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.

 

 

 

 

Still Building

 I'm still constructing the background. It looks pretty dull at this point so I'm eager to fill in some greenery.

 

 

 

 

Background

In each painting I usually have a part which I refer to as the "ugly stage" while working on it. I've learned to work through it with the idea that on the other side it will reflect my vision for that section of the painting. At least, that's the plan.

 

Welcome to the ugly stage.

 

The beginning of the distance background

 

 

I've started on the "bones" of the tree/brush in back of the cats. There will be filtered sunlight throughout but first I want the framework painted.

 

 

 

 

  

One Thousand!!!

 When this painting is finished it will be my 1000th painting.

For the past year I could see this number coming. After #999 was finished I had two out of town shows and a lot of time to think about what I would paint next. My obvious choice was a leopard piece, as this species has been my favorite for as long as I can remember (though all those spots can take sooooooo long to paint!)

 

A morning in-the-African-bush scene, a nighttime setting, head and chest portrait, a chiaroscuro piece? - all these ideas kept running through my head. I went back to my most successful leopard sighting trip (saw nine different cats in Kenya) for inspiration. As I went through all my reference one encounter kept drawing me - the pair of leopards the two of us and our guide saw.

 

At first we only saw a female leopard coming through the grass. Then she called out and a large male appeared. He spent the next hour wooing her with head baths, "hugs", rubbing up against her, rolling on the ground in front of her, and then they settled down in the shade together. I've painted various aspects of them together but I found new part of the story to paint with the two of them.

 

Turpentine wash with yellow ochre to seal my drawing