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Draw and Paint your Pet
Susie Wynne
In this delightfully illustrated book Susie Wynne shows how to draw and paint a range of popular pets in watercolour – dogs, cats, rabbits, guinea pigs, horses – in step-by-step detail.Learning how to paint your pet has great popular appeal. The Daily Mail weekend colour supplement has already featured Susie Wynne’s work twice and this brought in a huge postbag.Susie specializes in painting people’s pets and over the years she has perfected her drawing and watercolour techniques to capture the unique personality of her animal subjects. Most doting owners want some permanent record of their pet, and in this book Susie shares the secrets of her success.She starts by taking photographs of the animals, then does a loose pencil sketch and gradually builds up the right body proportions and the texture of the fur in watercolour. Susie believes the important thing is to capture the animal’s character and personality and that to do this you have to get to know the animal first.Draw and Paint Your Pet includes plenty of practical instruction and thirteen full step-by-step demonstration paintings of dogs, cats, rabbits, guinea-pigs and horses.
COPYRIGHT (#ulink_6b239674-669b-5bf7-8323-a72ee12fa485)
First published in 2001 by
HarperCollinsPublishers
1 London Bridge Street
London SE1 9GF
The HarperCollins website address is:
www.harpercollins.co.uk (http://www.harpercollins.co.uk)
Collins is a registered trademark of HarperCollins Publishers Limited.
© Susie Wynne, 2001
A catalogue record for this book is available from the British Library
Editor: Geraldine Christy
Layout Designer: Anita Ruddell
Photographer: Nigel Cheffers-Heard
Susie Wynne has produced two videos, Draw and Paint Your Pet part 1 and part 2, to accompany this book. They are available from good art and craft shops or direct from: Teaching Art, PO Box 50, Newark, Nottinghamshire, NG23 5GY
www.teachingart.com (http://www.teachingart.com)
Tel: +44 (0)1949 844050
Susie Wynne asserts the moral right to be identified as the author of this work.
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Source ISBN 9780007116850
Ebook Edition © NOVEMBER 2018 ISBN: 9780008108564
Version: 2018-11-26
HarperCollinsPublishers has made every reasonable effort to ensure that any picture content and written content in this ebook has been included or removed in accordance with the contractual and technological constraints in operation at the time of publication.
CONTENTS
COVER (#uaa60f8de-2973-5051-8578-bcc679777fe9)
TITLE PAGE (#ueb2b22ea-c79f-58d3-b8bb-140fce461594)
COPYRIGHT (#ulink_348fd876-ee74-5225-8f64-a30262794e3a)
INTRODUCTION (#ulink_1d0e34bd-4c33-55c5-ac55-f8147f611adf)
MATERIALS (#ulink_e0fce4f7-a0a2-5afb-9c8e-8dce476a0c3d)
BASIC SKETCHING (#ulink_45258490-97a5-57a8-9879-ba2c498d3a53)
WATERCOLOUR TECHNIQUES (#ulink_d9137a8f-fec6-5566-9358-47940e517ccb)
USING PHOTOGRAPHS (#litres_trial_promo)
ANIMAL FEATURES (#litres_trial_promo)
CATS (#litres_trial_promo)
Demonstration: Rambo, the tabby (#litres_trial_promo)
Demonstration: Maxi, the black and white cat (#litres_trial_promo)
Demonstration: Mr Tibbs, the Burmese Grey (#litres_trial_promo)
DOGS (#litres_trial_promo)
Demonstration: Jeg, the half Border collie (#litres_trial_promo)
Demonstration: Chippy, the Jack Russell (#litres_trial_promo)
Demonstration: Denver, the Border collie (#litres_trial_promo)
Demonstration: Waffle, the Border terrier (#litres_trial_promo)
SMALL PETS (#litres_trial_promo)
Demonstration: The Highland rabbit (#litres_trial_promo)
Demonstration: Sparkle, the lop-eared rabbit (#litres_trial_promo)
Demonstration: Olga da Polga, the guinea pig (#litres_trial_promo)
HORSES (#litres_trial_promo)
Demonstration: Pragada, the racehorse (#litres_trial_promo)
Demonstration: Pavlova, the racehorse (#litres_trial_promo)
BACKGROUNDS (#litres_trial_promo)
Demonstration: Wee-Un in shadow (#litres_trial_promo)
AND FINALLY (#litres_trial_promo)
AUTHOR’S ACKNOWLEDGEMENTS (#litres_trial_promo)
ABOUT THE PUBLISHER (#litres_trial_promo)
INTRODUCTION (#ulink_c32d0562-82b2-5527-a385-3c44f1cc6e34)
SUSIE WYNNE
Photo: Gray Levett
My interest in drawing and painting began at the early age of around five years old and by the time I had reached nine or ten I spent a lot of my time sketching – mainly horses and dogs. Later I was formally trained in classical piano and voice, but I did not pursue these musical activities with the passion for painting and drawing that seems to have come to me over the years.
