Background

Article text
Rough block in of the cave
Here I continue to use much the same mix with a little more Ultramarine. I'm just roughing this cave out and thinking that I might bring some foliage into the right hand side and perhaps coming down from the top to the painting. For now it's enough just to get the darks in place and that allows me to consider what degree of detail I want to put into the cave and the surrounding area. I also begin to indicate the edge of the floor of the cave. I'm thinking that I want to suggest that the animal is fairly high up a cliff face, not at ground level.
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.