Paint Realistic Animals in Acrylic with Lee Hammond
Discover the no-fear, all-fun way to paint family pets, barnyard animals, woodland critters and exotic creatures!
Paint Realistic Animals in Acrylic With Lee Hammond
What do you get when you combine the ever-popular subject of animals, the user-friendly medium of acrylic, and the friendly, encouraging teaching style of Lee Hammond? A simple and fun way to start painting your favorite animals in a charming, realistic style!
No previous experience? No problem! Lee's easy-going approach begins with nothing more than an assembly of spheres and a basic foundation of color. 24 step-by-step demonstrations show you how to refine these basic elements into living, breathing animal portraits, including: cats, dogs, horses, goats, cows, squirrels, rabbits, woodchucks, tigers, elephants, lions, turtles, snakes, iguanas, robins, swans, owls, and cockatoos.
This book is full of expert tips for painting animal eyes, mouths, noses and ears. Learn to make fur and feathers look remarkably real, and avoid common mistakes like "humanizing" eyes. You'll find an easy trick for making accurate drawings and color "recipes" for some of the most common fur tones. Before you know it, you'll be able to paint not just the animals that roam and soar through this book, but any animal that captures your heart!
will show below the iris (see the basset hound project, page 71). Remember the three common traits (shape, color and texture) that you should look for in every animal. These elements are important for rendering eyes. The shape of the eye varies depending on the type of animal and on the angle from which it is observed. A front view allows you to see the eyes in their entirety. A side view is completely different. Close observation is necessary for capturing the shapes accurately. Eyes are very
White brushes no. 4 filbert, no. 6 filbert, no. 3/0 round, no. 2 round Reference Photo This pose of June's dog, Sophie, is a great one to paint. Photo by June Sakagawa Line Drawing Make sure your drawing is accurate before you erase the grid lines. This is the same line drawing that we worked on in the exercise on page 41. 1 Begin With the Outlines With the no. 2 round, outline the features and edges with Burnt Umber. Fill in the irises, leaving a small spot of white for the catchlight.
with Cadmium Yellow Medium, and Ivory Black with Cadmium Yellow Medium. Look for the shadow areas, and make them darker. Add more Cadmium Yellow Medium and Titanium White to the green mixtures for the highlight area. The grass in the front has more detail. The grass in the background appears smoother, with the highlights streaking across horizontally. Streak Ivory Black and some of the green mixture (Prussian Blue and Cadmium Yellow Medium) into the wet paint to create the illusion of the trees
mixture to the elephant with the no. 2 round, building the tones. Allow the light areas to remain white. Mix more Ivory Black into the gray to make a dark gray, and apply it to the darker areas of the elephant's belly and legs. Mix Cadmium Yellow Medium, Prussian Blue and Titanium White to create a green for the background. Next, make an olive green by mixing Cadmium Yellow Medium with Ivory Black and a touch of Titanium White. Apply both these tones with the no. 4 filbert, using a scrubbing,
essential to making brushes last. Natural-hair brushes can be quite pricey. However, if cleaned properly, they will last longer than synthetic ones. BRUSH SHAPE Brushes come in different shapes, and some shapes are better for certain paint applications. Below is a list of the different brush shapes and the best uses for each. Flat: A flat brush is used for broad applications of paint. Its wide shape will cover a large area. The coarse boar-bristle type is a stiff brush that can be used to