth colour. I still use the Raw Sienna
Conté crayon for its lovely golden glow. I add the
colours with the end of the pastels and rub them
slightly with my little finger to blend. I can then
put the dark of the pupil in again in black. You have
to be patient here as the layers of colour give depth,
and you can use the lights and darks to create the
shadows of the spherical eyeball.

6
A richer red/brown
on the coat V arying
Now it’s time to enrich the warm
colours of the coat with Unison soft the pressure
pastels. Their pure pigment creates
If you apply different pressure
enormous depth of colour. Having
for different textures, you
made the eye more intense in the
will get a more varied and
previous stage, I need to do the same
interesting piece of work. Try
with the coat to achieve balance. I’m
strong sweeping marks, light
working on this area first as it is the
flicks, hatching or smudging to
focal point of the picture, and needs to
bring in depth to your piece.
be dramatic. I can work more loosely
as I move away from it.

7 8
The glint in the eye Fine hairs
The shine of the eye is in direct contrast to the soft Now in order to blend the short fur around the eye into
textures of the coat. The way to achieve shine is to have the rest of the fur, I use my Raw Sienna Conté crayon,
a strong tonal contrast. Much of the tone on the fur changes making little short marks, using the sharp end. These work
gradually, but with this eye, I need bright lights to jump out really well over the darker soft pastel colours already there.
against the darker darks. I use a light blue soft pastel, and In places I soften the soft pastel under-layers so these new,
press quite hard with the end of it to create some bright marks, sharper marks really show. I use this technique quite often
looking very carefully at the reference photo to get these in this piece, always paying very careful attention to the
marks in the right place. direction of the hairs.

81
Tutorials

9
Background
As the fox is a warm and vibrant
red/brown, I use muted blues for
the background. I want the background
to make the colours of the fox jump
forward, so I use a contrasting colour,
and make the background darker
against the light areas of the fox’s head.
I only put the blue around the areas
I want to accentuate, and in order to
make the fox look more vibrant, I use an
eraser to soften and ‘knock back’ the
blue. Rubbing and softening with my
fingers, and also using an eraser, flattens
and deadens the intensity of the pastels.

10
Light areas of coat
on face and ears
I use two cream pastels:
a creamy yellow Unison pastel and
a Faber-Castell Polychromos one,
which is harder, with which to base in
the lighter areas of the fox’s coat. The
Polychromos pastel is good for a sketchy
base, but I soften the Unison cream in
to get a lovely soft surface to work over
with pastel pencil later. I also put these
lighter tones into the ears.

Stay sharp
Sharpen your pastel pencils
with a craft knife or scalpel
Pencils need to be sharp,

11
Detailing and refining otherwise they are just like
the coat and ears pastels with no strength to
Now I have based in most of the them. I use a scalpel to
fox, I want to soften, sculpt and refine sharpen mine, and I regularly
my piece, using lightly hatched pastel change the blade.
pencils, a little charcoal and soft pastel,

12
to create subtleties of tonal changes Light blue around the mouth
and depth. This can be a careful part In order to paint in the soft, shorter-haired
of the process, but remember that you white of the fox’s mouth area and lower
don’t need to put detail in everywhere. jaw, I use a soft light blue. This is the same colour
Try to create points of interest with I used for the shine in the eye. I do not want to use
detail, and soften away from them with white, as it will ‘jump’ out of the picture too much,
a light touch. To do this, I am constantly so a light blue is a good starting point. I soften it on,
looking at my reference to understand paying attention to the direction of the fur, and then
exactly where to put my lights, medium use a dark brown pastel pencil to gently draw in the
and darks. curved line of the mouth.

82
Draw a fox using pastels

13
Subtle changes

14
of tone Long neck hairs
Over this light blue, I blend I love the textures of the longer,
areas to get subtle shadows, using wiry hair on the neck. To create
charcoal, Conté crayons and pastel this I put on flicked marks with a lilac
pencils in soft greys and creams. You can grey Unison pastel, charcoal and the
draw attention to places where the colour cream/white Polychromos pastel that
of the coat changes, and light hairs lie I used earlier. The Unison pastel can
over dark hairs, or vice versa. I integrate be smudged and softened with your
the colours using lightly hatched hair-like fingers, and then the charcoal followed
marks, and also blend some of the reds by the cream flicked over the top and
and browns in the white and grey areas left unsmudged. This develops depth
to give the piece a unified feel. and variety of texture.

15
Nose and mouth
Using sharp grey and black
pastel pencils, I refine the nose
area and keep developing the subtle
changes around the muzzle area. This
then blends into the neck. Using flicks
and very light smudges of many of the
lighter colours already used, I soften the
different neck areas into each other. I try
to keep a light touch, as I do not want this
area to dominate, but just to be hinted at.

16
Whiskers
Pastel pencils are great for
whiskers, but look very
carefully before you draw them in, at
where they grow from, which direction
they go in, and how fine they are. Then
it’s great to have a practice on a spare
piece of paper at the light flicking
movement – you need to make sure that
they are thicker at the base than the end.

Less is more
Don’t forget that for an animal to look alive,
you do not need to put in every detail.
Sometimes, too much detail in the fur can
make things appear flat and less lifelike.

83
Tutorials

Add dramatic
light to your
wildlife paintings
Wildlife artist Tony Forrest shows you how to paint warm
sunlight to give your animal paintings depth and colour

E
ven though I’ve been painting the wildlife of
TONY Africa for nearly three decades, it never fails to
Bodmin, Cornwall, UK
captivate me each time I visit. Africa has
Tony Forrest has been painting
wildlife for nearly 30 years. Oil seemingly endless sunlight that flows across the
paints portray light and depth landscape like a golden river. The animals
in his work and create a texture themselves attracted me at first, but I soon began to realise
and vibrancy that he uses to the importance of portraying sunlight in my work.
recreate the sunlight of Africa.
This workshop explains how to convey warm
[Link]
sunlight in your paintings. Don’t feel daunted by the
subject and detail; with careful use of colour you will
have great fun! Africa is a blaze of colour and light, and
this is what you need to concentrate on from the start.
The detail will be applied later on, refining as we
progress. Even though this cheetah has a lot of detail, I
focus more on the warm colour of the light, and cool
colours in the shadows. Exciting warm sunlight will
always make a simpler painting far more appealing
than a detailed painting with dull flat light. At the
beginning, you need to use quite strong colours.

Ma terials
n Oil colours: Burnt Umber,
French Ultramarine,
Quinocridone Violet or
Crimson, Cadmium Red,
Cadmium Yellow, Cadmium
Orange, Lemon Yellow,
Winsor Blue or Cerulean Blue,
Winsor Green, Titanium White
n Brushes: Hog (No.7 Long
Flat, No.1 Long Filbert),
Sable (No.0 Round), Sable/
Synthetic mix (No.0 Rigger)
n Stretched linen canvas 10x12in
n Winsor & Newton Liquin

84
Add dramatic light

85
Tutorials

Draw a basic outline

1 Start by drawing the outline of
your subject using any oil colour that
has been thinned with Liquin or similar.
Using a grid, make the drawing as
accurate as you can. Don’t worry about
details for now – you just need to make Keep checking your
sure the main areas are in the right painting against the
place. Make sure the eyes and mouth are photo, but try not to copy
the correct proportions. Check the every detail. Be creative.
drawing against your reference photo.

“Don’t worry
about details
for now – you just
need to make
sure the main
areas are in the
right place”

Mix your colours

2 Using Cadmium Orange,
Cadmium Yellow and Titanium
White mix a warm mid-orange/yellow.
Now add a little Ultramarine Blue, to
calm down the brightness slightly. You
will have to judge the strength of the
colour as you paint, but it can be fairly
bright at this early stage. Try to vary
the colours to add interest.

86
Add dramatic light

3
Block in colour
Noting the main areas of tone,
start blocking in colour, applying
the paint using Liquin – be careful not
to lose your original drawing. Use
subtle variations of colour and tone to
retain life and interest. The shadows
can be quite strong cool colours at
this stage, contrasting with the
warmer colours in sunlight.

