Painting
cats realistically with watercolor requires a good foundation
in first the pencil drawing; then in mixing slightly different shades
of color; and in knowing how to layer paint, to gain deepening values – light to
dark.
It's helpful to have a small size 2 rigger brush for
painting detail around fine hairs and whiskers, I also used a soft-haired 1/4-inch flat brush, and a size 12 round brush for the background.
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| Clyde's Whiskers 5x7 watercolor painting by Elise, October 2019 |
My
palette for Clyde's Whiskers
was “large” - seven pigments - six were W&N professional
grade: Aureolin yellow, Opera pink (Holbein brand), Light Red, Antwerp Blue, French Ultramarine Blue, Van Dyke Brown,
and Burnt Umber.
After
decades of sketching from life and from photos, or scaling photos
with a large yard stick, I now use graphite on the rear of a
photocopy, and trace over the top with a pen, leaving me the pencil
marks underneath.
It
is a painter's “trick of the trade” which saves me an enormous
amount of needless
eyestrain and helps the animal's face quickly appear in proportion as
well as gain correct feature placement.
I
call this method “cheating” but due to my strained eyes, I feel
it is helpful.
Once
the drawing is ready, I began Clyde's portrait by painting in his
darker fur above his eyes.
While
I was taught to paint strictly “light to dark” with watercolor, I
have learned there are times when “breaking rules” can lead to a
very positive outcome. The letter of any “law” kills, but the
Spirit gives life!
I
was trying to preserve as much of the fur details, before paint
covered the pencil marks.
I
did not use ANY masking fluid or tape on the whiskers, to preserve
them – I just painted around them. I was using old 300 lb Arches
Hot Press paper.
The
second stage was adding in the background. I felt the piece looked
pretty bad after this stage, but I hoped it could all be
“resurrected” with a little more work, which proved to be the
case!
Most
paintings come to this “ruined” or “ugly” stage, and like in
life, you must continue to work through these times, and not give up
or jump ship, no matter how tempting that option becomes.
During
the third stage/hour and day of this four-day, five-hour small 5x7
piece, I darkened everything.
I
hadn't painted all that much for a long while due to some caregiving
work, and so was having some difficulty concentrating. I also had a
very swollen foot. I painted as long as I felt able, then left the
rest for another day.
I
left the piece for a couple days, before working another hour on it,
as I was uncertain darkening Clyde's face would help the piece,
because the background was already so dark.
I
finally decided to put in more color into his fur, glazing on top of
what I'd already painted, to good effect.
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| Fourth and Final Stage, Clyde's Whiskers |
The
final piece looked just like Clyde, who I lived with for four months!
Since Bonnie and Clyde had both been rescued by their current owner from an animal shelter when they were half-feral cats, I chose
this verse for Clyde's small portrait:
God
setteth the solitary in families: he bringeth out those which are bound with chains: ~
Psalm 68:6a
Clyde's
sister, Bonnie, was next. Having a good quality, high detail photo
really helps me paint realism. I had painted Bonnie from a blurry
photos, and was not happy with the finished piece, so this was my
second attempt.
After
gaining the traced drawing, I then painted in some light paint
layers. I used a slightly different palette, including Windsor Yellow
because it is a cool yellow, and Raw Sienna, Opera, Antwerp, French Ultramarine, Brown Madder, Van Dyke Brown and Burnt Umber.
I
painted around the light areas I wanted to save. Bonnie was sitting
in the sunshine, on her afternoon back-of-the-couch perch, on a
sheet. The sun came in through the bushes and trees outside, making
shadows around her.
I
chose to accentuate Bonnie the Cat, see below, leaving the background lighter
than it really was.
As
in life itself, any progress usually happened slowly, as I steadily
focused on different places around the painting, deepening colors and
heightening contrast.
Bonnie's
fur took on the blueish cast from the window shades and the color of
the couch cover on which she was lying.
I
felt she could have been pushed slightly further in detail, but left
this portrait where it is. Her main features are distinct, leaving
other details less in focus.
Here
is the completed and signed 5x7 watercolor portrait of Bonnie in the
Sun:
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| Bonnie in the Sun, 5x7 watercolor painting by Elise, October 2019 |
It
is vain for you to rise up early, to
sit up late,to
eat the bread of sorrows:for
so he giveth his beloved sleep. ~ Psalm 127:2
When
painting fur hairs, it's important to stroke in the same direction as
the hair grows, lifting the tip of the brush just slightly, as you
finish each stroke.
I
grew up with cats, many cats...and have had my heart broken many
times when certain ones didn't return home, probably eaten by wild
animals.
Loving
an animal or people means you invest in their well-being, and when
you know a pet well, you learn their language.
I
hope this blog helps beginning watercolor artists learn more about
how to depict your or another's pet with accuracy and emotion!
Please
feel free to contact me for a price list if you would your cat's
portrait painted.
Most
sincerely, your painting-friend,
Elise
A righteous man regardeth the life of his beast ~ Proverbs 12:10a
“Tyger
Tyger, burning bright,
In
the forests of the night;
What
immortal hand or eye,
Could
frame thy fearful symmetry?
In
what distant deeps or skies.
Burnt
the fire of thine eyes?
On
what wings dare he aspire?
What
the hand, dare seize the fire?
And
what shoulder, & what art,
Could
twist the sinews of thy heart?
And
when thy heart began to beat,
What
dread hand? & what dread feet?
What
the hammer? what the chain,
In
what furnace was thy brain?
What
the anvil? what dread grasp,
Dare
its deadly terrors clasp!
When
the stars threw down their spears
And
water'd heaven with their tears:
Did
he smile his work to see?
Did
he who made the Lamb make thee?
Tyger
Tyger burning bright,
In
the forests of the night:
What
immortal hand or eye,
Dare
frame thy fearful symmetry?
The
Tyger
by
William Blake
