The next step

Article text
6 hours work to this point
I begin working with a little more paint and as you see the clouds have been blocked in. Some of the figures have disappeared, this doesn't worry me so much since I'm already thinking that their position will be changed.
I've moved to a Ultramarine Blue and Cadmium Red (with a little Titanium White) to block in the flight. deck. This same mix is used for the grey area on the fuselage of the a/c. The main body has been blocked in using Yellow Ochre and a tiny amount of Ultra towards the tail where I want a subtle shading to begin. Ultra, Cad Red and Burnt Umber are used for the black lettering and markings on the fuselage, tail and spinner. A tiny amount of Alizarian Crimson goes into the blue for the cloud base colour.
A diluted mix of Cadmium Yellow and Yellow Ochre is used to show where the bright yellow markings will eventually appear
What I do
I created this area to describe the work I enjoy and how I go about it. My first shot at this was trying to illustrate the process of making an aviation painting destined to be submitted to the Guild of Aviation Artists Summer 2012 exhibition. I now include a similar "day by day" account of the creation of a wildlife painting. So instead of propellers and people the problem now is fur and rocks!

I've had a couple of cracks at wildlife before as you have seen on this site and at www.painters-online.co.uk where I have posted similar images. This time I was inspired to try the Leopard after attending a workshop given by Chris Jones at the Nature in Art Museum in Gloucester. Chris is an internationally known artist and a very good teacher. Although the course was "Painting fur and feathers in acrylics", I've taken some of his advice and used it to provide a framework for this oil painting.