Time to shine
To get a sunny effect from the start, mix
warm colours with cool shadows. This is
the most exciting part of the entire process!

4
Check the light
Check the sunny effect is
working – it should be
unmistakable. At this stage, you can
rub the paint off with a rag if you need
to correct it. If you need to correct the
colour, try not to apply more paint on
top, as you will get into a mess! Add
warm greens to the background.

87
Tutorials

Start adding detail Add the spots Mix your greens

5 Once the first layer is dry, add in
detail. Don’t use white, but add
orange or yellow for the lightest areas.
6 Paint in more darks and
lights with a fine round
sable-type brush, creating the
7 Mix some Winsor Green with Cadmium
Yellow Light or Lemon and a bit of
white. Add Cadmium Red if you need to
For the darker markings, mix any dark, spots and other details. Look for reduce the intensity. Mix some light, bright
warm tones using Burnt Umber, subtleties in the fur. We’ll be greens and some darker tones to apply
Cadmium Red or orange and yellow. Use refining these details later, so around the cheetah’s head. There is no
Ultramarine Blue in the mix for the there’s no need to get too specific rule here, just do whatever looks
cooler tones in the shadows. Avoid black. bogged down. right to you, retaining the sunlight effect.

88
Add dramatic light

8 Paint the background

The background is deliberately
left very loose. Here, I now pay
attention to the contrasting colours
on the left of the face and the bright
warm greens just behind the neck on
the right. With thick paint I hold the
filbert brush very loose and let the paint
drag across the canvas to suggest
foliage and twigs.

Find your style

I remember my first sold-out show when all
ten of my paintings went in about four hours.
I knew I was doing something right. It’s
important to have faith in your art – when
you find your own technique, nurture it and
it will become your best friend.

9 10
Break the edges Finishing touches
Study your reference, and add At the end, study the painting
detail to any areas that seem to see if it needs anything you
blotchy. Use a fine brush to add flecks of think might improve it. It might need a bit
lighter thick paint to break up the edges more contrast here and there, or maybe
of the darker spots. Make sure your slightly brighter highlights on the face
shadows and sunny areas are still and so on. Spend a bit of time with your
obvious. And make sure the ‘white’ parts work and modify it until you are happy
of the fur are pale orange/yellow. with the result.

89
Tutorials

90
Painting a pet portrait

Paint a pet portrait

Learn how to paint your pet in this multi-step tutorial, as Kate Oleska
explains in detail how to achieve a realistic final effect
just doesn’t seem to look right. That’s

T
his section is the first of a three-part,

Ma terials
detailed guide on how to paint a pet. precisely why I decided to devote an
The goal of all three stages is to lead entire section of this guide to this
you through the painting process, subject, so you can be happy with your
n 40 x 60cm 6mm MDF board
beginning with preparing your final rendering. As the dog I have chosen
n Acrylic gesso
painting surface and finishing with painting to paint has very beautiful, fluffy fur,
meticulous details. which may obscure the natural shapes n 100 grit sanding paper
In this first stage I will be focusing of his body, I will help you find those n Charcoal pencil
on creating a good sketch that will shapes and discover the anatomy n Odourless thinner
ensure the finished painting looks hidden under all the hair. I chose a stock n 1.5’’ brush
anatomically correct. The truth is, photo for this tutorial, but of course you n 3
/4’’sablette brush
without understanding of the shapes may choose any photo that you think n 1
/3” flat brush
of your subject and their structure, you would make a good painting. I will explain n 1
/2” flat brush
may end up wondering in the end why, how to choose a good photo reference in n 1
/4’’ sword brush
despite your best efforts, the painting the first step, over the page. n Spotter brush 10/0
n Detail brush 2/0
n Palette knives
n Small, flat brush no. 2
n Mahlstick
n Daler Rowney Georgian oil paints:
Titanium White, Ivory Black, Ultramarine
Blue, Burnt Umber, Yellow Ochre,
Cadmium Yellow Pale (hue), Cadmium
Orange (hue), Cadmium Red (Cadmium
Red is quite toxic, so please be careful
when using it; you can substitute it with
Cadmium Red (hue), which is safer)
n Painting medium – purified linseed oil
n Small container for thinner
n Paper towels

KATE
Kent, UK
Kate is a traditional and digital
artist, creating portraits
and illustrating books and
magazines. Her recent work
includes 14 books from Terry
Pratchett’s Discworld series,
published in Germany, Austria
and Switzerland.
[Link]

91
Tutorials

1
Choosing a photo
A good photo to work from is
essential. The most important
things to look for in a reference picture
are: a good pose (preferably sitting or
lying), a natural point of view (not from
above but at the same level as the pet),
good lighting that creates interesting
shadows, and the photo should be sharp
and in high resolution.

2 3
Surface to paint on Gessoing the board
Some artists prefer to paint on When applying an acrylic gesso
canvas because of its texture, or to the MDF board, put at least
they like the convenience of going to the four separate thin layers instead of
store and choosing one off the shelf. fewer, thicker ones. Let each layer dry
Personally, I prefer to paint onto gessoed and sand it before you apply the next.
MDF board because I can cut it to the This process helps you avoid visible
exact shape and size I need, and I like to brushstrokes that could affect the final
paint on a more sturdy surface, but of painting. Sand the last layer and aim for
course you can choose canvas instead. a smooth surface.

4 5 6
Sketching with Finding the head Positioning the eyes
charcoal – finding Drawing a circle with a vertical It’s all about the eyes! To make
basic shapes axis to represent the dog’s head sure you place the dog’s eyes in
Before focusing on the details, you need helps me establish proportions. In this the right place, start by drawing a line
to recognise and plan out the bigger piece, it helped me realise that the two-fifths from the top of the circle.
shapes. Think ‘big to small’. Imagine the initial shape I had drawn was a little Try to observe where the corners of
lines and judge the distances between too wide and therefore the head was the eyes are in relation to the rest of
them and the borders of your board/ becoming too big. I corrected my the skull and the shape of the fur in
canvas. Once you have those, try to fill in mistake and this time the circle (its base between the eyes. Now draw two simple
the basic shape of the dog. Stand back placed almost in the middle of my ellipses. You don’t need to draw the
and compare the photo to your sketch. subject’s jaw) fitted perfectly. pupils just yet.

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Painting a pet portrait

7
Anatomy of ears
Ears seen from this perspective
are facing downwards and are
triangular in shape. Notice that the
guidelines forming the bottom of the
ears form a diamond shape together
with the outer shape of the skull. The
widest parts of the ears are, in this case,
situated slightly above the eyeline.

8
Mouth and muzzle
I use imaginary guidelines to
establish placement of the nose,
mouth and tongue. Drawing guidelines
from the outer corners of the eyes to
the point where they cross at the base
of the circle of the head helps me find
the placement of the nose. Now that
you have more elements of the head
drawn in, it’s easier to measure them
against each other.

9
Front paws and belly
Look at the overall shape from step four and
establish placement of the bottom of the
belly. Sketch in the shape of the front part of the
body. Judge the distance between the paws against
other elements of the dog’s anatomy and notice
that the paws are not perfectly aligned and straight.
Observe their shapes.

Pace yourself
When I was younger I often couldn’t wait to start painting
details, until I realised that no amount of meticulously
painted hairs or wrinkles could save a badly planned or
anatomically incorrect painting. It takes some willpower
to focus on the sketching but it’s worth it in the long run.

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10 11 12
Understanding the Fur pattern – head Fur pattern – body
pose – back paws It’s quite important to sketch The same goes for the body.
This dog is very furry and out all three colours of the Start with the white chest fur
when it’s sitting/squatting in this coat at this time. Even though we’re and continue onto the front and back
position it can be quite tricky to judge not going to apply the fur colours for paws and the tail. Focus on the big
his true anatomy. This gets easier a while, establishing their shapes now shapes. You may add a small indication
when you realise that the dog’s tail is will help us decide if the rest of the of single hairs but the important point
tucked between his legs and therefore sketch is correct. Sketch the shapes is to sketch in the main blocks of fur.
we can only see one of his thighs and out and see how they work in relation Double-check all the shapes before
calves properly. to the rest of the head elements. sealing the sketch.

