Being asked to paint another person’s pet can be very flattering, yet it can also prove to be a double-edged sword. When selecting a reference image for our own paintings, we can judge what gives us the best and most interesting subject. Yet when faced with a photo of a beloved pet from an outside source that may not contain the information needed, the results can be less appealing and can often trip us up. I find the best way around this problem is to ask for a selection of images, then explain why you have chosen your particular view.
Painting an animal portrait from a compromised reference photo is fine for pleasing a doting owner, but if you want the resulting painting to appeal to a wider audience, the reference image has to contain information that will give your work a wider appeal.
Look for an image that has attitude or humor, nice lighting, and composition, or an interesting color palette. Try to avoid anything with too much background information – you want the animal to stand out and be the star, just like Bear in this example below. www.matthewjeanes.co.uk
Matt's materials
• Paper
Fabriano Artistico Traditional White 300gsm watercolour paper, 45x61cm
• Paints
Denne historien er fra January 2022-utgaven av Artists & Illustrators.
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Denne historien er fra January 2022-utgaven av Artists & Illustrators.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
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Still life IN 3 HOURS
Former BP Portrait Award runner-up FELICIA FORTE guides you through a simple, structured approach to painting alla prima that tackles dark, average and light colours in turn
Movement in composition
Through an analysis of three masterworks, landscape painter and noted author MITCHELL ALBALA shows how you can animate landscape composition with movement
Shane Berkery
The Irish-Japanese artist talks to REBECCA BRADBURY about the innovative concepts and original colour combinations he brings to his figurative oil paintings from his Dublin garden studio
The Working Artist
Something old, something new... Our columnist LAURA BOSWELL has expert advice for balancing fresh ideas with completing half-finished work
Washes AND GLAZES
Art Academy’s ROB PEPPER introduces an in-depth guide to incorporating various techniques into your next masterpiece. Artwork by STAN MILLER, CHRIS ROBINSON and MICHELE ILLING
Hands
LAURA SMITH continues her new four-part series, which encourages you to draw elements of old master paintings, and this month’s focus is on capturing hands
Vincent van Gogh
To celebrate The Courtauld’s forthcoming landmark display of the troubled Dutch master’s self-portraits, STEVE PILL looks at the stories behind 10 of the most dramatic works on display
BRING THE drama
Join international watercolour maestro ALVARO CASTAGNET in London’s West End to paint a dramatic street scene
Serena Rowe
The Scottish painter tells STEVE PILL why time is precious, why emotional responses to colour are useful, and how she finds focus every day with the help of her studio wall
Bill Jacklin
Chatting over Zoom as he recovers from appendicitis, the Royal Academician tells STEVE PILL about classic scrapes in New York and his recent experiments with illustration
