No Excuses
watercolor animals

A FIELD GUIDE TO PAINTING

GINA ROSSI ARMFIELD

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DEDICATION

This book is dedicated to my sister, Carey, who has stood by my side both literally and figuratively throughout this creative journey. I couldn’t have done it without you nor would I have wanted to.

And of course to my four-legged critters that love me unconditionally and where the source of my strength resides.

Contents

SPECIAL OFFERS

DEDICATION

INTRODUCTION

PART 1: Tools & Techniques

PART 2: Paws

PART 3: Claws

PART 4: Hooves

ABOUT THE AUTHOR

ACKNOWLEDGMENTS

COPYRIGHT NOTICE

WHAT YOU NEED

eraser

hair dryer

liquid frisket

magnifying glass

paintbrushes

palette

paper towels

pencils

pencil sharpener

reference images

rubber cement pickup

salt

sketchbook or journal

sponge

spray bottle with water

straightedge/ruler

water container

watercolor paint

watercolor paper

watercolor pencils

waterproof ink

water-soluble pastels

water-soluble pencils

water-soluble pens

Introduction

“UNTIL ONE HAS LOVED AN ANIMAL A PART OF ONE’S SOUL REMAINS UNAWAKENED.” —ANATOLE FRANCE

I am a true lover of animals. All kinds, especially those with fur and feathers, steal my heart. I grew up with dogs, cats, mice, guinea pigs, rabbits, chickens, goats and, my favorite, horses. Horses have been a part of my daily life since I was seven years old and continue to be a big part of my life to this day. I cannot imagine my life without them, not to mention my schnauzer and three kitties. I connect with animals in a special way that is very different from the way I do with people. I can be my true self with them. My soulful connection with them comes through in my artwork as well. The two constants in my life have always been animals and art, so it seems only fitting to write a book about just that!

Watercolor is like animals in many ways—organic, transparent and flowing, and with a mind of its own. I love the textures and patterns that watercolor naturally creates, which mimic nature itself. It is a great medium for capturing creatures both great and small.

In the following pages you will learn my easy, expressive and intuitive No Excuses watercolor techniques applied to the subject of animals. I have organized the animals field guide into three sections dedicated to paws (furry friends), claws (birds) and hooves (farm animals), which will provide everything you need to know about each beautiful creature to create soulful pieces of art.

Whether you have critters at home or connect with them out in nature, their presence in our lives has great meaning. I think you’ll find that when you feel strongly about an animal subject, those feelings come through on the page.

PART 1
Tools & Techniques

Critters make perfect painting subjects for water media because of their textured feathers and fur. Watercolor’s translucent layers create depth while the colors blend to mimic variegation in an animal’s coat. The addition of water-soluble crayons and pencils on top of watercolor also allows for added detail and texture.

The following section covers some of my favorite tips and techniques to help bring your creatures to life, including your supply list, how to set up your palette, basic brush techniques, color, drawing and unique time-saving tips. All the information you need to get started creating your favorite critters!

DRAWING TOOLS

Experiment with other drawing tools in your paintings and art journals. Here are a few examples to get you started:

Pencils

Both mechanical and wood pencils are available with different types of lead. I prefer to use an HB or 2B mechanical pencil with size .03 lead as it is softer, provides a lighter touch and is easy to erase. There are also several different kinds of watercolor pencils that come in a variety of colors.

Pens

There is nothing like the feel of using a pen to draw with confidence. Just make sure that it is waterproof ink. Micron 005 nibs produce a fine, soft smooth line while fountain sketch pens lend an expressive personality to an image.

Crayons

Many different types of water-soluble crayons and pastels on the market make a nice addition to watercolor work. If a crayon is broken off, use the large size of a brass pencil sharpener to sharpen it to a point.

Water-Soluble Colored Pencils

Water-soluble crayons and pastels come in a variety of colors and can be used to add words as well. Pencils allow you to add details, texture and definition. You can leave them dry our add water to soften.

Pencil Sharpener

I prefer a brass wide-barreled hand sharpener to create an ultra-fine point for my crayon. This also allows me to lengthen the life of my crayons. For colored pencils I prefer an electric or battery-operated sharpener.

Paper

Paper comes in different weights and textures (not to mention colors and shapes). I suggest buying a few small sheets of different kinds and test-driving them before you make a large purchase.

Types of textures: Hot-pressed paper has a smooth surface or little tooth. Cold-pressed paper has a textured surface. Rough paper has a highly textured surface.

Types of weights: 90-lb. (190gsm) is very lightweight paper that will buckle with water; 140-lb. (300gsm) is average-weight paper that will buckle slightly but will flatten out; 300-lb. (640gsm) is heavyweight watercolor paper that will not buckle and does not need to be stretched.

Journals and Sketchbooks

Journals can be store bought or handmade with watercolor paper. They come hardbound as well as with a spiral binding in a variety of shapes and sizes. The most important thing to pay attention to is the type and weight of the watercolor paper the journals contain. I prefer 140-lb. (300gsm) paper because it holds up well to water and paint.

Sponges

Sponges are one of my most valuable watercolor tools. I could not live without them. I buy inexpensive kitchen sponges by the dozens. They are always present by my palette for wiping off the water from my brush. They can also be cut easily with scissors to fit in a travel palette and are quickly reconstituted with a spray of water.

Spray Bottle

I always have a spray bottle filled with clean water nearby to spray down my dry watercolor palette and for adding drips and texture to my work.

Hair Dryer

A small hair dryer comes in handy for drying layers of paint to speed up the process.

WATERCOLOR TOOLS

One of the great things about using watercolor is that you don’t need many materials—just paints, brushes and a palette will do!

Paints

Watercolors come in full pans and half pans. These are paints that are already dried and in blocks that are easily reconstituted with water. I prefer half pans because I like being able to fit a wider variety of colors into my palette. You can also find watercolor in a variety of different-sized tubes.

I suggest investing in a set of high-quality artist-grade paints. These have a high concentration of pigment and produce amazing results whereas lower-quality paints lead to frustration. My favorites are the colors made from natural pigments that granulate and separate on the page. For the animals in this book, I used my preferred paints, Daniel Smith watercolors.

Brushes

Investing in high-quality watercolor brushes is key. I can paint almost anything with a quality no. 6 round brush that has a good point. I suggest you start with a collection of nos. 0, 2, 4, 6 and 8 round, natural hair watercolor brushes such as sable.

I suggest sable brushes above all. They are costly but worth the investment and will last you a lifetime if you take care of them. The reason a natural-hair brush is so superior is that the hair comes to a fine point and holds a great deal of water and paint in its belly. Therefore you can use your brush a long time before having to reload it with paint.

Palette

My palette is a carousel that provides me with 85 wells so I have a plethora of colors at my disposal. Each well contains a liner that I fill with tube paint and allow to dry. The center of my palette has three mixing areas separated by a slight raise. They also come with a spinning base for flexibility and a lid that helps keep the paints from drying out. This unique design and many other sizes can be found at robax.com/palettes.html.

PAINTBRUSH BASICS

There is a gentleness to watercolor that translates to how you hold a brush. I like to remind people that it is called watercolor because most of the painting mixture is water with just a bit of color. When holding a brush, hold it lightly in your hand toward the middle or end of the brush. Guide the watercolor along the surface of the paper with the bristles nearly horizontal. It is important to remember that you are not using up-and-down strokes as you would when painting a house or fence. Keep in mind that there will be times that call for a different hand position for unique strokes.

Incorrect way to hold a watercolor brush: vertical like a pencil.

Correct way to hold a watercolor brush: horizontal toward the center of the handle.

To clean a brush, rinse the brush in water. Then pull and twist the bristles against a damp sponge to bring the bristles to a point—a nice, sharp point! Do not pull the brush straight toward you or you’ll get a flat brush.

COLOR BASICS

I love the huge variety of colors that can be found in watercolor paint. There are deeply saturated, almost opaque colors as well as grainy translucent ones. I favor the natural pigment colors that pool into different tones and textures.

Translucency

One of the beauties of watercolor is its translucent quality. The very fact that you can see through it to what lies beyond creates a kind of mystery to its magic. Most colors are transparent; however, colors range from transparent to semitransparent to opaque.

