Foreground Grass

 

The foreground grasses are going to take some time.

You can see in earlier posts that I painted the base layer of the sunlit section. I wanted this to dry while I worked on the leopards. I've now added some depth with some mid and darker grasses. Most of the grass will be very light and bright which will also increase the feeling of shadow underneath the trees where the cats are lying.

 

I'll wait for this to dry before adding the final grasses.

 

Note: it is difficult for me to wait. My main method of painting is to work wet-on-wet but there are some times when that is not the most effective way to achieve certain looks. For me, grass is one of them. While waiting I have four more paintings drawn and only have to choose which one to start.

 

 

 

 

One cat almost finished

 

Next up, the female.

This photo was taken with my good camera, rather than my phone.

 

 

 

The in-between

 Before starting on the interstices (painting between the spots) I decided to block in the rest of the background. This is the area which is fully in the sun. Once this base is dry (or mostly dry) I'll paint all the bright sunlit grasses on top.

 

 

 

 

I chose to start on the male. With his position partially in the sun, he'll have the greater range of temperature in his colors.

 

Speaking of colors, below are my palettes. The one on the left is the one I used for all the background and the spots. The smaller palette on the right has colors ranging from cool to warm for the cat. 

 

 

 I started out a bit too cool on the cat so have warmed it up with cadmium yellow deep toned with some burnt umber.

 

 

You can see the spots look two-dimensional. That's due to their sharp edges. This is why once the rest of the cat is painted I'll repaint the spots and feather their edges in to the wet paint of the lighter colors.

 

 Keep in mind that this entire cat is about 10 inches long.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Spots

 

After many years of painting spots, I've found what works best for me in creating the illusion of fur.

Keep in mind that this painting is 24" X 36" so the leopards are relatively small.

 

As you can see with the leopard to the left, my overall turpentine wash (Rembrandt yellow ochre and turpentine) was heavier overall on her than the lower part of the painting. After the base dried I went back in with a more concentrated yellow ochre in the wash and applied it to the spots. This can be a little sloppy (not staying within the lines of my drawn spots) as it is meant as a color base. I let this turpentine wash completely dry (usually 1 day) before applying any oil paint.

 

I do not own any black oil paint. On top of the yellow ochre wash for the spots I like a mixture of Rembrandt ultramarine blue, burnt umber, and burnt sienna. The percentage of each varies depending on whether the cat is in sunlight, dappled light, or full shade. If I want a lighter spot (maybe in furrier chest areas) I'll add some titanium white, use very little paint on my brush, and dry brush it on.

 

 

I'll be adjusting the color of the spots further once the background color is applied and the dappled light is established.

 

 

 

Background

 There will still be adjustments to the background but I'm far enough along on the background that I feel comfortable starting on the leopards' spots.

 

 

 

On leopards I like to paint all the spots, then the interstices, then repaint the "black" spots and blend them in to the lighter fur. (Note: my dark oil paints can dry overnight while the lighter colors can be wet for days, even a week.)  Why paint the spots twice? For me the spots inform the direction of fur, the muscle groups, and provide the road map for the lighter fur. I'll be mixing several colors for the "black" spots as some parts of fur are hit with dappled light.

 

 

 

More green

 

This is certainly one of my more complicated backgrounds.

I'm anxious to start painting the leopards but know this background can't be rushed.

 

Sometimes when I am thinking too hard during painting I reach out for a distraction. Something which will engage the intellectual part of my brain so the creative part can work on the painting - at least that's way I think of it.

 

Yesterday I put a podcast on my studio speakers, The Moth Radio Hour. It is a collection of real stories (usually 3) which are based on a single theme and told by "regular" folks in front of an audience. Some are funny, some sad, some insightful. It was the delightful distraction I needed.

 

 

 

Greenery

 If the background in my leopard piece weren't complicated enough, the leaves range from very cool to very warm greens.

 

In my early paintings greens were a menace. It took forever to mix them. I'd try this combination of colors and they wouldn't work, then that combination. Finally I realized that I had to do something to feel more comfortable with green. I decided to paint a piece focusing on different shades of green.

 

Shades of Green   2001

Original oil

16" X 24" 

 

After this painting was I a master at painting greens? Hardly! But, I no longer approached them with trepidation, but rather with a sense of respect   - and a hint of challenge.

 

 

As this is my 1000th painting I am reflecting on what brought me to this point beyond the number count.