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.

 

 

 

Finished

Cheek to Cheek

Original Oil

22" X 48"

Leopards

After completing a small piece, time to switch it up with a large complicated one.
In Kenya I had the great fortune to witness a pair of mating leopards interacting. He was the amorous one always trying to get her attention.
Rather than use the Venetian Red gesso which has served me well for a couple of years, I thought this painting would benefit from a Yellow Ochre gesso. Below is my beginning.

After drawing my leopards, I used a turpentine wash of raw sienna and burnt sienna to define the spots. Playing upon complementary colors, some of the background will have hints of a blue/purple mixture (ultramarine blue, rose madder, burnt umber, and a smidgen of violet.)