Granulation

The simplest way to explain granulation is that flecks of pigment separate from the rest of the paint when dry, creating a sandy textured appearance. This happens most of the time when denser inorganic pigments contain metals, which then drop away from the binder and water and settle into the pores of the watercolor paper.

Basic Color Palette

When you start, you must determine how many colors you will need. Then you can decide which colors to choose. A very basic palette should include red, blue, yellow (the primaries), Payne’s Gray, Raw Umber and Burnt Sienna. These colors will enable you to mix pretty much any basic shade.

CREATING A PAINT PALETTE

The first thing to do when creating a palette is to decide what purpose it will serve. In many cases you may decide to have more than one kind.

Choosing the style of palette will help you determine if you are going to use prepackaged half pans of tube paint or fill your own pans. Limited brands are available in prepackaged pans whereas all brands are available in tubes.

In addition to an extra-small travel set with only essential colors, I have a set of forty-eight artist-quality half pans in an enamel case that is my old faithful workhorse on the go. In my studio I have a large, spinning studio palette with half pans that I continue to fill from my tubes. I am not a traditional color mixer and I love to have a plethora of colors readily available, so this method works well for me.

Filling a Half Pan

1 With a permanent marker, label your pan with the name and maker of the paint.

2 Squeeze paint into the pan. Allow the paint to dry completely before putting it into a travel palette. It can take up to a week in some humid climates for the paint to dry all the way through.

Granulating Color Palette

My favorite colors to use when painting animals are watercolors that granulate. The natural pigments in these paints separate when they are dry, leaving the heavier particles to settle in the tooth of the paper. This effect is great for mimicking the textures and color variations in fur and feathers.

Column 1:

Cascade Green

Zoisite Genuine

Moonglow

Green Apatite

Hematite Genuine

Column 2:

Piemonite Genuine

Lunar Black

Purpurite Genuine

Sodalite Genuine

Bloodstone Genuine

DRAWING ANIMALS USING REFERENCE

Capturing the details and shapes of the distinguishing features of each animal is the key for capturing its unique essence. My goal in an animal painting is to capture an expressive image while keeping the integrity of realistic forms beneath. To do so, great reference is vital. It is important to choose an image that is clear and has good details. A strong composition is crucial and oftentimes you can crop an image to improve on what is already there.

WORK DIRECTLY FROM IMAGES

The best way to start out studying animals is from images. You can either print them out on photo paper to the approximate size of the piece you are creating or view them virtually on a tablet device. I find that both ways are helpful. A printed image allows you to work with scale and angles directly whereas a virtual image on a tablet can be expanded to zoom in on specific areas of an animal to examine details. I find it important to use multiple references, especially a close-up of an animal’s eye.

GATHERING YOUR REFERENCES

There are many resources out there for good animal references. Always seek permission before using an image for anything more than personal use.

Personal photography

Books and magazines

Wall calendars

Books on animals

Internet searches (Google images, Pinterest, Flickr)

Stock photography websites (iStock, Adobe Stock, Getty Images and Shutterstock)

GESTURE DRAWING

Think of a gesture drawing as you would a hand gesture. The simple act of waving conveys “goodbye” with a quick flick of the wrist and hand. The same goes for laying out a very quick sketch: It is a way of conveying movement and scale on the paper in less than a minute or two. Warm up by practicing gesture drawings of animals in your sketchbook. You don’t need to look down too much, erase or contemplate what you are doing. Just practice getting the basic shapes, poses, movements and features of the animals onto the page.

USING ANGLES FOR PROPER SCALE

Angles are the essential structure for portraying an animal on the page. The turn of the head, the way the neck comes out of the shoulder, the slant of the eyes—these unique angles differ for each animal. When you look at your drawing and just think something doesn’t look right, it usually has to do with the angle of a feature in relationship to another part of the animal. I like to use a ruler, a straightedge or even my pencil as a guide to compare and mimic the angles in the photo reference image with the lines in my drawing.

GOOD VS. BAD COMPOSITION

As you are quickly sketching your animal on the page, you are keeping in mind both how large a space and in what place on the page will create the strongest composition. In most cases the animal should take up most of your composition.

1 Measure the Feature

Using a straightedge measure the correct angle of the feature. Take note of the length and angle.

2 Approximate on the Page

Keeping the same angle, transfer the straightedge onto your paper and draw a corresponding line. Continue in this fashion with all the features.

3 Refine the Details

Once you have your basic layout and proper scale and angles, go back to each feature and sketch in specific shapes and details.

COMPOSITION | THE RULE OF THIRDS

The rule of thirds is a great guideline to follow when creating a strong composition. A prominent feature of your subject or desired focal point should fall on one of the four intersecting points. In this photo you can see that the dog’s eyes each fall on an intersecting point as well as the flower on the collar, making for a pleasing composition!

CONTOUR DRAWING FOR SMALL DETAILS

A gesture drawing is “feeling” your way around a subject in quick loose strokes. A contour drawing is “seeing” your way around a subject in a slow steady line. It is important to study the shapes and lines of defining features. The best way to accomplish this is to do a contour drawing—that is, draw the outline of the shape rather than the details. Imagine your eye is traveling the speed of an ant around the contours of your image while your hand is moving at the same speed capturing all the small nuances and shapes.

For very detailed drawings place your drawing hand under a magnifying glass while you draw. When you take the lens away you will be amazed at the intricate details you were able to draw.

1Use a magnifying glass to better see all the details of an animal’s features.

2 A great way to achieve these details is to view your hand drawing under the magnifying glass. This allows you to catch small details that you would not be able to with your naked eye.

USE A WHITE GEL PEN FOR DETAILS

An alternative method for creating highlights or fine details such as eyelashes, outlines and highlights is to use a white gel pen.

SAVING THE WHITE OF THE PAPER

The translucent quality of watercolor means you must start with the lightest colors and build out to the darkest. Therefore, saving the white of the paper is essential for areas that need to be truly white. This is especially important for the highlights of an animal’s eyes.

The best way to protect the white areas of paper is by using liquid frisket or masking fluid. This creates a resist layer that can be painted over and eventually rubbed off when the paint is dry, revealing the white paper beneath.

In this book I’ve used a liquid masking pen with a nice fine point to save the eye highlights. If you choose to apply frisket from a jar using a brush, make sure to use a dedicated tool (such as an old worn brush) and to clean it immediately after use. Never use your watercolor brushes to apply frisket! It will ruin them.

When using masking fluid or frisket, you must let it dry completely before painting over it and then let the paint dry completely before removing the frisket.

MASKING FLUID PEN

This handy tool lets you apply masking liquid like a pen or marker. You get precise application for tiny highlights and it’s mess-free! It’s also water-repellent and refillable, and leaves no residue.

1 Apply a small amount of the frisket where you’d like to save the white of the paper for highlights.

2 Remove the frisket by gently rubbing it off with a rubber cement pickup.

ADDING WORDS

Poetry and quotes add meaning to a piece of art, imbuing it with a sense of purpose and direction. Writing also adds dimension to a work and solidifies its composition if it is placed thoughtfully. Choosing the right word for your artwork can take some thought. Try reading a few favorite poems or quotes that embody how you feel about the animal and convey your intention for the artwork. Often I just flip through one of my favorite books and read till something pops out that speaks to me. You don’t have to include the whole poem or quote. A stanza, phrase or even a word or two will lend greater impact.

Choosing the Right Words

Write down the words on a piece of scrap paper in front of you first to use as a reference. Before actually writing the words on the art, practice writing them on a separate sheet so you feel comfortable with the look and flow.

Practice the Placement

Next, think about where the words will fit best in the composition of the piece. Use your finger to trace the words on the paper to get a feel for how large and how many words to write and where.

Water-Soluble Pencil and Crayon

1 Water-soluble crayons and pastels come in a variety of colors and are perfect for adding words. Loosely write one or more words on the paper. Use a wide-barreled sharpener to create a fine point on your crayon before applying it to the page.

2 Gently mist the words to get the desired bleed. I chose the word magic for my painting of the raven. Native Americans believe that ravens are messengers of magic in our lives.

1 Water-soluble pencils are great for writing precise words on the page. Sharpen your pencil first, then loosely write a word or phrase on the paper.

