http://www.painters-online.co.uk artistMarch 2021 41
PRACTICAL
Because some animals are so fluid,
they can take on a number of different
shapes or poses in a relatively short
period of time. A more sedentary or
still animal isn’t necessarily easier to
capture because it is often the tilt of
a head, wag of a tail, or perk of an ear
that captivates the viewer and sparks
an emotion. When I’m observing how
animals move and behave, I take note
of how or why their ears move in a
certain way or how they stretch and
lift or lower their head or tail. What
different shapes or poses do animals
adopt in their natural way of living?
Once I understand the shapes and
postures, I look for additional visual
cues that will read as a particular
species or breed. Is it a large dog or a
small one? Does its fur add bulk or is it
sleek? Do its ears droop or stand up?
As it is when I’m painting people, the
goal is never to paint a specific animal
or try to capture an exact portrait but
instead to convey shapes and actions
that instill memories or feelings in the
viewer. When I plan to incorporate an
animal into my paintings, I use these
steps to develop the shape and form
needed to tell their part of the story.
In the paintings of a fly fisherman
and his dog (left), I’ve painted the dog
looking directly at the viewer. To one
viewer the dog might be a Labrador, to
another it might be a Newfoundland,
based somewhat on the visual cues of
size and shape, but primarily based
on the context of their memory or
experience.
Investigate
Sometimes, as a way to familiarise
myself with a subject, I will visit a
place where I can see and experience
it first-hand. For example, dog parks,
downtown coffee shops and nature
parks are great places at which to
observe animals in action. With my
sketchbook and some simple materials
in hand, I spend time watching dogs
and people interact.
When I’m ready to sketch, I start with
some simple gestural drawing, very
fluid and easy. At this point I am trying
to capture the simple structure and
shape of the animals in motion. I will
draw these in my sketchbook as basic
reference pictures. This serves as a
warm-up exercise, getting my hands
moving and reminding me to see and
draw shapes rather than icons.
I live on the western side of the UnitedStates, in Colorado, where we have
vast geological changes that provide
space for abundant farms and parks,
mountains peaks and flat open spaces.
Our state is rich in wildlife such as elk,
deer, sheep, mountain goats, cows
and even buffalo. Painting this variety
of animal life can be challenging as
each species has a very distinct shape,
form, and movement. Nevertheless,
including them can dramatically add to
a landscape and aid in rich storytelling,
as in the sketch of a farmer feeding his
chickens on a windswept prairie (page
43).Develop and understand
At home, along with Sadie, we usually
have three or four cats doing cat things,
so I have a ready supply of domestic
animals available for study. When I am
p Thinking of Sadie, pencil sketch, 7 3 5in preparing to paint, I use the reference
(18 3 12.5cm)
u A Familiar Walk, watercolour on paper,
223 15in (56 3 38cm)