13 14 15
Sealing the sketch Applying a wash Refining the
Pencil charcoals are a bit oily Wash is a mixture of odourless sketch in oils
so before we start putting thinner and oil paint (in this Once the wash layer is dry
anything else on top of the sketch we case, Burnt Umber). Painting the I like to finish the sketching phase by
need to seal it. For this, use some slightly board with it gets rid of the bright white repainting some of the more prominent
watered-down acrylic gesso, so you background. This is important so we lines that come through the wash.
cover the sketch but without losing sight can better judge the values of the I ignore the guidelines and only enhance
of it. The sketch will become a bit murky colours later on. Make the wash quite the shapes and lines that are important.
and dirty but don’t worry because there dark but also ensure you keep the sketch For this I use a thin brush and Burnt
are plenty of layers to come. reasonably visible. Umber with a bit of thinner.

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Painting a pet portrait

Painting
the head
I
n the previous section we learned how to
prepare an anatomically correct sketch as
a base for an oil painting. In this second part
I’ll show you how to paint the head in oils.
I will explain my steps and share
tips on how to achieve the best and
most realistic results. While we’re using
a very clean and highly detailed stock
photo with a white background as
a reference for this tutorial, I often have
to work with lower-quality, non-studio
reference images for pet portraits, and
they can include busy backgrounds. So
instead of copying the whiteness of the
reference photo’s background, I decided
to paint in one of my own. In the first
step of this section you will see how to
create an interesting backdrop that
could potentially replace an unwanted
background. You don’t have to settle
for everything that you see in your
reference photo. You should also
remember that no matter how detailed
the reference photo is, it’s up to you to
decide which of those details you want
to include in your portrait. Try not to
overwork your painting with too much
unnecessary information. Observe your
subject and have fun painting!

1
Background
First, block in the background.
I used a great amount of Titanium
White mixed with Ultramarine Blue,
Ivory Black, Cadmium Red and yellow
in different proportions to achieve
a gradient effect – brighter at the top
and darker at the bottom. I also played
with palette knives. If you do the same,
make sure you don’t overdo it.

2
Blocking in the head
Paint the black fur using Ivory
Black, but leave out the eyes and
sketch lines that indicate the anatomy
of the ears. Block in the areas of brown
and white fur, but this time pay more
attention to the anatomy and lighting.
Squint your eyes to determine the main
colours in the painted areas. Forget the
details and focus on big shapes.

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3
Shaping the eyes
Now focus on the eyes. Block in
the irises with Burnt Umber. Paint
in the whites of the eyes using Titanium
White mixed with small amounts of black
and/or Burnt Umber. Remember that
eyes are round and the whites are never
completely white. Compare your results
with the reference picture. Eyes are very
important to get right in any portrait.

Keep it dry
While painting, use paper towels to wipe
the excess paint off your brushes to avoid
contaminating a new colour. You’ll learn
that you really only need a small selection
of brushes with which to paint.

4
Refining irises
Paint in the pupils using Ivory
Black and darken the rims of both
irises with a mixture of black and Burnt
Umber. Make sure the irises are nice
and round, and remember that they are
affected by the shadows forming on top
of the eye. In other words, be sure to
darken the top of the iris and leave the
bottom lighter.

Your pale tte

If possible, try not to use a white palette.
Use grey instead. White is very
overpowering and makes it harder to
judge the colours you’re mixing.

5
Adding
highlights
With a mixture of Burnt
Umber, Cadmium Red, yellow
and Titanium White paint,
brighten areas in the iris. At
this scale don’t try to paint
all the folds of the iris – you
will be disappointed if you
try. Instead, be more free
and painterly about it. Once
happy with the result, paint in
the general highlight of the
eye with pure Titanium White.

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Painting a pet portrait

6 7
Detailing the face – black fur Brown eyebrows
As you have previously blocked in the black fur, now Painting the eyebrows will require some blending.
you can work on top of it. With a mixture of white, black While the paint is still wet, try to transfer some of the
and Burnt Umber, start putting in the texture and pattern of black paint onto the brown area and vice versa. Work on top
the hair by enhancing visible highlights. Work in small, decisive of that by applying Burnt Umber mixed with Cadmium Red,
strokes and avoid too much blending. Go from dark to light Yellow Pale and white, varying the length of your strokes,
and work layer to layer. again working from dark to light.

8
Painting the ears
Observe the anatomy of the
ears in the reference photo and
try to understand the hair pattern. Use
a similar technique to the one from step
six, but this time use slightly longer
strokes in places as ears are more soft
and furry. Make sure your strokes follow
the anatomy of the ear.

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9 10
Rendering the white muzzle Shaping the nose
The texture in white fur is very important, so make sure The anatomy of a dog’s nose is actually very
the brushstrokes follow the shape of the muzzle. Also, interesting. To achieve a realistic result, make sure
the colour varies depending on which adjacent colours are you paint all the intricate folds and accentuate all the highlights.
being reflected on it. Be sure to paint the highlighted parts with Use a combination of black, Burnt Umber and a bit of white
Warm White and observe how the colours of the shadows to shape the nose, and Titanium White to form the highlights
change (the shadow close to the tongue becomes slightly pink). at the top of the nose.

11 12
Adding dark spots Painting the cheeks
Our subject has a really interesting pattern on his The cheeks and the jaw of the dog are covered with
muzzle. It starts above his nose and follows down brown fur. Pay attention to the fur pattern as well
underneath it, all the way to the mouth. Work on those spots as the anatomy underneath. It’s very important to get the
while working on the white fur. Add darker brushstrokes and anatomy right here, as the likeness and expression depend on
adjust the effect by painting some white hairs amongst the it. Use Burnt Umber, Cadmium Orange, red, yellow, black and
dark hairs. This will ensure a more realistic effect. white paint for that.

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Painting a pet portrait

13
Mouth and
tongue
Paint the tongue
with Titanium White mixed
with Cadmium Red and
different amounts of Burnt
Umber and black to tone the
pink down. Make sure you
understand how the light falls
onto the tongue and don’t
forget about the characteristic
texture of it. With almost
pure Titanium White, paint
the highlights at the tip the
tongue to indicate wetness.

14
Adding
details
Using Titanium
White, paint in the tooth next
to the tongue. With Ivory
Black, paint some smaller
hairs around the contour of
the dog’s head. Be cautious
and don’t overdo it. If you feel
that some of the shadows
have to be darkened or
highlights enhanced, now is
a good time to do it.

“If you feel that some of the

shadows have to be darkened
or highlights enhanced, now
is a good time to do it”

The joy of oils

There was a time when I was intimidated by oils. I assumed it would
be too hard to paint wet on wet and that I would struggle to control my
colours. Now I really love painting in oils. I can blend my paints both on
the palette and the canvas!

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Tutorials

Painting
the body
I
n this third and final part of the tutorial
we’re going to focus on painting the rest
of our lovely Bernese mountain dog.
In the previous sections we established
proper proportions and pose, and painted
a realistic representation of our subject’s head.
Now it’s time to paint his body!
In the next paragraphs I will teach you
how to achieve a very natural effect
without overworking the painting. I’ll be

1
using the same colours and techniques Blocking in black fur
as in part two, but what will change is my Paint all the areas on the body that
approach to detail. While it is tempting represent the black fur, just as you
to render the body to the same level as did when you began painting the dog’s
the face, it’s important to think about face. The sketch created at the very
what the eye of the viewer should be beginning shows these areas very well.
focusing on. As this is a portrait, logic Try to observe the reference photo
dictates it should be the head. The rest closely. This can be tricky because in
of the body and background should places the black fur blends in with the
serve the purpose of guiding us towards white and brown. It’s better to paint in
the face. Too much detail in the body more of the black areas rather than risk
will distract the eye, but at the same not extending them far enough (you will
time the body needs to be painted in be painting white and brown fur into the
a controlled and measured way. Every black areas later). For now we only need
brushstroke counts! to block in the rough shapes.