2 Use a small spray bottle and gently mist the words to get the desired bleed. Mi Corazon means “my heart” and is the name of my horse as well as the subject of this piece.

PAINTING FEATHERS

There are many ways to paint feathers. They can be detailed and literal, or inferred with color and texture. It is important to create the illusion of movement and depth as well. Birds have a variety of different shapes and sizes of feathers throughout their bodies so try using both techniques for effective results.

1 Salt is a simple tool for providing texture. Lay down a wash of color and drop a secondary color into it while it is still wet to create a nice bleed.

2 Gently sprinkle some table salt onto the puddle of color and allow to completely dry.

3 Once completely dry, brush the salt off with your finger.

THIN BRUSHSTROKES

Using a fine-tip brush loaded with paint, create feathers with thin, confident strokes.

PENCIL

Pencils are great for adding small details like quills and spines. Misting with water can soften the look and help create the illusion of movement.

CRAYON

Sharp fine-pointed crayons can also be used to add feather details. A white crayon is especially effective when layered over dark paint.

PAINTING FUR

An animal’s fur gives the animal its shape and personality. Fur does not grow in one direction; it follows the muscular skeletal structure underneath. So it is extra important to study the direction that the hair lays. To achieve texture and depth, use a combination of techniques with paint, pencils and crayons for successful results.

1 Lay down a base layer of the lightest color with a round brush to create an undercoat. Let dry.

2 Use a brush to flick in the suggestion of fine hairs. While the surface is still damp, use brushstrokes in a medium tone to create a soft layer of fur.

3 While still wet, drop in a darker granulating color and drop to further the illusion of fur. Alternately, you could wait for step 2 to dry and add a second darker layer with short brushstrokes that mimic the direction of the fur.

DRY APPLICATION: CRAYON

Using crayon or pencil, add short strokes in the direction of the hair to add detail and depth.

WET APPLICATION: PAINT

Working on a dry layer, use a fine-tip brush and quick short strokes to indicate fur.

DRIPS AND SPLATTERS

A fun way to add movement and expression is to add drips and splatters to an image. I especially like to do this with bird wings and horse manes. It really makes the artwork come alive.

It is important to think about where you want to add the blown or splattered paint before actually committing to the process. Be thoughtful about where it makes sense on the animal. This can be a very addictive technique so make sure to choose judiciously and not overdo it.

Splattering

1 Load your brush with paint and hold it by the end of handle with the tip of the brush pointing where you want the splatters to be. With your other hand, tap the feral of the brush to release some of the paint from the bristles.

2 Vary the size of the splatters by how soft you hit the brush and how much paint is in the brush.

Blowing

1 This method creates more plentiful, shorter and thinner drips. Puddle paint on the edge of the area where you want the paint to flow.

2 Blow short strong bursts of air from your mouth in the direction you want the paint to move. This works great for the ends of a bird’s wing or feathers. Varying the length of the drips can be quite dynamic.

Hair Dryer

1 This method produces thicker, longer lines. Puddle paint on the edge of the area where you want the paint to flow.

2 Use a small hair dryer with a directional nozzle to blow your paint in the direction you want it to go.

BACKGROUNDS

When creating animal paintings, the focal point should be the gorgeous animal. To help this, a simple yet complementary background is key. You want to choose a background color that doesn’t compete with your subject but showcases it. The most common complementary pairs are red/green, blue/orange and purple/yellow. For example, if you are painting an orange fox, a good background color would be blue or a variation of blue.

You can also add more than one color to your backgrounds to help them pop. Try a different shade of the same color or use an additional complementary color.

ORANGE ON BLUE BACKGROUND

Complementary colors—those that are opposites on the color wheel—are effective together.

BLUE ON GREEN BACKGROUND

Colors next to or near each other on the color wheel work well together because they are closely related.

GOLD ON PURPLE BACKGROUND

These colors work well together because they are opposites on the color wheel.

Paint a Simple Background

1 Lay down clean water on the area of the paper that will be the background.

2 Lay down the first layer of color with a loose color wash.

3 Add water to blend and soften the paint outward and cover the whole background area.

4 While still wet, repeat steps 1 and 2 with alternate colors to create variety and interest.

5 Use a spray bottle to create texture and bleed.

6 While still wet, sprinkle some areas with salt to add texture and movement. Allow the paint to completely dry before brushing the salt off.

PART 2
Paws

Fur, distinctly shaped ears and paws make up this collection of animals. Animals with paws are typically quadruped mammals with soft-padded feet and claws. Rabbits, the exception, do not have pads to cushion the feet. Common creatures in the Paws group include members of the Canidae family, such as foxes, dogs and wolves, as well as the family of cats. These critters intrigue us with their soft fur, expressive noses and playful personalities.

COMMON CHARACTERISTICS & COLORS

Fox—cunning, sly, playful, solitary, orange, ochre, sienna

Wolf—wild, howling, silver, gray, graphite

Dog—loyal, happy, protecting, affectionate, fluffy, sleek, curly, brown, black, gold, white

Cat—curious, graceful, acrobatic, striped, masked, orange, black, gray

Rabbit—shy, gentle, resourceful, plentiful, gray, sepia, ochre

DOG

DOG REFERENCE

This is Ellie, a sweet schnauzer and the canine companion of Al Parrish.

There is nothing quite like the unconditional love of these treasured companions. The World Canine Organization recognizes 340 different breeds of dogs throughout the world. They come in all shapes, sizes and colors, and with unique personalities. This doesn’t include the beloved mutt that is a hodgepodge of its own uniqueness. Dogs are the oldest domesticated animal, diverging from an extinct wolflike canid over 40,000 years ago. You can find beloved pet dogs throughout art history, from cave paintings to hunting scenes to portraits with their masters. Dog portraiture became increasingly popular in the 18th century as companion and hunting dogs became symbols of upper-class status.

COLOR PALETTE

Top to bottom:

Carmine

Raw Umber

Piemontite Genuine

Sodalite Genuine

Shadow Violet

French Ochre

POETRY EXCERPTS

A Little Dog That Wags His Tail

by Emily Dickinson

A little Dog that wags his tail

And knows no other joy

Of such a little Dog am I

Reminded by a Boy

The Dog of Art

by Denise Levertov

That dog with daisies for eyes

who flashes forth flame of his very

self at every bark is the Dog of Art.

QUOTES

“Dogs are not our whole life, but they make our lives whole.” —Roger Caras

“You can say any foolish thing to a dog, and the dog will give you a look that says, ‘Wow, you’re right! I never would’ve thought of that!’” —Dave Barry

“Dogs are wise. They crawl away into a quiet corner and lick their wounds and do not rejoin the world until they are whole once more.” —Agatha Christie

“The better I get to know men, the more I find myself loving dogs.” —Charles de Gaulle

“Dogs are better than human beings because they know but do not tell.” —Emily Dickinson

“If there are no dogs in Heaven, then when I die I want to go where they went.” —Will Rogers

INTERESTING FACTS

Dogs have sweat glands between the pads of their paws.

Puppies don’t open their eyes until they are about 12 days old.

Bluey, a Queensland blue heeler, is the oldest dog on record at 29 years, 5 months.

A one-year-old dog has the physical maturity of a 15-year-old human.

Greyhounds are the fastest dogs on Earth with a speed of up to 45 mph (72 kph).

The Irish wolfhound is the largest breed of dog.

The chihuahua is the smallest.

The oldest breed is the Egyptian saluki.

Dogs have 321 bones.

The average life of span of dogs is about 15 years.

DOG SKETCHES

EYES

Dogs have round to almond-shaped eyes with round pupils and tear ducts in the inner corners. The eyes are often rimmed in black. Placement in the skull depends on the breed but is generally midway between the front and the side of their face.

EARS

Dog ears are triangular and either flop down or stand up depending on the breed. They sometimes have a cutaneous flap near the juncture of the skull. Many breeds have fine inner ear hairs that help protect the inner ear.

NOSE

Dogs’ noses are rounded squares with the top wider than the bottom. Nostrils are fairly symmetrical and are divided by a central septum (philtrum) that runs into the mouth. The textural surface of the nose is covered with flat oval shapes. A dog’s sense of smell is a thousand times better than a human’s because it has more than 215 million olfactory receptors.

