PAINTING FUR
some surprises. Make appropriate use of the variety of
marks each brush produces, varying tone and colour.
Watch the surface as it dries and add paint or water at just
the right moment to produce ‘caulifl owers’. Allow time for
the paint to granulate. In this fi rst layer it all adds texture.
Think ‘fur’ and don’t be afraid to be bold.(^4)
Shape the head, ears and eyes by considering
the tones you need to achieve in the fi nal
painting. Keep highlights light, and add more
paint to areas that will be mid-tone or dark.
Keeping the textural qualities in mind,
choose your paint strokes carefully, this
area is more hair-like as the fur is less fuzzy.
Here brushstrokes are longer and more
sweeping. While waiting for this to dry, work
another layer of textural marks on the body.
(^5)
Since painting the hair on the head will involve
loose and expressive strokes, which may cross
the eyes and nose, it is a good idea to paint these features
next. As the eyes will be the focal point, it is worth
spending time painting them in detail, using small, pointed,
round and precise brushwork. Treat the eyes as part of the
whole, and work outwards into the eye socket.
Use negative painting to form very fi ne hairs around the
eyes and along the left side of the nose, this laborious
method is worth it at this stage, over the rest of the
painting it is too tight and restrictive. As you paint the nose,
pay close attention to the juxtaposition of light and dark
tones, as this is what will give the impression of shine.
(^6)
Keeping your hand and brush moving in the direction
that the hair falls, apply loose brushstrokes onto the
dry surface of the fi rst layer. Let the strokes cross each
other, and allow the paint to fl ow. Drop in extra paint or
water (according to the tone needed). Dampen small areas
if you feel it needs a softer mark.
Use colour creatively; base it on your subject, but don’t
be afraid to use Neat Blue or Burnt Sienna. Placing these
complementary colours next to each other will increase the
visual excitement and enhance the feeling of movement.
(^7)
Continue to work over the whole image in this way.
(^8)
When you think you have
almost fi nished, remove
the masking fl uid. Use a damp
brush to soften any hard white
lines by pulling paint from the
surrounding area across the
reserved marks.
Continue to add texture,
colour and tone until you feel
satisfi ed. Keep it loose and
maintain that sense of fl owing
hair or fuzzy fur.
Finally, add some highlights
by using a craft knife to scratch
some fi ne lines.
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3
5
7
4
6
8
tip
take time to
stand back
and assess the
painting, but try
to keep it loose
Artists & Illustrators 69
66 Demo -fur.indd 69 11/05/2016 11:39