“It’s important to
think about what
the eye of the
viewer should be
focusing on”

2
Painting the edges
Before we start working on
defining the black fur, it’s
important to make sure it blends into
the background in a realistic way. If you
are working on the painting continuously,
the background should still be wet
because Titanium White dries slowly.
This is a perfect opportunity to paint into
the wet background and create a soft,
furry edge. For this step, use a small, flat
brush. Load the brush with black paint
and, using it sideways, drag the paint into
the white background. Use paper towels
to keep the brush and black paint clean.

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Painting a pet portrait

3
Shaping black fur
Using a mixture of Ivory Black,
Titanium White and Burnt Umber,
start adding lighter brushstrokes to the
body in the black areas. Make sure the
colour you mix isn’t much brighter than
the pure black we used. The aim is to
create very subtle and barely visible
highlights. Look at the way the highlights
accentuate the top of the right thigh and
observe the anatomy. Use more Titanium
White and Burnt Umber where the black
fur starts mixing with brown fur on the
front legs. Use the sword brush for the
body and the smaller brush for the legs.

4
Blocking in chest fur
Mixing Titanium White with Ivory
Black, Yellow Ochre and Burnt
Umber, block in the front of the dog’s
chest. Avoid lighter tones and use
the colours you see showing from
underneath. The point is to create a rich
tone to paint into later. Just like with the
black fur, block in the rough shapes.
Notice how the fur is warmer at the top
and slightly cooler at the bottom. Use
one of the bigger brushes, flat or sword.

Cleaning brushes
Have two small jars of linseed oil ready.
When you want to switch colours, wipe
the brush on a paper towel to get rid of the
excess old paint, dip it and move it around
in the first jar, wipe it again, move to the
second jar, then wipe the brush a final time.

5
Refining the white fur
This step should be carried out
alternately with step six. While
the paint on the chest is still wet, start
painting the highlights using lighter
tones created with the same mixture of
colours as in step four. The best brush
to use for this is the sword brush, but if
you prefer a flat brush, that will work as
well. Look at the way the fur flows down
the chest. Load the brush with paint
and, using big, bold strokes, recreate the
strands you see in the reference picture.
Avoid using tiny brushes.

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6
Painting small strands of fur
Take the small, flat brush and start creating
little strands of black fur mixing with the white
chest fur. This part is tricky as you need to act while
the paint is still wet. Just as in step two, use a paper
towel to wipe paint off your brush in order to avoid
muddying the colours as you work. You may also
need to correct the shape of the white chest hair
and work the other way around, painting white fur
into black. If you accidentally mix up your brushes,
you can always clean them by dipping them into
a separate jar containing linseed oil and wiping the
brush well with a paper towel.

7
Subtle details
It’s important to make sure the brown fur on
our subject’s face mixes nicely into the black
fur below. The same goes for the small patches of
brown fur present wherever the black and white fur
meet around the chest area. Use a small, flat brush
and a mixture of Ivory Black, Burnt Umber and
Cadmium Orange to paint them. Additionally, try
to observe how the white fur behaves in the lower
chest area. I like to flip my sword brush upside down
and use the tip of it, dragging it backwards to create
little strands of hair with quick wrist movements.

8
Blocking in the legs and belly
Roughly block in the shapes of the legs using
Burnt Umber mixed with Cadmium Orange,
Ivory Black, Titanium White and Cadmium Yellow
in various proportions. Do the same for the belly
part, but using Titanium White, Burnt Umber,
Cadmium Yellow and a bit of Cadmium Red instead.
Notice that even though it’s the same colour as the
fur on the chest, it’s less thick here and the skin
underneath gives it a pinkish tint. Block in the tail
with a mixture of Titanium White, Ivory Black, Burnt
Umber and a touch of Yellow Ochre. As previously,
go for the darker tones you see in the fur.

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Painting a pet portrait

9
Painting fluffy fur
While the paint is still wet, use the
sword brush to create the fluffy fur
effect. Start with painting black fur into
the blocked-in areas to create natural
transitions. Next, mix lighter tones for
each of the patches of fur (back leg,

10
Painting belly and the hair coming out of the front
the dog’s right leg). Use bold strokes and take
fluffy tail advantage of the fact that the new paint
Notice how some of the hair mixes with the wet blocked-in tones.
on the tail where the white fur Use the side of the sword brush or the
meets the black is pointing smaller, flat brush and lift it as you finish
towards us. This makes the each strand of hair.
fur look greyish, especially
from afar. You’ll need to use
both black and white fur
colour and paint some areas
many times, altering the
colours. Also try wiping the
brush with a paper towel and
lightly going over the fur with
quick strokes to help create
the effect. For the rest of the
Take a step back
tail, paint in big, bold strokes. Every now and then you may want to take
Don’t worry if you paint into a step back and look at your painting from
the front paw like I did – you’ll afar. How the painting looks from a distance
be painting over it soon. is much more important than how it looks
close up. Details are less important than
how the final piece feels as a whole.

11
Defining the
front legs
It’s time to switch to a smaller
brush. You can use either the small flat
or the really small detail brush. Using
Burnt Umber, Cadmium Orange and
Cadmium Yellow with some added Ivory
Black (for darkening and toning down)
and Titanium White (for mixing in with
highlights), paint the front legs, making
sure you keep the anatomy visible
underneath. Mix the brown fur in with
the black fur above by painting separate
small strands into it.

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Tutorials

12
Painting
white paws
As before, start
with blocking-in. Stick to
darker colours and focus
on creating shapes. Spend
some time understanding
the anatomy and position of
the toes. Badly painted paws
can ruin the whole piece!
Notice how the back paw is
a bit raised so you can see
the dark pads underneath.
Also, some of the claws are
showing on both the back
and front right paw. You
don’t have to paint them in
yet but knowing they’re there
can help you create a base
for introducing them in the
next step.

13
Refining the paws
Sunken areas Take the smallest of the detail brushes and start painting in
the tiny strands of hair, working downwards. Keep in mind you
Over time some darker areas in your painting may dry and
sink in (get lighter). If you need to overpaint those areas still need to leave some things to the imagination and you don’t want the
and want to see the original colour for reference, you can paws to compete with the face in terms of detail. Use mainly Titanium
gently apply a very small amount of linseed oil over that White mixed with a touch of Yellow Ochre, Burnt Umber or Cadmium
area. Then, using a make-up sponge or lint-free cloth, Orange. Paint the claws in decisive strokes and don’t try to define them
gently remove as much of the oil as possible before you too much. Better to leave them out than create a fake effect! Make sure
start painting. you soften the transition between the white fur and brown, especially
on the right paw.

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Painting a pet portrait

14
Adding the shadow
So far our canine subject has
been ‘floating’ in the air as
I deliberately left out the shadow when
I was painting the background in part
two. Now is the time to paint it in. Using
Titanium White mixed with a small
amount of Ivory Black and a bit of
Ultramarine Blue, create the shadow
extending from both paws. Notice how
the shadow gets darker closer to the
spot where the paws are resting on the
ground (proximity shadow) and then
disperses further away from the paws.
Make sure you don’t use too much
Ultramarine Blue – it’s a very strong
colour and even a small amount can
change the colour drastically. Depending
on how much Ultramarine Blue you used
to paint the background in the first place,
you might not even need it for this step.

15
Signing the piece
Now is the time to sign your piece. I sign
my paintings with either my name or
a small symbol that represents my initials (KO).
Make sure your signature isn’t too big or too bold.
You don’t get any brownie points for making your
name stand out more than the subject! As the
background is light grey in colour, I decided to
go for dark grey for the signature.