PAINT A DOG’S EYE

1 Sketch the eye with a pencil, paying close attention to details. Apply a dab of frisket for the highlights.

2 Paint Raw Umber around the outside of the eye using a brush that has a fine point.

3 Paint Piemontite Genuine on the outer shape of the eye and use a combination of Shadow Violet and French Ultramarine with a wet-into-wet technique to create the iris. Use Sodalite Genuine for the pupil and rim of the eye.

4 Using watercolor pencils and pastels in tones of brown and ochre, create hair and eyelashes. Mist with water to soften. Once dry, remove the frisket. Use a damp clean brush to soften the edges of the eye highlights.

DOG LINE DRAWING

DOG PAINTING

CAT

CAT REFERENCE

This cherished kitty, Charlie, was the sweet and unforgettable soulmate of my editor Amy Jones.

The oldest evidence of a domesticated cat was about 7500 B.C., descending from one of five different wild cats. Images of domesticated cats can be found throughout ancient Egyptian artwork as they were considered sacred animals. There are 58 different breeds of cats recognized by the International Cat Association.

COLOR PALETTE

Column 1:

Quinacridone Gold

Quinacridone Deep Gold

Quinacridone Burnt Orange

French Ochre

Roasted French Ochre

Column 2:

Green Gold

Lemon Yellow

Quinacridone Violet

Anthraquinoid Red

POETRY EXCERPTS

Cats Sleep Anywhere

by Eleanor Farjeon

Cats sleep, anywhere,

Any table, any chair

Top of piano, window-ledge,

In the middle, on the edge

The Cat and the Moon

by William Butler Yeats

The cat went here and there

And the moon spun round like a top,

And the nearest kin of the moon,

The creeping cat, looked up.

Pussy Cat, Pussy Cat

by Mother Goose

Pussy cat, pussy cat

Where have you been?

I’ve been to London

To look at the Queen

QUOTES

“That’s the great secret of creativity. You treat ideas like cats: you make them follow you.” —Ray Bradbury

“I believe cats to be spirits come to earth. A cat, I am sure, could walk on a cloud without coming through.” —Jules Verne

“My relationships with my cats has saved me from a deadly, pervasive ignorance.” —William S. Burroughs

“What greater gift than the love of a cat?” —Charles Dickens

“Cats are connoisseurs of comfort.” —James Herriot

INTERESTING FACTS

A group of cats is called a clowder and a group of kittens is called a kindle.

Cats were associated with witchcraft in the Middle Ages.

In ancient Egypt family cats were often mummified and given elaborate funerals.

The Turkish van cat likes to swim; the unique texture of its fur makes it water resistant.

Ailurophile is the word for a “cat lover.”

The largest breed of cat is the Maine Coon, weighing between 15 and 25 pounds (7–11kg).

A litter usually consists of 1 to 9 kittens.

The oldest cat on record was 38-year-old Crème Puff.

Cats sleep an average of 17 hours per day.

A male is called a tom and a female a queen.

CAT SKETCHES

EYES

Cats have oval-shaped eyes with slit pupils. The pupils will appear round in low light and as vertical slits in bright light. Eye colors are vibrant and most often variegated. They are usually rimmed in black.

EARS

Cats’ ears are triangular and stick up straight with the exception of some breeds such as the Scottish Fold. Cats have a cutaneous pouch where the ear meets the skull. Fine tufts of hair in the ear usually flow in the same direction out from the edges. Cats hold their ears at different angles depending on their mood.

NOSE

The color of a cat’s fur is directly related to the color of its nose: black cat, black nose; gray cat, gray nose. Multicolored cats can have multicolored noses. A cat’s nose has a unique pattern or “fingerprint” of ridges and bumps. Their noses are triangular with two symmetrical nostrils divided by a philtrum.

PAINT A CAT’S EYE

1 Sketch the eye with a pencil, paying close attention to details. Apply a dab of frisket for the highlights.

2 Use Shadow Violet to paint the pupil and outer eye. Paint the bottom ridge with Quinacridone Violet. Paint the iris with Lemon Yellow and drop in a touch of Green Gold.

3 Using Sodalite Genuine, darken the pupil and outer eye.

4 Using watercolor pencils and pastels in tones of orange and white, create the hair and eyelashes. Mist with water to soften. Once dry, remove the frisket. Use a damp, clean brush to soften the edges of the eye highlights.

CAT LINE DRAWING

CAT PAINTING

WOLF

WOLF REFERENCE

This howling timber wolf image was snapped by Flickr user Fool4myCanon. (See copyright info on page 122.)

Wolves are the largest member of the dog family, ranging from 40 to 175 pounds (18kg to 79kg). There are two main types: red and gray. Wolves were once found throughout North America, Europe and the Far East, but due to fear and hunting they nearly became extinct by the 1930s. Today gray wolves can be found in North America in diverse areas from the tundra to the woodlands. Red wolves are mainly found in the southeastern United States and as far west as Texas. They are territorial animals that live and hunt in packs. Wolves are highly social and have strong familial bonds.

COLOR PALETTE

Top to bottom:

Sodalite Genuine

Kyanite Genuine

Tiger’s Eye Genuine

Shadow Violet

Hematite Genuine

Cerulean Blue

Sugilite Genuine

POETRY EXCERPTS

The Law for the Wolves

by Rudyard Kipling

Now this is the law of the jungle,

as old and as true as the sky,

And the wolf that shall keep it may prosper,

but the wolf that shall break it must die.

As the creeper that girdles the tree trunk,

the law runneth forward and back;

For the strength of the pack is the wolf,

and the strength of the wolf is the pack.

Creature in the Night

by Kelly Deschler

Where cold stars exist in the dark,

serene winds whisper to trees

and scarce human ears can listen,

lone songs wail in the distance

in frozen moon’s silver spotlight,

a mark left where paws had paused.

QUOTES

“Love will find a way through paths where wolves fear to prey.” —Lord Byron

“The roaring of lions, the howling of wolves, the raging of the stormy sea and the destructive sword, are portions of eternity, too great for the eye of man.” —William Blake

“Each man is afraid of his neighbor’s disapproval—a thing which, to the general run of the human race, is more dreaded than wolves and death.” —Mark Twain

“It disturbs me no more to find men base, unjust or selfish than to see apes mischievous, wolves savage or the vulture ravenous.” —Jean-Paul Sartre

INTERESTING FACTS

Wolves continue to breed with the same mate until one of them dies.

They can run up to 35 mph (56 kph).

They weigh about a pound (¹⁄₂kg) at birth.

Packs usually consist of 5 to 10 wolves.

The gray wolf is also known as the timber wolf.

The alphas in a pack are the only ones to mate.

Wolves live about 13 years.

Pups are born blind and deaf.

WOLF SKETCHES

EYES

Wolves are born with bluish eyes that turn brown to golden as they age. They have keen eyesight and they are sensitized to detect motion.

EARS

Their ears are triangular with darker fur in the back and lighter fur in the front. They can rotate their ears to detect the direction of sounds.

NOSE

Their noses are a black, rubbery tissue and are the only parts of the body that allow them to sweat so that they can regulate their body temperature and stay cool.

PAINT A WOLF’S EYE

1 Sketch the eye with a pencil, paying close attention to details. Apply a dab of frisket for the highlights.

2 Lay down Shadow Violet for the outside of the eye and Quinacridone Gold for the iris.

3 Use Sodalite Genuine to paint the inner eye and pupil, and Hematite Genuine on the outer rim. Darken the iris by dropping in Quinacridone Gold Deep, then use Shadow Violet to create a cast shadow across the pupil and iris.

4 Using watercolor pencils and pastels in tones of gray and white, create the hair and eyelashes. Mist with water to soften. Once dry, remove the frisket. Use a damp, clean brush to soften the edges of the eye highlights.

WOLF LINE DRAWING

WOLF PAINTING

FOX

FOX REFERENCE

This red fox image was snapped by Eric Isselée. (See copyright info on page 122.)

