(Note: Did you miss Steps 1-3? Search for “Sleepyhead!”)
I’ve let the painting dry a bit, so that I can utilize the “fat over lean” method of applying paint.
Moving away from ultramarine blue for a short time, I take some time to build up the softer passages in his cheek and shoulder with cadmium orange and permalba white, taking note of the subtle value change between the cast shadow and the light source highlighting his upper shoulder blade. This is where Photoshop or another image program can really help. When I convert the color reference photo to gray-scale, I can see the contrast shift changes without color influencing the painting. Color can sometimes distort how much, or how little, contrast exists between the head and the shoulder.
I’ll be tackling the chin, shadows, and the floor reflection next. Let me know what you think of my painting by leaving a comment below. Thanks!
(Note: Did you miss Steps 1-2? Search for “Sleepyhead!”)
Keeping the warm color scheme, I’ve moved on to the fur. Again, using a tiny bit of Ultramarine Blue and Cadmium Orange (I combine cadmium Yellow and Cadmium Red for this demonstration), I block in the general areas where the fur is orange. I will add detail later with a liner brush. Sleepy’s eye also gets added, using a mix of cadmium Yellow and Ultramarine Blue.
(Note: If you missed Step 1, you can check it out here.)
Using the suggestion of Mikki Senkarik, I work from background to foreground, opting for a warm color scheme throughout the entire piece. Using a mix of Ultramarine Blue and Cadmium Orange (I combine cadmium Yellow and Cadmium Red for this demonstration), Pull strokes up and down in the foreground, intending to show a semi-shiny floor with reflections.
A new kitty. I liked the reflection of the orange and white cat on the smooth surface, plus the contrast between the warm bright colors and the darker background. I probably put more details in than I needed, but I invariably need more reference after I get started, and having it on the page is better. I can always simplify the drawing during the transfer to canvas.
(Note: Updated with high-resolution scan of the painting. -MB)
(Once again, apologies for the slightly out-of-focus photo.)
All done. I will upload a much better image of this painting once it has dried a bit more. I will be including this painting as the first in a series of cat paintings I am working on for C.A.T.S Gallery, in Mobile, AL. (Clever name, huh? It stands for Creative Artistic Treasures Studio.) They have a Facebook page, here, and, if you are in Mobile, AL, would love to have you stop by. Tell Shery that Michael said “Hi!”
I chose this reference photo because it reminded me of our sweet cat Blackie. The contrast between the background and the fur intrigued me, as well. I decided to simplify the background by removing the railing in my sketch.
Sorry I neglected to give you some attention on the blog, Freda. 🙂
Although I like the texture that my illustration board is producing, I am interested in using another paper texture for my next graphite drawing. J. D. Hilberry recommends Arches 140-lb. hot press watercolor paper. He says to use the reverse side of the watermark.
I never tire of drawing and painting horses. Their beauty, passion, strength and dignity have inspired generations down through the ages. Beyond transportation and competition, horses have been, and continue to be, our companions.
In light of my love for horses, I am very excited to announce that one of my paintings is being featured in a collection of products offered by Cal*31. Cal*31 is the Marketplace for a Free Spirited Community who Lives the Life they Love. My horse painting can be purchased on a pillow, a T-shirt, or a Tote-ally awesome tote bag! 🙂