Painting animals in watercolours

by Tissa Hewavitarane

Whatever medium is intended for carrying out a painting it must start with drawing. After years of experience, an artist may base his pictures on a sketch so apparently slight that it seems almost as if the drawing is being bypassed.

For this to be done successfully a careful study and observation must have been carried out in the past so that the artist's stored knowledge of the subject enabled him to sum up very quickly the essential facts of the model before him, and to add these to what is already in his memory, to produce a true and completely understood presentation of what is there.

Looking for water

Until this study has been done, it is necessary to spend much time as you can on drawing. Even if you have no immediate intention of doing a painting, no time spent on drawing is wasted. Carry a sketchbook with you and draw whenever possible.

Practise drawing, on any subject, so that even if the result appears to be of little significance, it has a beneficial effect on your general ability. By filling sketchbooks with drawing of many different animals you are building your knowledge of their structure and habits and also a useful record to refer to for later work. Do not be disheartened at the apparent impossibility of completing any one drawing even the smallest sketch can be useful.

Start another drawing if your subject moves, as you may well have a chance later to go back to the first one. Collect all your drawings make written notes about colours, behaviour and sex of animals, the age, and anything else that contributes to your knowledge.

Try to draw from different viewpoints and pay attention to the structure of eyes, feet and ears. These will help you to make a really well observed and thoroughly worked out painting. The route to drawing and painting an animal well is through the careful study of its form leading to the perception of its physical entity.

Group of animals

The whole class of animals can be divided into various groups. Animals are divided into families which are themselves subdivided into sub families, general species and sub species. Even with these there are still variations and the range of difference is extraordinary. There is a large group comprising much of what we eat such as beef, mutton and pork. It all includes the wild cattle, sheep, pigs, goats and horses from which our farm animals are derived. A beautiful feature of many animals is the striking pattern of markings and colours on their bodies. This has led to the appealing abuse of many species by the human race who have slaughtered animals in countless numbers for the adornment of their own. All the spotted and striped cats have been victims and when the furred and coloured colobus monkeys had the misfortune to attract the attention of the fashion trade are merelessly exploited. The dark and white spots and streaks on many species of deer and the blotches of a giraffe, some to help their owners disappear among the shadows of the leaves and branches. The beauty of the pattern is a by-product of utility.

It is difficult always to work directly from nature with wildlife subjects. Although it is better to draw from life as far as possible, photographs television and video films can be used quite legitimately as an extra source of information. I paint a great deal from nature films.

The drawings have a liveliness that comes only from watching the movement of an animal going about its normal business. Photograph studies are done from close quarters of pictures taken on sight. Video films can be of great help particularly to slow down movement. It is important not to work from a still image alone.

The elephant has become part of the region's culture especially in Sri Lanka. Habarana is believed to be an area where elephants roam in the centre of three national parks such as Minneriya, Kawdulla and Hurulla.

The painting, shown here titled 'looking for water' is taken from a photograph taken while I was on an elephant safari. Observe the lakeside scene with the wild elephant figured in the centre.

The image is more striking, as it gives the greatest amount of detail in the foreground and simplified the background. Attention is now focussed on the elephant and the water, which register clear against the dark patches of olive green and tones used for the background. The surroundings give a dramatic impression of the sheer scale and the grandeur of the natural world.

See how the contrast between the sharp-focus foreground the elephant and the hazy background helps to create the illusion of depth and space in the landscape. One of the most attractive qualities about watercolour is its ability to suggest even the most transient effects of light, colour and atmosphere found in nature.

The appeal of this painting lies in the delicate transition from strong colour and detail with a through careful study of the elephant.

A pale wash of burnt sienna is applied on the body. The colour is then strengthened again with dark patches of burnt sienna and stronger black building up the image of the animal.

The final addition is greenery ranging from pale green to strong yellowish green just enough to balance the composition.