This interest in animals sprang up again as an adult when I was inspired to write some short stories for children. I soon took out my sketchpad and created the characters, and found that extremely entertaining and fulfilling. However, I became so involved with the drawing aspect that it became all-consuming. So I decided to take a temporary break from story writing and before long I was painting and drawing during all my spare time. Commissions started coming my way and I found that there is nothing quite so satisfying as to deliver a completed picture of a beloved pet and see the reaction of the owner to one’s efforts with the paintbrush!
COGNAC
watercolour pencil
Cognac is a rather elegant Basset Fauve de Bretagne. I find drawing close-up pet studies such as these very pleasing, producing an effect that can look quite dramatic. I enjoy working with watercolour pencil for this kind of detailed work, which is a very different style from my watercolour paintings.
RAMBO’S EYES
watercolour pencil
Cats’ eyes are unique in their beauty and drawing them provides an excellent exercise in getting to know the shape and general nature of a cat’s facial features. The intense yellow-green of Rambo’s eyes is emphasized by the soft texture of the surrounding fur built up in layers with pencils.
PRACTISE YOUR DRAWING
In continuing my drawing and painting I have developed my skills to a standard I did not dream I could reach at the outset. I think the advice I would give to a beginner is to establish your drawing skills well first of all before coping with how to paint. I knew a professional artist in the USA who had a good career as a painter of oils, but, after seeing my work, he told me he was going to attend drawing classes again. I was not only extremely flattered, but very relieved that I had kept my drawing skills finely tuned. I have driven myself very hard in order to do so.
So, with this in mind, I have emphasized the importance of drawing and sketching throughout this book and I do hope you will find the examples illustrated helpful and inspirational.
WATERCOLOUR PAINTING
When I first approached painting with watercolour I remember people commenting on how difficult a medium it is to control. Being the sort of person who likes to take on a challenge, however, I decided to launch myself fully into using watercolours. While I found watercolour painting very difficult at first I soon discovered that the way to approach a subject is to try to master just a little at a time. When you feel competent at doing that small amount you can then move on to the next stage. Practice is the key word and is one that I reiterate often: this is the only way to familiarize yourself to the point of being in control of a technique. Even now I find some subjects can be tricky in the extreme, and frustrating to paint, but I always persevere until I am successful.
With watercolour painting you will learn only from experience. Do not worry if you have to waste paper and paint in an effort to achieve a good result. This is all part of the learning process and, while you may want to pull your hair out at times, remember that a worthwhile activity usually requires hard work.
LORD ALFIE
Lord Alfie is a fine aristocratic Norfolk terrier and I have had the great pleasure of painting him in both watercolours and oils. This particular pose of him in watercolours portrays his refined and dignified character well! I used Yellow Ochre, Burnt Sienna., Raw Umber and Lamp Black for the range of rich colours in his coat.
LEARNING FROM PAINTERS
Another valuable step to take in your progress as a painter is to visit art galleries. Especially look at the work of the Old Masters, who painted with breathtaking expertise. These beautiful works of art are uplifting as well as inspirational.
Drawing and painting is a rewarding occupation that might begin simply as a hobby, but then turn into an all-consuming passion. When this happens I know you will agree that nothing compares with the world of creativity. Enjoy your drawing and painting!
SHERLOCK
watercolour pencil
Watercolour pencils are ideal for fine detailed work. This picture of Sherlock was made using Silver Grey, Blue Grey, Light Pink and Black coloured pencils. Sherlock is a lovely blue-grey lop-eared rabbit, so I used the Blue Grey and Silver Grey pencils alternately, one over the top of the other.