“You don’t get any

brownie points for
making your name
stand out more
than the subject!”
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Thin layers for vibrant colour

Use thin layers to get

vibrant colours
Marjolein Kruijt shows how to paint bright colours in oil using thin layers,
work from three basic values, and combine different subjects into one design

MARJOLEIN
Amersfoort, The Netherlands
Marjolein has two art degrees
and has written two books on
painting animals. Her pet
portraits are in great demand
after several TV appearances.
[Link]

P
ainting in oils means I can

Test things out

capture bright colours by
gradually building the painting
up in multiple layers. This
technique is perfect for painting By first designing various compositions,
sunny roses. I was inspired to create this trying out rose colours and experimenting
image after seeing a gorgeous wren sitting with lighting, I have a clear plan to start from
in my garden, its song lighting up the early and don’t have to make decisions later on.
morning. My roses weren’t in bloom yet,

1
but this magic moment inspired me to Start drawing
design a painting depicting them. This is when I get excited, because my preliminary sketch is reshaped into a
I always start the painting process by detailed drawing, using an H pencil. I like to keep my pencil drawing visible as long
sketching ideas. I place various elements as possible when painting in thin layers. I like the ‘feel’ of sketchlines, so I don’t wipe
together to create my personal unique them away. I fix this underdrawing with pastel spray, then let it dry for a day.
designs. I doodle compositions and
choice of colour (see the photos of my
sketchbook, above right).
When I’ve found a basic composition
that I like, it is only then that I start
Ma terials
looking for reference materials. Not the Marjolein uses linseed oil as a medium, n Masonite panel with
other way around. This way the designs which has the benefit of drying within days. gesso 7x9.4in.
stem from the heart, from a memory or When working in layers, it means you don’t n Medium: Linseed oil.
inspired idea. I chose this wren from my have to wait for weeks. She uses synthetic n Brushes: Synthetic
own photo database I’ve created over brushes; Round for details, Flat to block Round 0, 2; Flat size 6,
the years. I always compare multiple areas and a Fan brush to soften edges. 24 and a Fan brush.
birds, to learn their physical differences.
Then I went to buy the perfect roses!

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2
Apply the midtone
Painting bright colours works best
on a white surface. Then they
become almost iridescent, which can
make it difficult to keep the correct
values in the whole painting. I always use
three values: light, middle and dark. I
paint the background first, blocking in
with a ‘middle’ value greyish purple, later
adding more subtle values.

3
Start introducing the
bright colours
To work more efficiently, it helps
me to limit my palette, having ‘the right’
colours ready to go. I mix three values of
orange colours, three browns and
greens. I paint the first layer of orange,
with a mixture of Quinacridone Red and
Lemon Yellow. I use a cloth to wipe away
the lighter parts. I don’t use white – it
makes bright colours opaque.

4
Add shadows
With dark orange, I paint the
deepest shadows. To mix a darker
orange I use some brown and more
Quinacridone Red. With a clean brush I
lift out some highlight lines and I blend
sharp edges of the shadows with a clean
Fan brush. Hard lines or contours make
a subject look flat. To prevent that, think
in bigger shapes of colour and then
soften the outer edges.

“Hard lines or
5
Basic layer of the wren
Now using a middle value brown
contours make a for the wren (a mixture of Burnt
Umber and a touch of Ultramarine Blue)
subject look flat… I repeat the process used on the rose.
A little bit of white makes the colour
think in bigger more opaque. With a cloth, I wipe out
the highlights, making sure I follow the
shapes of colour” round shape.

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Thin layers for vibrant colour

6
Anatomy and shadows
In this stage I start painting the
shadows under the wing, (darkest
value) and feathers over its body. The
plumage has tiny stripes on its wings, tail
and belly. The darker lines next to its
eyes are shadows between the feathers
that are standing out. Always make the
effort to consult lots of reference images
to confirm that you have the anatomy
correct. This has to dry for a few days.

7
Fun with highlights
Another great stage is adding the
highlights! I apply a layer of
medium all over the dry painting, before
wiping it off again with a dust free cloth.
In the remaining thin medium layer, I
paint the light colours, like white, without
thinning. My brush slides over the
surface, making beautiful gracious lines.
The colours that darken during drying
get an extra touch up at the end.

8
Juicy greens
With a Flat brush, I paint the middle value
green of the leaves. Paying attention to the
more yellow and blue parts, I follow the direction of
the veins. The leaf bends here and there, catching
more light on the round shapes and looking more
blue. I keep thinking forwards, to prevent
overworking a specific layer. This way the colours
stay bright and not dull because of a wrong mixture.

Give depth to an image

To avoid a flat image, use the right values or grey tones.
A useful technique is to turn a photo of your unfinished
painting into black and white, to check if the colour values
and shadows and highlights are correct.

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9
Review your
Eureka moment progress
This stage feels half
I remember the moment I realised that my way. Most values are present,
use of materials and technique became a now I will evaluate where to go
tool to reshape my passions on canvas. next. It feels great to paint
Even though I keep on learning, it isn’t the from a ‘small success’ to the
aim in itself anymore. This ‘click’ felt next. Sometimes I leave out a
liberating! The learned knowledge of fun part for the next time, so
working from life in zoos, photos and my I know right where to jump in
intuition all blended together in my later. I decide to start adding
graduation year at the art academy. reds, in the rosebuds,
shadows and the branches.

10
On to the
second rose
The second rose
also started with a middle
value orange. I now add the
darker tones. I could have
done this simultaneously
with the other rose, but I
decided to let that one dry, to
see if the colours would
darken. Now I do think my
middle orange needs some
more yellow to look warmer.

11
Tender petals
The petals of roses are so delicate, I need to
take care that they don’t look heavy or
massive. With a mixture of almost rose-white, I
paint the outer edges. Perfect, now the petals seem
to curl! Still I want to get more depth between the
petals, so I add more shadows between them in the
coming stages. Once more, I need to be patient,
because it all needs to dry first.

12
Make some edits
Now my piece is dry again,
I start balancing shadows
overall to create the depth I am looking
for. Using a dark brown, I glaze the
complete area below the leaves to make
it darker, because that will make the
leaves and the roses ‘bend out’ of the
painting. I wipe the glazing medium off
the leaves, so I can start adding their
dark veins and blue highlights.

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Thin layers for vibrant colour

13
Time for details!
Now, using my finest brush,
I add even more feathers,
highlights and darker tones to the wren.
The shadow below the wing on its belly
really makes the wren come to life. Here I
also glaze some parts darker, and
directly add the details after. The
background gets a new thicker layer. By
softening the edges between bird and
background, it ‘clicks’. The light blue line
on its back and a dark touch in the eye
makes the wren pop out!

14
Define the petal
shape with shadows
In the next clean medium layer,
I add dark red shadows to the roses. The
rose petals really are curling open now.
I add a glaze of yellow in the middle of the
rose and paint the final highlights on the
petal edges. I check my overall values
again by making a black-and-white
photo. I discover that some green leaves
need to be a touch lighter, so that they
recede in the image.

15
Apply the final
tonal touches
It feels like magic! Now I paint
in all areas simultaneously, adding the
final highlights and darkening the stems
to push them backwards. I constantly
step back to assess my progress.
Orange and green are almost
complementary on the colour wheel,
which creates a kind of fight for
attention. The balance here is in the size
of the roses. They are big enough to stand
out and invite you to come over and
smell them. The wren finishes
everything off with its beautiful song.

