The Cave

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I have decided to loose the foliage and strengthen the rocks around the cat. To do this I place a dark Ultra+Alizarn+Burnt Sienna glaze over the area immediately behind the cat. Whilst it is still tacky I go back with a thicker mixture of the same paints and paint the dark crevasses. With Yellow Ochre + a small amount of Burnt Sienna I block in the rocks around the cave mouth and work a little on the floor and the rock to the right of the cave. All this takes a little while to come right which is ok since it gives the glazes on the cat time to dry out. I've also established the position of the tail and this gets a glaze of Ultra. In the end I put the painting away for a couple of days to completely dry. Leaving the painting for this amount of time helps me to clear my mind of what's gone before and come back to it with a fresh eye.
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.