Wildlife Art Demonstration: A step by step guide
| © Copyright 2009 Eric Wilson All rights reserved |
Wherever I display my Art, people want to know how it was done. I am now putting together some
workshop pieces to show how my paintings are developed stage by stage and the techniques I use to achieve
them.
workshop pieces to show how my paintings are developed stage by stage and the techniques I use to achieve
them.
STEP1
I wasn't taking this picture too seriously
at this stage, as I was still experimenting
with pastels and wasn't sure if the
Schmeike sandpaper surface I was
drawing on was capable of delivering fine
results. I had sketched the cub out
loosely on paper and then transferred it
to the Schmeike pastel paper. I was using
pastel pencils and doing some smudging
with my fingers, the face started to take
shape and so I decided to continue.
at this stage, as I was still experimenting
with pastels and wasn't sure if the
Schmeike sandpaper surface I was
drawing on was capable of delivering fine
results. I had sketched the cub out
loosely on paper and then transferred it
to the Schmeike pastel paper. I was using
pastel pencils and doing some smudging
with my fingers, the face started to take
shape and so I decided to continue.
STEP 2
I liked the way the 'tooth' of the pastel
paper held onto the pastel and felt
confident to build up layers of colour.
The eyes are always the key to a cat
portrait and I was happy to see that I
could 'glaze' over with a light magenta to
show some reflection giving life and the
illusion of wetness to the eyes. It was
important not overdo this however, as I
had to bear in mind that the eyes were
actually in the shade and not reflecting
direct sunlight. With that in mind a
magenta was used in preference to a
bright white which would have been a
mistake. I was beginning to spread an
undercoat of raw sienna colour across
the body by this stage.
paper held onto the pastel and felt
confident to build up layers of colour.
The eyes are always the key to a cat
portrait and I was happy to see that I
could 'glaze' over with a light magenta to
show some reflection giving life and the
illusion of wetness to the eyes. It was
important not overdo this however, as I
had to bear in mind that the eyes were
actually in the shade and not reflecting
direct sunlight. With that in mind a
magenta was used in preference to a
bright white which would have been a
mistake. I was beginning to spread an
undercoat of raw sienna colour across
the body by this stage.
STEP 3
Over the raw sienna, which was done
with a 'wash' of softer pastel, I started
to build up the direction of the fur with
darker strokes. Direction is all darker
strokes. Direction is all important, as
when it is done with a careful
understanding, it gives a clear shape
and solidity to the whole body. A
framework upon which to build.
with a 'wash' of softer pastel, I started
to build up the direction of the fur with
darker strokes. Direction is all darker
strokes. Direction is all important, as
when it is done with a careful
understanding, it gives a clear shape
and solidity to the whole body. A
framework upon which to build.
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Back to Wildlife Art Galleries.
Gallery 2 North American and British Wildlife such as Bears, wolves, eagles, owls, and red deer stags.
Gallery 2 North American and British Wildlife such as Bears, wolves, eagles, owls, and red deer stags.