111
Tutorials

112
Elephant in acrylic and oil

Depict an elephant
in acrylic and oil
Lynne Davies encourages you to be brave, paint
big and use fun techniques to help bring to life Ma terials
n A pencil
whatever subject you’re painting
n A stay-wet palette, either homemade
or bought
n A water spray bottle
LYNNE subject I am painting, instead of simply
Hampshire, UK n Acrylic paint: Alizarin Crimson,
copying everything in front of me. The
After winning a packet of felt Ultramarine Blue, Olive or Sap Green,
photograph already exists. Personally,
tip pens at the age of five, White, Raw Sienna, Yellow Ochre, Burnt
Lynne knew she wanted to be
I feel more accomplished if I manage
Sienna, Raw Umber
an artist. It was a long road, to create something that has never
existed before. n Oil Paint: Alizarin Crimson, Ultramarine
but she achieved her dream
of becoming professional in My workshop attendees are always Blue, Olive or Sap Green, Burnt Umber,
2009. Lynne’s paintings are a bit surprised by my scrubbing and White, Raw Sienna, Yellow Ochre, Naples
now collected worldwide. Yellow, Cobalt Blue, Cerulean Blue
[Link]
dripping painting techniques. It’s only
for the brave. I start my paintings with n Stretched and primed canvas measuring
watered-down acrylic as I love the 75cm x 90cm
love travelling and I take thousands of versatility and drying speed of the n Turpentine

I photographs. I came face to face with medium. Acrylic allows me to work n Brushes: a selection of natural hair, flat,
this beautiful young elephant on a magical fast and make some interesting, large brushes ½”, 1½” and 2”, a selection
trip to KwaZulu-Natal in South Africa. spontaneous marks. If they end up being of smaller, flat brushes (sable and hog
Unfortunately, the weather was overcast the the wrong marks, I can easily paint over hair), a couple of small, round brushes
whole time I was there, which is not ideal. them. I then like to finish my paintings in for detail and a rigger Experiment with
I still knew that I wanted to use this oil paint using the blending ability that is different brushes to find your favourites.
photograph as reference for a painting not so easy with acrylic. n A sturdy easel
because of the lovely composition. Once you have the confidence to trust n An iPad or good, high-definition
In this tutorial I aim to show you how your own judgement, lose the fear of photographs
to get the most from your reference being wrong and stop worrying about
material, release your creativity and sticking to too many rules, you will begin
produce an atmospheric piece of art. to see your own unique style emerge
I always choose my own background and develop. Practise, practise, practise
and colour palette to complement the and never give up.

1
Get in the right mood
Make sure you are feeling positive
and that you’re inspired by the
reference you are working from. Put on
music that you like if it helps you relax.
Try to visualise how your finished piece
will look, what areas you can improve
on or leave out maybe. For example,
very rarely do I settle for a blue sky and
a green grass, it’s too predictable. I use
my iPad, laptop or phone to crop the
image and play around with the level of
light and colour until I’m happy and,
most importantly, I use my imagination.

113
Tutorials

2
Pencil drawing/planning
I am beginning with a white canvas for this
one (I don’t always). I start by deciding how
much space I want around my elephant, where
I want the top of his head and where his feet should
be. If you’re happy with your drawing skills, make
these sketchy marks and draw in your elephant
freehand. If you’re not confident, use the grid
method or a lightbox if you have one. Whatever
takes away any unnecessary pressure and
frustration. Painting should be fun. I do really
encourage drawing freehand though, as often as
you can. The more you do, the better you get.

“Painting should be fun.

I do really encourage
drawing freehand
though, as often as you
can. The more you do,
the better you get”

3
Mix your first layer
Using your stay-wet palette, mix Alizarin
Crimson, Ultramarine Blue and Olive Green
with a 1½” brush. You then have a rich, colourful
alternative to black. With a wet brush and a spray
bottle in one hand, paint in all the darkest areas with
this mix. Paint confidently and quickly, working on
the whole canvas, as opposed to one area at a time.
Look at a black and white version of your photo(s)
if it helps you to see the tonal values. Allow the paint
to do its own thing and don’t worry about drips.

A void using black

Try mixing Alizarin Crimson, Ultramarine
Blue and Olive Green instead of using
Black. It’s happier.

114
Elephant in acrylic and oil

4
Creating interesting marks
Using the paint quickly like this loosens you
up, and sometimes genius marks that you
wouldn’t know how to create deliberately start to
appear. Occasionally a painting is completed a lot
sooner than you ever thought possible, just in
a more contemporary style. With a smaller square
flat brush, redefine the important lines in your
drawing so you don’t lose your way. However, be
selective and don’t outline the entire subject. Paint
the lines that most suit the composition. You can
wipe away any marks you don’t like with kitchen roll.

5
A second look
After the first watery layer is dry,
I begin work on a second layer,
concentrating on the second-darkest
areas of the photograph (the medium
tones). Continue to use the spray bottle
if you like, and make the most of the
various colours you can make from your
red, blue and green mix. Start to give
your elephant some weight by colouring
more of his body. Add some background
colour too, wherever it suits your
composition. I love clouds, mist and
simple backgrounds so your eye is drawn
to the main subject. Add white to your
palette if you need to resculpt any areas.

115
Tutorials

6
Introducing
more colour
Add some Raw Umber,
Yellow Ochre, Burnt Sienna
and White (if you haven’t
already) to your palette.
Have fun experimenting on
your palette and some scrap
paper before putting the
colour on your painting.
Elephants can be a delightful
mix of so many different
colours. Be as creative as
you like. Success is knowing
which colours to use and
where. I have learned this
through trial and error and
perseverance. The wonderful
texture on some of my
paintings has actually been

7
created by disaster paintings Identify and redefine
hidden underneath! favourite areas
Have a good look at your painting and a good
look at your reference. Decide which areas are
working well – can you make them even better?
I particularly like the strong contrast between the
bottom of the elephant’s ear and the light behind
it. Notice, too, that the top of his ear almost
disappears into the background. Don’t ever fear
painting over a boundary line. Make sure you have
darkened the elephant’s eye sockets. I start to
paint with more intention now, using warmer
colours on parts that I want to come forward and
cooler colours on areas that need to recede.

8
He’s coming together!
Remember to step away regularly.
I never work on a painting for more
than two hours at a time. If ever I feel
bored or I realise I’m slavishly copying
a photo, I stop and work on something
else. When you feel inspired to carry on
Take regular
with your elephant, work with a square,
flat, sable brush for more definite marks breaks
and an old brush to blend and scrub. Don’t paint for more than two
Thin, watery paint will wash over but hours at a time, or when you
still reveal existing and interesting paint are fed up or frustrated. Go for
marks underneath; thicker paint will a walk, make a cake, iron…
cover a multitude of sins. I use a circular anything. Come back to the
scrubbing motion with old brushes and painting when you’re inspired
dry paint to mist over any lines and tones to carry on.
that need calming down.

116
Elephant in acrylic and oil

“It’s time to enjoy

painting in a more
traditional way, whilst
also utilising the unique
and creative under-
painting you’ve created”

9
Changing to oil paint
Make sure your elephant is dry. You will be
able to go over the entire canvas with turps
and oil paint without your underpainting moving
anywhere. With your new palette of oil colours (see
Materials list) it’s time to enjoy painting in a more
traditional way, whilst also utilising the unique and
creative underpainting you’ve created. I use oil paint
the same way I use acrylic, but obviously substitute
water for turpentine. Diluted oil paint will act like
a wash, and thicker oil paint will fill in, cover and
blend. Whiten up the tusks – this is great fun. Also
add highlights where the sun hits the elephant’s
body using a light colour. Use bright white sparingly.

10
The eyes
have it
By now you may
be craving detail. For me, the
eyes are the most important
part of a portrait. I want the
subject’s soul to burst
through the canvas. Take
your time. Use a good-quality
brush (sable size 4). Make
sure the eyes are in the right
place, within feasible eye
sockets. Imagine holding the
elephant’s head and feeling
the shape of his skull.
Michelangelo did this when
he painted. The eyes in this
photo are far away but you
can still achieve a nice feeling
from them. Persevere but
stop if you get frustrated or
your elephant will look angry.

117
Tutorials

11
More detail
Remember, your painting doesn’t have to
look exactly like the photo. We are aiming
for an exciting, different piece of art in your own
style. Your elephant should start to look like he’s
real and heavy and emerging though the mist.
Looking at your painting from a distance will detect
any problems. Add a little Cerulean Blue to the
sky, in amongst all the greyness. Get rid of any
blank canvas now and bring forward the centre
of the trunk and legs by adding some warm
browns. Create clouds and dust with the circular
scrubbing technique.

12
Fine lines and wrinkles
Elephant skin is rough, non-uniform
and multicoloured, so it’s more effective,
I think, to portray the feeling of this instead of
copying each line from the photo. Photographs can
be misleading, and I want to create movement in
my paintings. Using a small, round brush or a rigger
and some Raw Umber mixed with Ultramarine Blue,
paint in some fine lines and wrinkles, wherever
it suits your painting best. Don’t draw them
everywhere or make them too uniform. Check
where the most prominent and complementary
wrinkles are on your reference. It’s up to you what
you leave out.