CHIPPY
Chippy, like many Jack Russell terriers, has an ‘over the ramparts’ approach to life and, having spent many enjoyable hours with him, I have found his enthusiasm extremely contagious. I decided to paint him in this pose because his tail is almost like the exclamation mark that characterizes his exuberance. He is a fine example of his breed.
MATERIALS (#ulink_09effff1-e561-55f4-ab80-9f7ebc7961d7)
I have kept the materials for the contents of this book to a minimum. This is not only for the sake of simplicity for beginners who are being introduced to the subject, but I think it is also a good exercise for more experienced artists to produce work with a limited range of colours and equipment.
As with most subjects, if you are new to drawing and painting you may find that you are faced with an unfamiliar vocabulary. Art techniques are often described in specific terms that may appear confusing to you at first, but once you have begun to understand these terms you will find that they are useful to you. Do not hesitate to consult art reference books for help in clarifying any term or technique further. You will progress more quickly when you understand how both techniques and your materials work for you.
WATERCOLOUR PAINTS
My mixing palette with the ten basic colours I use in the book as tubes of watercolour.
Artists often use the term ‘pigment’ when referring to colour. This is the source powder obtained from the earth, plants, animals or minerals, or man-made synthetic substitutes. The powder is compressed and mixed with a binder, then either sold dry in little square cakes referred to as pans, or half pans depending on their size, or as moist paint in tubes.
The best watercolour paints are those known as artists’ colours. These are of a finer, purer quality and give more vibrant results than the slightly lower grade students’ colours. However, for beginner painters, I recommend students’ watercolours as they are less expensive. Paints from Daler-Rowney’s Aquafine range of students’ colours are shown here.
I use watercolour tube paints because I find them easier to work with than the dried watercolour pans. This is a personal preference, however, and you may find pans more suitable. However, if you use watercolour tubes you will find you need only a small amount to mix with water because the pigment is strong. Tubes can be bought singly or in boxes of ten, twelve or more. You can start with a small pack of basic colours and add to them gradually by buying single tubes.
I have used the following ten tube colours throughout this book: Burnt Sienna, Raw Sienna, Burnt Umber, Raw Umber, Yellow Ochre, Sap Green, Alizarin Crimson, French Ultramarine, Lamp Black and Chinese White.
I use quite a large plastic palette as I find it helps to have plenty of space in which to place the colours before mixing. Always wash your brush well in clean water before and after mixing and change the water in your jars regularly to avoid any hint of muddiness in the mixes. Keep a piece of kitchen roll handy to mop up any splashes that will inevitably occur in your enthusiasm.
Take your time when mixing and practise before starting to paint. If necessary allocate half a day, or as long as it takes you to become confident. Learn the basics of colour theory and make a colour wheel as a reference to familiarize yourself with the rules of mixing.
BRUSHES
The five watercolour sable brushes I recommend (sizes 00 and 000, and nos 3, 8 and 11), HB sketching pencils, a putty eraser and a selection of watercolour pencils.
I have used only five brushes throughout the book. The round brushes that I prefer are sizes 00 and 000, and nos 3, 8 and 11. The size 00 and 000 brushes are the smallest ones and I use them for very fine, detailed work. I favour sable brushes made by Daler-Rowney. Although the sable ones are more expensive it is worth spending that bit extra because sable really are the best to work with. I find them much more pliable than synthetic brushes; they hold moisture better and therefore make controlling the paint easier. If cost is a major factor to consider, however, you will find that synthetic brushes are quite adequate, and I have used many in the past, especially in my early years as a watercolourist.
Sometimes a vast array of brushes of all shapes and sizes is somewhat overwhelming to the beginner. Whatever brush you decide to buy, though, always remember to check that the tip of the brush forms a fine point when wet. If you have any doubts you will find that the assistants in a good art shop will help you to choose.
Once you have become familiar with the types of brushes suitable for your particular type of work, and are competent in using them, you will start to understand how watercolour can vary by using different types of brushes for different types of paintings.
Landscapes, for instance, require bigger brushes for colour washes that cover a larger area than those for portraiture. Concentrate on learning just a little technique at a time and become comfortable with that and the types of materials needed; then you can progress to the next step.
Always work with a clean brush before applying any colour and at the end of your working day wash it out well with warm water and a mild soap. Brushes come with plastic covers and you should keep these and replace them after use; they will help retain the shapes of your brushes.