Foxes are unique and adaptable creatures that have been around for millions of years. They are stealthy and strong, and have keen senses of hearing and smell. Although they are members of the Canidae or dog family, they also have many catlike features. They can retract their claws, have spines on their tongues and have vertical pupils. Much of their behavior is also catlike as they are mainly solitary and nocturnal and walk on their toes. They can be found throughout the northern hemisphere in the mountains, plains and deserts. The five species of foxes include the red fox, Arctic fox, kit fox, fennec fox and gray fox.

COLOR PALETTE

Column 1:

Quinacridone Burnt Scarlet

Raw Umber

Sodalite Genuine

Shadow Violet

Column 2:

Deep Scarlet

Lunar Red Rock

Garnet Genuine

Quinacridone Deep Gold

POETRY EXCERPTS

A Dream of Foxes

by Lucille Clifton

who

can blame her for hunkering

into the doorwells at night,

the only blaze in the dark

the brush of her hopeful tail,

the only starlight

her little bared teeth?

Fox

by Rita Dove

She knew what

she was and so

was capable

of anything

anyone

could imagine.

QUOTES

“All the intelligence and talent in the world can’t make a singer. The voice is a wild thing. It can’t be bred in captivity. It is a sport, like the silver fox. It happens.” —Willa Cather

“With foxes we must play the fox.” —Thomas Fuller

“The fox condemns the trap, not himself.” —William Blake

“The sleeping fox catches no poultry.” —Benjamin Franklin

“An election is coming. Universal peace is declared, and the foxes have a sincere interest in prolonging the lives of the poultry.” —George Eliot

INTERESTING FACTS

A male fox is called a tod and a female is called a vixen.

A group of foxes is called a skulk.

Foxes use the Earth’s magnetic field to hunt.

They are born blind and open their eyes around 9 days old.

Pups live with their parents until they are 7 months old.

Foxes are known to be playful and curious.

Foxes can make up to 40 different sounds.

They are not pack animals. They hunt and sleep alone.

They live in small families while raising their young.

The most common fox is the red fox.

FOX SKETCHES

EYES

Foxes have oval-shaped eyes with slit pupils like cats. Their eyes are usually golden with black irises and rims.

EARS

The ears of a fox are triangular and stand straight up. They vary in size depending on the type of fox.

NOSE

A fox’s nose is similar to a dog’s with two symmetrical nostrils and the philtrum down the center.

PAINT A FOX’S EYE

1 Sketch the eye with a pencil, paying close attention to details. Apply a dab of frisket for the highlights.

2 Use Shadow Violet to paint the pupil and outer eye. Paint the iris and surrounding eye with Quinacridone Deep Gold.

3 Using Sodalite Genuine, darken the pupil and outer eye.

4 Using watercolor pencils and pastels in tones of orange and white, create the hair and eyelashes. Mist with water to soften. Once dry, remove the frisket. Use a damp, clean brush to soften the edges of the eye highlights.

FOX LINE DRAWING

FOX PAINTING

RABBIT

RABBIT REFERENCE

This sweet little rabbit image was taken by Marit and Toomas Hinnosaar. (See copyright info on page 122.)

There are over thirty different species of wild and domesticated rabbits living in different environments around the world. Over half of the population lives in North America. Plenty of wild rabbits can be found out in yards, woods and gardens. They make excellent pets and can be litter trained to live inside with the family.

COLOR PALETTE

Top to bottom:

Opera Pink

Raw Umber

Bloodstone Genuine

Shadow Violet

Piemontite Genuine

Rich Green Gold

Burnt Bronzite Genuine

POETRY EXCERPTS

A Rabbit as King of the Ghosts

by Wallace Stevens

The difficulty to think at the end of day,

When the shapeless shadow covers the sun

And nothing is left except light on your fur

There’s a Rabbit in the Yard

by Tara Teeling

There’s a rabbit in the yard.

Where it came from, I don’t know.

With its brown, peppered fur and

buttonish, searching eyes,

it comes toward me,

intent on salvation.

The Rabbit’s First Snow

by Sheena Blackhall

The rabbit’s paws were muffs

Mute on the woodland floor

Where the snow held tell tale tracks

From each dropped paw

QUOTES

“Ideas are like rabbits. You get a couple and learn how to handle them, and pretty soon you have a dozen.” —John Steinbeck

“A sly rabbit will have three openings to its den.” —Chinese proverb

“‘Hello Rabbit,’ he said, ‘Is that you?’ ‘Let’s pretend it isn’t,’ said Rabbit, ‘and see what happens.’” —A.A. Milne

“If you chase two rabbits, you will not catch either one.” —Russian proverb

INTERESTING FACTS

A female rabbit is called a doe, a male is a buck and a young rabbit is called a kit.

Wild rabbits can have up to 8 litters per year.

A litter usually consists of 4 to 12 kits.

Rabbits live for about 10 years.

They are born with their eyes closed and no fur.

The largest rabbit in the world is a German gray giant weighing 50 pounds (23kg) and measuring 4 feet (1.2m) long.

A practice known as binky is when a rabbit jumps in the air and spins around.

A rabbit’s teeth never stop growing.

A group of rabbits is called a herd.

A group of underground rabbit burrows is called a warren.

RABBIT SKETCHES

EYES

Rabbits have oval eyes with round pupils. Their eyes are usually dark brown or black.

EARS

Rabbit ears come in a variety of sizes depending on the breed. Some ears stand erect while others flop. They contain a network of blood vessels that assist in thermoregulation for heat exchange.

NOSE

The nose is V-shaped with the philtrum down the center. The nostrils are hidden beneath the V-shaped folds of the nose.

PAINT A RABBIT’S EYE

1 Sketch the eye with a pencil, paying close attention to details. Apply a dab of frisket for the tiny highlights.

2 Paint the pupil and outer eye with Shadow Violet. Use Burnt Umber to paint the lid rim.

3 Using Sodalite Genuine, darken the pupil. Use Van Dyke Brown to intensify the lid rim.

4 Using watercolor pencils and pastels in tones of white, create the hair and eyelashes. Mist with water to soften. Once dry, remove the frisket. Use a damp, clean brush to soften the edges of the eye highlights.

RABBIT LINE DRAWING

RABBIT PAINTING

PART 3
Claws

Birds of a feather flock together and they also have claws and feathers. All birds have claws they use as tools to hold on, scratch and capture prey. The patterns and textures of feathers catch our eyes with their luminosity and rainbow of colors, making them perfect painting subjects.

COMMON CHARACTERISTICS & COLORS

Owls—wise, knowing, watchful, silent, hoot, horned, barred, screech, brown, gray

Ravens—magic, mystical, expressive, intelligent, black

Blue jays—feisty, inquisitive, chatty, assertive, jaybird, gray, blue, black, white

Cardinals—cheerful, bright, knowing, remembering, crimson, scarlet, carmine

Chickens—funny, noisy, familial, social, fowl, poultry, capon, pullet, hen, rooster, chick, white, brown

OWL

OWL REFERENCE

This great horned owl image was snapped by Suzanne Kempke. (See copyright info on page 122.)

Oh, those knowing eyes! Is that why we think them wise? Owls have eyes like no other animal and we find ourselves captivated by them. Athena, the Greek goddess of wisdom, is symbolized by an owl, and the owl is also associated with wisdom in the modern West. This magical winged creature began to show up in art and illustrations from 640 B.C., and for centuries has captivated artists with its strength, wisdom and mysticism.

COLOR PALETTE

Column 1:

Burnt Yellow Ochre

Piemontite Genuine

Bloodstone Genuine

Shadow Violet

Sodalite Genuine

Column 2:

New Gamboge

Roasted French Ochre

Quinacridone Deep Gold

Raw Umber

POETRY EXCERPTS

White Owl Flies Into and Out of the Field

by Mary Oliver

Coming down

out of the freezing sky

with its depths of light,

like an angel,

or a Buddha with wings,

it was beautiful, and accurate

The King of Owls

by Louise Erdrich

For I am the King of Owls.

Where I float no shadow falls.

I have hungers, such terrible hungers, you cannot know.

Lords, I sharpen my talons on your bones.