13
Finishing touches
Some of you will like what you’ve painted already; some will
want to go further. Just make sure you stop before your work
becomes too illustrational if it’s a painterly style you’re trying to achieve.
At this stage, use braver, cleaner colours. Wash your brush more and
maybe use some Cobalt Blue, a mix of Naples Yellow and White, Burnt
Sienna and Ultramarine Blue for a nice new dark. Keep experimenting.
Make sure your whole canvas has been oil painted so you’ll have a nice,
even surface to varnish when finished.

118
Elephant in acrylic and oil

14
Using your rigger
I love a rigger. I love the cracks you see in
old Renaissance paintings and random
lines in general. Many of the lines in my paintings
are there purely because I like them, although they
usually point to an important part of my painting
leading the viewer’s eye (see ‘Solitude’ on my
website – [Link]/ldsolitude). Stepping back
slightly with your rigger at arm’s length, sideways
to the canvas and with paint that flows freely, make
quick confident strokes. In this example I have
painted blades of grass, casually drawing you to the
elephant’s head. Simply wipe away any mistakes
as your canvas will be oily.

15
Final flashes of inspiration
With Burnt Sienna mixed with white and
a flat, square brush that fits in between
your trunk wrinkles, colour in some of the newly
formed squares and patches that your wrinkle lines
have created. I lay the paint on quite thickly now in
a few extra-brave areas. You can do the same with
some blue. I deliberately use opposite colours next
to each other in places. Sometimes I add a random
blob of pink or orange or bright yellow and the whole
painting comes alive. Forget the rules in your head
and just go for it!

D on’t give up!

I like the saying: ‘A master has failed more times than the
beginner has even tried’. Paint over any disasters and use
the texture underneath to your advantage.

119
Tutorials

Eight steps to paint plumage

Sue Sareen shows how to convey the vibrancy and colour of these
characterful birds, using slow-drying Atelier Interactive Acrylics

igeons are full of character and I used Atelier Interactive Acrylics

P carry many colours in their

plumage. Learning to see – to
notice and look with clarity – is so
fundamental to being an artist,
especially if the subject is something we pass
everyday without noticing.
In the original photo of the pigeons
paint to create this painting. I find
these easier than normal acrylics as
they are slow-drying and can be diluted
with water. Conventional acrylics can
often dry too quickly, stopping the artist
from being able to blend the paint. This
can lead to continual overpainting rather
(see page opposite), you can observe than blending.
the light and dark tones found in the I prefer to work more slowly, without
scene. I notice how the wall catches the the paint drying before I am ready. If the
SUE light, whereas behind it is in the dark. paint does start to dry, I can spray it
Nottingham, UK I observe how the bird on the left is light lightly with water from about a foot
Sue enjoys painting a wide in tone, contrasting with the darker away. This keeps the paint soft and
range of subjects, which tones of the other bird. ‘Seeing’ these buttery, enabling more movement of the
can be from life, sketches
tones, and noticing the colours of the paint. Also, unlike conventional acrylics,
or photographs. She loves
to capture light and colour birds, will help create the subtle effects they can still be reopened and softened
with her subjects. of plumage, giving the subjects plenty of hours later by spraying with Atelier
[Link] depth and realism. Interactive’s own Unlocking Formula.

120
Eight steps to paint plumage

The reference photo of the birds.

Sue believes successful painting is
a “combination of vision, observation
and an understanding of the medium”.

Mix it up
Sue often works in
watercolours, which is a
tricky medium. If it goes
muddy, it’s possible to rework
the picture with acrylic paint.
This mixed-media method
can often be turned into a
successful painting.

Ma terials
1
Sketching it out
Sue likes to paint on heavy paper, as it’s Using a reference photo, I lightly
relatively cheap and it can be easily primed draw the basic shapes of the birds
to make it non-porous. onto the watercolour paper. They are
mainly two large, plump ovals
n Atelier Interactive Acrylics (Permanent
overlapping one another, with two
Alizarine, French Ultramarine Blue,
smaller ovals for their heads.
Cobalt Turquoise Light, Yellow Ochre,
Titanium White, plus an indigo)
n Watercolour paper (15x11in,
minimum 300gsm)
n Acrylic brushes, flat or filbert ,sizes 12,
Preparing the paper
10, 6, 4 and round sizes 0, 4
n Atelier Interactive Acrylics
Unlocking Formula
n Gloss varnish
Clean tip
Wear old clothing or an apron
2 I’ve completed my sketch, and have
my selected brushes and colours all
set up and ready to use. I prepare the paper
– when dry, acrylic paint is very by freely painting binder medium onto it,
n Binder medium difficult to remove! making it non-porous. It is then allowed to
n Masking tape dry, which takes about 15 minutes.

121
Tutorials

Starting the painting

3 I now outline the drawing with indigo

paint, noticing that the direction of
light comes largely from the right.
Continuing with the same colour, I block in
the different tones, occasionally using a
little water to thin the paint to produce
lighter tones. Increasing the contrast
between lights and darks creates drama.
Blocking in tonally also helps me become
aware of the many differences in the
tones. I then leave it to dry.
B rushwork
I use a range of brushes,
mainly flats and filberts,
ranging from size 14 to
smaller sizes, depending on
the size of the painting. I also
include a couple of size 0 or 4
rounded, which I use for
smaller, more precise details.
I lay in large areas of colour
with my size 14 flat brush,
using appropriate
brushstrokes to suggest the
colours and the texture on
the wall behind, or those in
the feathers. I then use some
of my smaller flats and
filberts, taking care that my
brushstrokes follow the
direction of the walls, the

4
Adding in colour floor, or the plumage on the
I start to add colour. I use broad, rapid brushstrokes, rounded bodies of the birds.
overpainting the original indigo tones with different The smaller, round, pointed
mixtures and combinations of all my colours. The touches of brushes are used to paint
purple are made by mixing Permanent Alizarine and Ultramarine detail in the feathers, the
together. The paint is undiluted at this point and should feel soft, texture around the necks,
easy to blend and move about. If it starts to drag or feel tacky, and the eyes, beaks and feet.
spraying lightly with water will maintain the ease of movement.

“Increasing the
contrast between
lights and darks
creates drama”

5
Building up the colour
I continue in the same way, adding
more colour. I occasionally mix in
white to lighten some of the colours. This
mix is then used to increase the contrast
between the colours and tones.

122
Eight steps to paint plumage

Completing the painting

7 I note how the feathers lie on the birds. I try to Surfaces

6
Unlocking formula paint a sense of them without too much detail, or
While the paint is soft, it’s easy to overworking the subject. I spray my stay-wet palette Use the backs of old
make adjustments, blend the with water, and close the lid. The paints will stay usable watercolour paintings for
colours and move the paint around. for several days, enabling me to do some more when you want to
Eventually I leave the paint to dry, and adjustments to the painting if necessary. experiment. Prime the paper
returning after a break enables me to to make it non-porous. You
see the painting again with fresh eyes. can also use other primed

8
I decide to overpaint parts of the picture, Varnishing the work surfaces, such as canvas,
adding more colour detail, but the paint Sometimes the sheen on the dried paint is hardboard or board.
has dried. When I want to make the paint uneven. A day or two later, when the paint is
soft, I spray it with Unlocking Formula. absolutely dry, I apply some gloss varnish over the
painting. This gives the surface an even sheen, and
improves the tones and colours. If required, I could
also glue the painting to a piece of board, making it
sturdier, and then frame it.

My stay-we t
pale tte
A stay-wet palette is useful for keeping
paints soft. It contains a soaked membrane
covered with greaseproof paper for the
paint. A lid closes the box when not in use,
and maintains softness for a couple of
weeks. You could make your own box easily,
substituting blotting paper or watercolour
paper for the membrane.

