Artists & Illustrators — June 2017

MASTERCLASS

Africa I rapidly fill sketchbooks with quick, 30-second

drawings of my subject. Many of these never see the

light of day, but they help me to focus on the key

shapes and positions that are inherent to that animal.

If you can’t work from life, use video or a series of

photographs and build up a sketch series. You’ll soon

find yourself focusing on key characteristics.

What are your preferred materials for painting wildlife?

I love drawing in charcoal and painting in oil. Sadly both

are impractical to use when working from life, so I will

mainly sketch in pencil and watercolour. I am

constantly experimenting and striving for new

techniques. My latest process is using oil paint on an

acrylic sheet. The flat, smooth surface underneath

means that you can wipe away the oil paint to produce

a clean white line. The resulting image is fantastic and

also very fun to create.

Should I paint en plein air or work from pictures?

Nothing beats working en plein air or from life, but it is

difficult and you can’t expect perfect results. Always

have a camera with you as a form of reference,

especially when starting out. There is absolutely no

shame in this and I will often use my camera phone

ABOVE After Eadweard

(Huntsman),

oil on panel, 89x94cm

RIGHT King for a Day,

oil on panel, 53x43cm >

How can I hope to capture

the dynamism of an

animal moving at speed,

such as a racehorse?

The key is being loose with

your work. The naked eye

will not pick up the fine

detail of a rabbit running or

horse jumping, instead your brain fills in the gaps.

This is the same principle I use for capturing movement

in my subjects. Get the basic shape and light right, and

then enjoy playing around with the medium to enhance

your image. You will be amazed at what you can

actually get away with.

What techniques are best for working with wildlife

and moving subjects?

Work quickly. This will force you to capture the essence

of your subject and not get tied down. The medium will

bring out detail. Leave your mistakes: you won’t believe

how many unruly lines or smudges turn into ‘happy’

events as the image progresses. My most valued

technique is understanding negative space. The eraser

is your most important mark-maker. I will regularly strip

back a drawing to add to the illusion of movement and

simplify the subject matter. Be bold and adventurous

• you can always build the image up again.

How can I bring an animal’s character into the painting?

If you want to capture a specific animal’s character you

have to observe it from life. By doing so you will pick up

different mannerisms or a stance and gait that are

unique to that subject. As an example, when working in

Artists & Illustrators 81

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