QUOTES

“A wise old owl lived in an oak; the more he saw the less he spoke; the less he spoke the more he heard; why can we all be like that wise old bird?” —English nursery rhyme

“He respects Owl, because you can’t help respecting anybody who can spell TUESDAY, even if he doesn’t spell it right.” —A.A. Milne

“The owl of ignorance lays the egg of pride.” —American proverb

“Of all the horrid, hideous notes of woe,

Sadder than owl-songs or the midnight blast,

Is that portentous phrase, ‘I told you so.’” —Lord Byron

“The crow wished everything was black, the owl, that everything was white.” —William Blake

INTERESTING FACTS

An owl can rotate its head 270 degrees.

A group of owls is called a parliament.

There are more than 150 species of owls.

Many species have asymmetrical ears.

The elf owl is the smallest, standing 5 to 6 inches (13–15cm) tall.

The great gray owl is the largest, reaching up to 32 inches (81cm).

Barn owls swallow their prey whole.

Owls have tubular eyes that go back into their skulls and are fixed in place.

Owls make virtually no noise when they fly.

They have three sets of eyelids: one for sleeping, one for blinking and one for cleaning the eye.

OWL SKETCHES

EYES

It is believed that eye color indicates when a type of owl prefers to hunt. Orange-eyed owls hunt at dawn and dusk. Dark brown and black-eyed owls prefer the night. Yellow-eyed owls prefer to hunt during the day.

EARS

An owl’s ears are located on the sides of its head and are covered by feathers. Some have ear tufts that are simply feathers and not true ears. They have an excellent sense of hearing.

BEAK

Owls have short hooked beaks that curve downward and are used to catch and kill prey.

PAINT AN OWL’S EYE

1 Sketch the eye with a pencil, paying close attention to details. Apply a dab of frisket for the highlight.

2 Paint around the outside of the eye with Raw Umber and paint the pupil using Sodalite Genuine. Create a mixture of Lemon Yellow and New Gamboge for the iris.

3 Paint Shadow Violet on the outer eye and use Van Dyke Brown to intensify the eyelid rim.

4 Using watercolor pencils and pastels in tones of white and gray, create the hairs. Use a Stabilo All black pencil to intensify the rim, feathers and pupil. Mist with water to soften. Once dry, remove the frisket. Use a damp, clean brush to soften the edges of the eye highlights.

OWL LINE DRAWING

OWL PAINTING

RAVEN

RAVEN REFERENCE

This image of a common raven was snapped by bgsmith. (See copyright info on page 122.)

Ravens are magical, mystical and mysterious. They are incredibly intelligent and highly evolved, even capable of feeling empathy. Native Americans revere the raven, and its image can be found in much of their artwork. Their iridescent feathers reflect a myriad of blues, greens and purples, making them stunning birds to paint.

COLOR PALETTE

Column 1:

Phthalo Turquoise

Yavapai Genuine

Moonglow

Quinacridone Purple

Amethyst Genuine

Sodalite Genuine

Column 2:

Shadow Violet

Quinacridone Gold

Quinacridone Deep Gold

Quinacridone Burnt Orange

Sedona Genuine

Cascade Green

POETRY EXCERPTS

The Raven

by Edgar Allan Poe

Once upon a midnight dreary,

while I pondered, weak and weary,

Over many a quaint and curious

volume of forgotten lore,

While I nodded, nearly napping,

suddenly there came a tapping,

As of some one gently rapping,

rapping at my chamber door.

The Raven’s Shadow

by William Watson

Seabird, elemental sprite,

Moulded of the sun and spray—

Raven, dreary flake of night

Drifting in the eye of day—

QUOTES

“Ravens are the birds I’ll miss most when I die. If only the darkness into which we must look were composed of the black light of their limber intelligence. If only we did not have to die at all. Instead, become ravens.” —Louise Erdrich

“Why is a raven like a writing desk?” —Lewis Carroll

“Come: the croaking raven doth bellow for revenge.” —William Shakespeare

“I believed then—in a deep, easy way that is impossible for me as an adult—that there was more to this world than meets the eye. Trees had spirits; the wind spoke. If you followed a toad or a raven deep into the heart of the forest, they were sure to lead you to something magical.” —Jennifer McMahon

INTERESTING FACTS

Ravens mate for life.

They can mimic human speech.

Ravens can live up to 40 years.

Both the male and female care for the young.

A group of ravens is called a bazaar, constable or rant.

Ravens’ eggs are a mottled blue color.

They lay 3 to 7 eggs at a time.

Ravens have been known to use tools and engage in play.

They usually travel in pairs.

A juvenile raven has a bluish brown iris and brown plumage.

RAVEN SKETCHES

EYES

Ravens’ eyes are round and have distinctive white knobs rimming their lids.

BEAK

A raven’s beak is curved and comes to a point with nasal feathers extending down the first half of the beak.

FEET

The bottom of the foot has a pebbly texture for traction. Ravens have toes with flexible joints to help with grip.

PAINT A RAVEN’S EYE

1 Sketch the eye with a pencil, paying close attention to details. Apply a dab of frisket for the highlight.

2 Use Shadow Violet to paint the outer eye. Paint the inner eye using Sodalite Genuine. Using a mixture of Moonglow and a touch of Quinacridone Magenta and a small brush, add a drop of color into the top section of the eye. Add Raw Umber into the bottom section of the eye.

3 Use a Stabilo All black pencil to darken areas of the pupil and edges.

4 Using white watercolor pencils and pastels, paint the lid rim. Use a Stabilo All black pencil to darken the rim, feathers and pupil. Mist with water to soften. Once dry, remove the frisket. Use a damp, clean brush to soften the edges of the eye highlights.

RAVEN LINE DRAWING

RAVEN PAINTING

CHICKEN

CHICKEN REFERENCE

This image of a curious chicken was captured by Paul Woods. (See copyright info on page 122.)

Chickens are one of the most common domestic animals with a population of more than 20 billion throughout the world. The American Poultry Association recognizes 65 different breeds from plain old white to silky lavender. Chicken coops aren’t just for farms anymore and can be found in the backyards of many urban neighborhoods.

COLOR PALETTE

Column 1:

Shadow Violet

Bloodstone Genuine

Sodalite Genuine

Piemontite Genuine

Organic Vermilion

Column 2:

Perylene Red

Naples Yellow

New Gamboge

Phthalo Yellow Green

Kyanite Genuine

POETRY EXCERPTS

Last Night I Dreamed of Chickens

by Jack Prelutsky

Last night I dreamed of chickens,

there were chickens everywhere,

they were standing on my stomach,

they were nesting in my hair,

Chicken

by Richard Maxson

A chicken whose name was Chantecler

Clucked in iambic pentameter

It sat on a shelf, reading Song of Myself

And laid eggs with a perfect diameter.

QUOTES

“The cocks may crow, but it’s the hen that lays the egg.” —Margaret Thatcher

“The key to everything is patience. You get the chicken by hatching the egg—not by smashing it.” —Arnold Glasow

“If I didn’t start painting, I would have raised chickens.” —Grandma Moses

“Regard it just as desirable to build a chicken house as to build a cathedral.” —Frank Lloyd Wright

“An overcrowded chicken farm produces fewer eggs.” —Chinese proverb

“Don’t count your chickens before they hatch.” —Aesop

INTERESTING FACTS

The chicken is the closest living relative to the Tyrannosaurus rex.

Chickens have about 30 distinct vocalizations.

They can recognize up to 100 faces.

They have full color vision.

Chickens experience REM sleep.

Gainesville, Georgia, is known as the Poultry Capital of the world.

Most chickens lay their eggs between 7 and 11 a.m.

Tidbitting is when a rooster dances to impress a mate.

Chickens are omnivores.

A hen lays eggs after receiving a light cue (such as sunlight) in a gland by the eye, which then stimulates the ovaries to produce an egg.

CHICKEN SKETCHES

EYES

Chickens’ eyes are round with a round pupil. They have a raised ridged rim. The iris is generally yellowish orange rimmed in black.

BEAK

A chicken’s beak is curved and comes to a hooked point with crescent-shaped nostrils.

COMB AND WATTLES

The fleshy growths on top are a comb and the two growths below the chin are known as wattles. They are used to regulate body temperature as well as attract a mate. Often the hen with the brightest and largest comb is the boss.

PAINT A CHICKEN’S EYE

1 Sketch the eye with a pencil, paying close attention to details. Apply a dab of frisket for the small highlights.

2 Using Perylene Red, paint the outer eye area. Use New Gamboge and Pyrrol Orange to paint the iris, and Sodalite Genuine for the pupil and rim.

