Today, I’ve got two ways to walk you show you how to paint a lion on a 4″ x 6″ (A6) postcard. The video shows you the action, and the write-up is so you can stop and think about each step or come back later to look something up.
I’m using stills from the video so both versions use the same reference.
- Hahnemühle Watercolour Postcards (Cold-Pressed)
- Princeton Velvetouch round size 4, long round size 6, Neptune Quill Size 6
- Da Vinci Watercolors – Charlie’s ‘Shiny’ Trio: Nickel Azo Yellow, Terra Cotta and Cobalt Blue
- Art Tutor Grid Drawing Tool
- A Light Box
- Grids drawn on 4 x 6 postcards
- A reference photo (mine came from Pixabay).
The Three Step Process
- A rough pencil drawing
- A detailed technical pen drawing
- Watercolor painting
The Rough Pencil Drawing
I use the grid method for my initial pencil drawing. I have three postcards, three different grids per inch. The more complex the animal, the more grids per inch should be used. I used the grid shown in front for my lion.
The reference photo is uploaded into an online program that overlays a grid (see tools for link).
The grid postcard is placed under a blank postcard and placed on a light box so that I don’t have to draw and then erase the grid lines – faster, cleaner and did I mention faster?
I draw the outside outline, the eyes, nose, mouth and ears, the feet and any detail that will keep me to scale. This drawing is to help ensure the animal fits on the postcard, and gives me landmarks to shoot for.
The Detailed Technical Pen Drawing
Sometimes, I barely do this drawing and other times I establish my darkest areas, show the direction of the fur, distinguish the different textures and establish what is coloration and what is lighting.
Technical Pen – size 0.3 nib. Chosen because it’s small enough for fine, light lines and I don’t need to color large, dark areas.
I did a very thorough drawing for this tutorial so there would be a large range of strokes. It’s hard to really explain what’s happening. It happens so fast! Instead, I’ll give you –
Things To Watch For
- The direction of the line, which should follow the lay of the fur or hair
- The length of the line, which should establish long hair, short fur, and textural elements
- How dark or light the lines are
- The shorter and lighter – drawn faster with light pressure
- Darker and longer – drawn slower with heavier pressure
You only have black ink and white paper to work with. Both speed and pressure determine how dark or light an area will be.
For instance, at this point…
- the eyes, nose, mouth – medium pressure and medium strokes.
- the shading around the nose and face – short, fast strokes and light pressure
- the mane –
- heavier pressure, longer strokes for longer hair
- lighter, shorter strokes for shading
In the pencil drawing, I drew the major shape. In the pen drawing, for an animal, I draw …
- eyes first
- nose, mouth, ears
- the darkest areas in and around the face (but not too dark – gotta leave something for the painting!)
- The paper is left blank for lightest areas
- short fast lines create the lightest greys
Checking my reference photo often, I go, almost in a circle, in and around the face, but don’t add all the detail. If you try to complete one area at a time, you’ll get too dark or out of proportion. I keep widening out until I have the important detail, and the shadows.
I continue, until I feel I have a sufficient under-drawing to guide me as I paint.
How To Paint A Lion – Step by Step
- Juicy = paint mixed in lots of water so it’s about the consistency and color of flavored lemonade
- Milky = paint/water mixed to about the consistency of milk
The first step is wet-into-wet …
- a juicy wash of Nickel Azo Yellow over the entire lion
- dab off color with paper towel, where the sun hits the mane and body
- go to next step while the paint is still wet
Blend the colors …
- drop in juicy amounts of terra cotta, letting the colors blend. Use the reference photo to decide where to leave the most yellow and add the most terra cotta
- let it dry completely
Make a creamy mix of mostly Terra Cotta with a touch of Nickel Azo Yellow …
- Work on the middle values
Work quickly and while the paint is still wet …
- Add juicy Cobalt Blue where there is shading
- work lightest shading while paint is wet
As paint gets drier, mix creamy Cobalt Blue …
- paint the darkest areas
Make a dark, creamy mix of Terra Cotta and Cobalt Blue …
Paint The Rocks
- Dab tops with paper towel, where the light hits rocks
- Let it dry completely.
You’re almost done. Once dry…
- add the smallest details
- add more of the Cobalt Blue/Terra Cotta mix to the darkest areas
You are done!
RESIST the urge to fuss (now if I can just listen to my own advice!)
Send to a friend, family member or put it somewhere to cherish!