123
Tutorials

Flamingo painting
and the power
of ‘negative shapes’
Marie Antoniou guides you through the use of negative shapes and
how these can be used to bring out the main feature and add interest

A
MARIE s a full-time artist, one of the
Westcliff-on-Sea, Essex things I often think about is
Marie is well-known for her standing out from the crowd.
unique depictions of wildlife,
which have earned her
I realise that the interpretation
numerous awards and of a subject is just as important
accolades. Marie is a great as the subject itself. You can convey so
champion of acrylics and her much by adding that little extra to your
paintings are part of many painting, which keeps the painting process
private collections.
[Link]
exciting for me and hopefully interesting
for the viewer too.
I love painting wildlife and I’m excited
by how I can interpret this popular
Ma terials
Marie works on a ready stretched canvas,
subject rather than going for a more
which enables it to be hung up straight
traditional approach, which might be a
away, saving on framing costs. As acrylic
photographic interpretation. For
paints are fast-drying, this leaves Marie the
example, the wildness of an animal can
potential to complete the scene in one
be interpreted through expressive brush
sitting. For this piece, she takes advantage
strokes or the hint of strong shapes.
of the paint’s opaque quality, which is great
Patterns and colour may be all you need
for negative shapes. She covers areas in the
to suggest a fleeting glimpse of an
background to bring out the foreground,
animal in the wild. I always work in my
with different sized brushes.
studio from photos I have sourced at
various locations around the country.
Studio-based work allows time to n Stretched Canvas: 24x20in
consider what I want to promote in my n Paints: Daler Rowney system 3 original
painting, whether it’s manipulating acrylics: Alizarin Crimson, Phthalo
colours or playing with composition. Green, Cerulean Blue, Cadmium Yellow,
I want to share an alternative approach Lemon Yellow, Yellow Ochre, Cadmium
to painting a group of flamingos. By Red, Process Magenta, White
focusing on their distinctive shapes, n Mixing palette
you can play around with the spaces in n Water pot
and around the flamingos, known as n Brushes: Liquitex flat heads – no. 8
‘negative shapes’ or spaces – we’ll use (equivalent to quarter inch), no. 12 bright
Use different size this technique as a way of forming the (one inch) two- and three-inch brushes,
brushes for small main subject, as opposed to starting out one-inch decorator’s brush
and large areas. with outlines and colouring it in.

124
The power of negative shapes

125
Tutorials

1 2
Create the base colour Tint the canvas
I begin by laying a base colour on
to my canvas with a pure mix of
I spend a little time before deciding
what colours I want to use. Once
B rush up
Process Magenta and Lemon Yellow, the base colour on the canvas has dried, To get the best out of your acrylics, ensure
using a two-inch brush. I decide this I create tints onto the canvas that match that your brush is nothing more than damp.
would work well as an initial colour for the colours within the flamingos. I begin by Too much water on your brush will wash
painting’s latter stages of development. I mixing Process Magenta, Lemon Yellow away colour pigment and you could end up
choose this colour as it is close to the and White. Using directional brushstrokes, with a drippy, muddy mess.
tones of flamingos. I randomly place them on the canvas.

3 4
Make random Add extra colours
directional marks Once the layer from step 2 has dried, I make more random directional
Once the initial marks have dried, marks using my two-inch brush and add White to my Cadmium Red and
I continue with creating more random Process Magenta mix to create a pink shade that lies on top of previous layers.
directional marks using the same The random nature of the directional strokes enable previous shades to filter
two-inch brush with a pure mix of through, giving me a good idea for the colours I’ll be using for the flamingos.
Cadmium Red and Process Magenta. Get your arm moving, enjoy making marks and laying colours without the
I use this layer of colour sparingly so pressure of trying to draw the subject. Just enjoy yourself.
initial tints still show through.

126
The power of negative shapes

5 6 7
Cool things down Start negative shaping Check
I introduce some cooler shades. I mix Cerulean I now begin to observe the negative your source
Blue, Cadmium Red and White, shapes around the flamingos. I use As my eyes flick from
and it creates a contrast between the warm reds and my three-inch flat head brush and create the photograph to the canvas,
pinks. Again, these are placed sparingly and a pure colour mix using Phthalo Green I considered where the
randomly on the canvas in a directional manner. and Cadmium Yellow. Starting at the top negative shapes are in
I still allow previous layers of colour to show through left-hand corner, I utilise this colour to relation to the flamingos.
and make the directional marks with the two-inch create the negative shapes, and all angles A rough estimation is all I
brush, in keeping with earlier strokes. of the brush to create a variety of marks. need before I carry on.

D on’t lose
heart
If I sat around all day waiting
for inspiration, I may be waiting
a long time. The discipline of
working as an artist means
I have to be in the mood to
paint/create on a daily basis.
Having a subject which you
are passionate about helps you
stay focused. If you aren’t in a
painting mood, maybe focus on
a different aspect of creativity,
perhaps brainstorming ideas
for another project. The

8 9
Block the Increase the contrast important thing is to not get
flamingos Focusing on the upper section of the painting, I want disheartened if a painting
Starting in the left- to create a contrast within the initial dark green of doesn’t work out as you hoped.
hand corner of the canvas, the negative shapes. So I scale down a brush size to a Don’t be afraid to make
with a one-inch decorator’s number 12 Bright and mix Phthalo Green and Yellow Ochre. mistakes; you will learn more
brush, I ‘block’ the shapes of I use directional strokes to add interest to these areas while by stepping out of your comfort
the flamingos, using a mix of allowing the dark green to filter through. This creates some zone. In the long run, this will
Process Magenta, Lemon welcome texture, too. The contrasting colour creates interest be more fulfilling to you and
Yellow and White in between within the present early negative shapes, but it also helps to your development as an artist.
the negative shapes of green define the shapes of the flamingos from the negative shapes
from step 6. around them.

127
Tutorials

10 11 12
Start Fill middle sections Continue blocking
defining I return to my three-inch brush While the previous layers of
Working my way and work in the middle section paint are drying in other
across the top section of the of the painting up to the water’s edge. sections, I work on the lower section.
painting within the negative I introduce a pure mix of Cadmium Red With a clean three-inch brush, I create
shapes, I help define the and Ceruleun Blue and use a variety of marks within the water using Phthalo
flamingo shapes using various marks that create more solid negative Green and Cadmium Yellow. Using all
angles of the brush. The birds shapes, which in turn define the shapes angles of the brush, I block in large and
take shape. of the flamingos. small areas of negative shapes.

“Now other areas

of the painting
have dried, I return
to the central area
and add White to
the original mix”

13
Brighten it up
Now other areas of the
painting have dried, I return to
the central area and add White to the
original mix of Cadmium Red and
Ceruleun Blue. Adding White helps
creates a colour contrast without
obliterating the darker shades
underneath; this is a similar process as I
used in step 7. I use directional strokes
and utilise all angles of my no. 12 bright
brush.

128
The power of negative shapes

14
Green tints
I return to the lower
section and create
lighter tints of Phthalo Green
and Yellow Ochre on top of
the darks in the water. I use
directional strokes with my
no. 12 bright brush.

15
Highlights
Once the dark and
lighter tints have
filled the negative spaces
around the flamingos, I start to
lighten the flamingo shapes
using Alizarin Crimson, Lemon
Yellow and White.

16
Finishing
touches
In the final stages,
I look at the overall image and
see if I need to add any lights
or darks. I use some darks in
the water with some Phthalo
Green and Alizarin Crimson.
I also add some dark in the
beaks, with Alizarin Crimson
and Ceruleun Blue, using my
smallest brush no. 8. I’ve
included some extra tints
on the flamingos too, with
Process Magenta, Lemon
Yellow and plenty of White.

Make it real
Be creative and not a slave to
the photo. I always use my
own photos for my painting.
Remembering how I felt when
I was there, the atmosphere,
etc, all help towards the
painting process. Being able to
include a bit of yourself,
whether through your own
expression or creative ideas,
makes the process less
mechanical and more creative.

129
LEARN THE BASICS OF PAINTING
IN EVERY MEDIUM
There’s more to painting than picking up a paintbrush and getting creative.
Which medium should you use? What should you paint? Where do you begin?
From watercolour to oils, we’ll share everything you need to get started!

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