3Darken the outer eye with Quinacridone Violet.

4 Use white watercolor pencils and pastels to add tiny feathers around the outer eye. Use a Stabilo All black pencil to intensify the rim and pupil. Mist with water to soften. Once dry, remove the frisket. Use a damp, clean brush to soften the edges of the eye highlights.

CHICKEN LINE DRAWING

CHICKEN PAINTING

BLUE JAY

BLUE JAY REFERENCE

This stunning blue jay image was snapped by the photographer Finiky. (See copyright info on page 122.)

Blue jays are playful characters with sassy personalities. They are noisy songbirds native to North America. Their vibrant blue feathers and striking black stripes make for a dynamic subject. Jays have such magnanimous personalities and can become attached to humans, often returning to feeders. I had a friend who kept a crystal bowl filled with peanuts on a table inside her bedroom with the window open to welcome her daily visitor.

COLOR PALETTE

Column 1:

Sleeping Beauty Turquoise Genuine

Blue Apatite Genuine

Lapis Lazuli Genuine

Indanthrone Blue

Mayan Blue Genuine

Sugilite Genuine

Column 2:

Cobalt Teal Blue

Yavapai Genuine

Sodalite Genuine

Kyanite Genuine

Shadow Violet

POETRY EXCERPTS

A Blue Jay

by Gayle Sweeney

A blue jay’s feathered back holds spots of white clouds

And soft, glistening blue.

Upon its wings is painted days of sapphires

And snowy flurries, too.

A Winter Blue Jay

by Sara Teasdale

Crisply the bright snow whispered,

Crunching beneath our feet;

Behind us as we walked along the parkway,

Our shadows danced,

Fantastic shapes in vivid blue.

The Blue Jay

by D.H. Lawrence

The blue jay with a crest on his head

Comes round the cabin in the snow.

He runs in the snow like a bit of blue metal,

Turning his back on everything.

QUOTES

“Hold fast to dreams, for if dreams die, life is a broken-winged bird that cannot fly.” —Langston Hughes

“No bird soars too high if he soars with his own wings.” —William Blake

“I’d rather learn from one bird how to sing than to teach ten thousand stars how not to dance.” —e.e. cummings

“Intelligence without ambition is a bird without wings.” —Salvador Dali

INTERESTING FACTS

The oldest known wild blue jay was 17 years, 6 months old.

Jays mate for life and will not take a new mate after one of them dies.

A blue jay can mimic the call of a hawk.

Blue jays are very territorial; they often chase cats, dogs and even humans who go near their nests.

They shed their feathers during summer.

Jays have been known to find something white to put on the outside of their nests.

The feathers are not truly blue but the result of the unique inner structure of the feathers, which distort the reflection of light, making the feathers appear blue.

Males and females are almost identical in appearance.

Their eggs are bluish and light brown with brown spots.

BLUE JAY SKETCHES

EYES

Jays have oval eyes with knob-like edges on the outer rim.

BEAK

A jay’s beak is sharp, black and pointed, perfect for carrying nuts and other foods.

CREST AND BRIDLE

Its feather crest rises when a jay is feeling aggressive. Blue jays have a distinctive black bridle that makes them easy to identify.

PAINT A BLUE JAY’S EYE

1 Sketch the eye with a pencil, paying close attention to details. Apply a dab of frisket for the highlights.

2 Use Shadow Violet to paint the rim of the eye. Paint the outside edge with Sodalite Genuine, and use Hematite Genuine for the inner eye.

3 Using Sodalite Genuine to darken the pupil.

4 Using watercolor pencils and pastels in tones of white, add definition to the rim. Use a Stabilo All black pencil to intensify the outer rim and pupil. Mist with water to soften. Once dry, remove the frisket. Use a damp, clean brush to soften the edges of the eye highlights.

BLUE JAY LINE DRAWING

BLUE JAY PAINTING

CARDINAL

CARDINAL REFERENCE

This bright red cardinal songbird was photographed by Tim Lindebaum. (See copyright info on page 122.)

Many people feel that a lost loved one presents themselves in the form of red cardinals bringing them peace of mind and comfort. Their scarlet color and black masks make them stand out in a crowd. After my dear friend’s sister passed away we kept seeing cardinals in the snow every time we talked about her. The cardinal has now become a symbol of comfort for the family, reminding them that her colorful and vivacious spirit remains.

COLOR PALETTE

Column 1:

Organic Vermilion

Rose of Ultramarine

Perylene Maroon

Perylene Red

Quinacridone Violet

Column 2:

Van Dyke Brown

Sepia

Brown Iron Oxide

Phthalo Turquoise

Bloodstone Genuine

POETRY EXCERPTS

254

by Emily Dickinson

“Hope” is the thing with feathers—

That perches in the soul—

And sings the tune without the words—

And never stops—at all—

Caged Bird

by Maya Angelou

A free bird leaps

on the back of the wind

and floats downstream

till the current ends

and dips his wing

in the orange sun rays

and dares to claim the sky.

QUOTES

“Some birds are not meant to be caged, that’s all. Their feathers are too bright, their songs too sweet and wild. So you let them go, or when you open the cage to feed them they somehow fly out past you.” —Stephen King

“Faith is the bird that feels the light when the dawn is still dark.” —Rabindranath Tagore

“Success is full of promise till one gets it, and then it seems like a nest from which the bird has flown.” —Henry Ward Beecher

“You cannot prevent the birds of sorrow from flying over your head, but you can prevent them from building nests in your hair.” —Chinese proverb

“A bird is three things: Feathers, flight and song, and feathers are the least of these.” —Marjorie Allen Seiffert

INTERESTING FACTS

Both male and female cardinals can sing.

The northern cardinal is the state bird of seven states: Ohio, Illinois, Indiana, Kentucky, North Carolina, Virginia and West Virginia.

The bird was named after the red cloak of a Catholic cardinal.

Cardinals can live up to 15 years.

In the 1800s cardinals were popular pet cage birds.

They prefer to nest in shrubs and brushy woodlands.

Cardinals have 3 to 5 brownish blue eggs.

Males are bright red while females are duller in color with shades of gray throughout.

They do not migrate but form flocks of 60 to 70 birds during the winter.

CARDINAL SKETCHES

EYES

Cardinals have oval eyes with knob-like edges on the outer rim.

BEAK

Their beaks are orange and triangular.

CREST AND BRIDLE

A feather crest rises when they are feeling aggressive. Males have a distinctive black bridle that makes them easy to identify.

PAINT A CARDINAL’S EYE

1 Sketch the eye with a pencil, paying close attention to details. Apply a dab of frisket for the highlights.

2 Use Shadow Violet to paint the rim of they eye. Paint the iris with Raw Umber, and the pupil and upper lid with Sodalite Genuine.

3 Intensify all of the colors from step 2 and add Hematite Genuine to the outer eye rim.

4 Use a Stabilo All black pencil to intensify the rim and pupil. Once dry, remove the frisket. Use a damp, clean brush to soften the edges of the eye highlights. Use a white crayon to add detail to the edges of the eye.

CARDINAL LINE DRAWING

CARDINAL PAINTING

PART 3
Hooves

Ungulates are hooved mammals that have either a single hoof or a cloven (split) hoof. These critters usually show up on the farm or nearby. With the exception of deer, we have domesticated them to use for food, work and companionship.

COMMON CHARACTERISTICS & TERMS

Horse—grounded, intuitive, steady, equus, equine, gelding, mare, stallion, steed, pony

Cow—docile, sacred, heifer, calf, bovine, cattle, bull, Holstein, Jersey, Hereford

Sheep—flock, ewe, ram, ovis, lamb, wool, sheared, mutton, fleece

Pig—intelligent, piglet, hog, swine, grunt, porcine

Deer—gentle, antlers, doe, stag, hart, fawn, buck, white tail, musk

HORSE

HORSE REFERENCE

This is my Andalusian Gelding, Mico, looking at me expectantly waiting for a treat.

Horses are one of the most intuitive animals on earth. Their grounded nature and indomitable spirit make them the best of companions. Over the past 50 million years they have evolved from small five-toed foxlike animals to the regal hooved creatures we know today. Until the 20th century they were the main source of transportation. Today they are used mainly for sport and companionship all over the world.

COLOR PALETTE

Column 1:

Sodalite Genuine

Zoisite Genuine

Shadow Violet

French Ochre

Hematite Genuine

Column 2:

Amethyst Genuine

Moonglow

Purpurite Genuine

Quinacridone Purple

Naphthamide Maroon

POETRY EXCERPTS

Horses On The Camargue

by Roy Campbell

In the grey wastes of dread,

The haunt of shattered gulls

where nothing moves

But in a shroud of silence like the dead,

I heard a sudden harmony of hooves,

And, turning, saw afar

A hundred snowy horses unconfined

White Horses

by Rudyard Kipling

Where run your colts at pasture?

Where hide your mares to breed?

’Mid bergs about the Ice-cap

Or wove Sargasso weed;

By chartless reef and channel,

Or crafty coastwise bars,

But most the ocean-meadows

All purple to the stars!

QUOTES

“A lovely horse is always an experience. It is an emotional experience of the kind that is spoiled by words.” —Beryl Markham

“No hour of life is wasted that is spent in the saddle.” —Winston Churchill

“A canter is a cure for every evil.” —Benjamin Disraeli

“One reason why birds and horses are not unhappy is because they are not trying to impress other birds and horses.” —Dale Carnegie

“She lifted the drooping muzzle with both hands … it was a special embrace saved for special occasions.” —Jean M. Auel

INTERESTING FACTS

Horses have nearly 360-degree vision with a blind spot directly in front of and behind them.

There are over 400 breeds of horses.

Orchid was the oldest horse on record at 50 years old. He died in 2015.

Big Jake is the tallest horse on record at 21.2 hands high (about 82 inches [210cm]). A hand equals 4 inches (10cm).

Horses were domesticated about 5,000 years ago.

They have 16 muscles in each ear, allowing the ears to rotate 180 degrees.

A horse’s knee is equivalent to the human wrist.

You can determine a horse’s age by looking at its teeth.

Arabians have one less vertebrae and one less rib than other breeds of horses.

HORSE SKETCHES

EYES

A horse’s eyes hold such wisdom and knowing. You can look at them and see just how they are feeling.

EARS

Horse ears are cone shaped with hair tufted on the inside. They rotate and let you know what they are feeling by the direction they lie: perked forward, they are alert; loosely sideways, they are relaxed; and pinned straight back, they are angry.

MUZZLE

The lips and nose are distinct shapes that change as the horse moves and expresses herself.

PAINT A HORSE’S EYE

1 Sketch the eye with a pencil, paying close attention to details. Apply a dab of frisket for the highlight.

2 Paint the pupil with Shadow Violet, Sodalite Genuine to paint the iris and Piemontite Genuine to paint the upper and lower lids. Use Tiger’s Eye Genuine to go over the lower lid again.

3Darken the entire eye with Sodalite Genuine and Raw Umber.

4 Use white watercolor pencils to add definition to the rim. Use a Stabilo All black pencil to intensify the rim, eyelashes and pupil. Mist with water to soften. Once dry, remove the frisket. Use a damp, clean brush to soften the edges of the eye highlights.

HORSE LINE DRAWING

HORSE PAINTING

COW

COW REFERENCE

This pretty dairy cow was photographed by Flickr user Charlie’96. (See copyright info on page 122.)

Those big, warm liquid eyes can melt your soul. Cows are such gentle and kind animals. The pastoral scene of a grazing cow brings peace and calm. They are the most common large domestic animal on the planet and come in a variety of colors, patterns and shapes.

COLOR PALETTE

Column 1:

Raw Sienna

Quinacridone Gold

Quinacridone Deep Gold

Raw Umber

Lunar Red Rock

Tiger’s Eye Genuine

Roasted French Ochre

Column 2:

Sodalite Genuine

Bloodstone Genuine

Shadow Violet

Rhodonite Genuine

Opera Pink

Burnt Umber

Moonglow

POETRY EXCERPTS

Cow

by Robert William Service

I love to watch my seven cows

In meads of buttercups abrowse,

With guilded knees;

But even more I love to see

Them chew the cud so tranquilly

In twilight ease.

The Cow

by Jane Taylor

Thank you, pretty cow, that made

Pleasant milk to soak my bread,

Every day and every night,

Warm, and fresh, and sweet, and white.

QUOTES

“Cows are amongst the gentlest of breathing creatures; none show more passionate tenderness to their young when deprived of them; and, in short, I am not ashamed to profess a deep love for these quiet creatures.” —Thomas De Quincey

“All the really good ideas I ever had came to me while I was milking a cow.” —Grant Wood

“The mere brute pleasure of reading—the sort of pleasure a cow must have in grazing.” —Philip Stanhope, 4th Earl of Chesterfield

“To country people Cows are mild, and flee from any stick they throw; but I’m a timid town bred child, and all the cattle seem to know.” —T.S. Eliot

“Why buy a cow if you can get the milk for free?” —Age-old expression

INTERESTING FACTS

Cows have a great sense of smell.

They have no upper front teeth.

They eat more than 100 pounds (45kg) of food per day.

Cows spend 10 to 12 hours a day lying down.

The cow is a protected animal in Hinduism and on Gopastami they are washed and decorated in temples.

A cow’s stomach is divided into four chambers.

Cows chew cud, which is a portion of food that returns from the stomach to the mouth to be chewed for the second time.

They form close friendships with other cows, group together and sleep close to their families.

There are more than 800 breeds of cows.

COW SKETCHES

EYES

Cows have soft, round eyes and eyelashes that sit on the sides of their heads.

NOSE

A cow’s nose is triangular as well as dark and moist.

HOOVES

Cows have split (or cloven) hooves, giving them surprising dexterity.

PAINT A COW’S EYE

1 Sketch the eye with a pencil, paying close attention to details. Apply a dab of frisket for the highlight.

2 Use Shadow Violet to paint the pupil and lower lid. Paint the outer eye areas with Yellow Ochre, and use Quinacridone Pink for the corner of the eye.

3 Add shadows to the outer eye area with Raw Sienna. Paint the lower lid with Sodalite Genuine and darken the pupil with Hematite Genuine.

4 Use white watercolor pencils to add definition to the rim, then use a Stabilo All pencil in black to intensify the rim, add eyelashes and darken the pupil. Mist with water to soften. Once dry, remove the frisket. Use a damp, clean brush to soften the edges of the eye highlights.

COW LINE DRAWING

COW PAINTING

DEER

DEER REFERENCE

This image of a baby deer was captured by Jen Morgan. (See copyright info on page 122.)

These gentle creatures, although not domesticated, live around and amongst us in woodlands, farmlands and gardens. Their sweet soulful eyes captivate and their graceful movements are a joy to watch. It is always a delight to see deer in unexpected situations. It was lovely to see the local herd on the campus of Pepperdine University, which overlooks the Pacific Ocean near my home, meandering on the lawn amidst the students.

COLOR PALETTE

Column 1:

Shadow Violet

Yavapai Genuine

Raw Umber

Tiger’s Eye Genuine

Column 2:

Sodalite Genuine

Sedona Genuine

Cerulean Blue

Lapis Lazuli Genuine

POETRY EXCERPTS

Gathering Leaves

by Robert Frost

Spades take up leaves

No better than spoons,

And bags full of leaves

Are light as balloons.

I make a great noise

Of rustling all day

Like rabbit and deer

Running away.

Auguries of Innocence

by William Blake

Every wolf’s and lion’s howl

Raises from hell a human soul.

The wild deer wand’ring here and there

Keeps the human soul from care.

QUOTES

“A wounded deer leaps the highest.” —Emily Dickinson

“There is nothing stronger in the world than gentleness.” —Han Suyin

“Only the weak are cruel. Gentleness can only be expected from the strong.” —Leo F. Buscaglia

“Nothing is so strong as gentleness, nothing so gentle as real strength.” —St. Francis de Sales

“Envy, like the worm, never runs but to the fairest fruit; like a cunning bloodhound, it singles out the fattest deer in the flock.” —Francis Beaumont

INTERESTING FACTS

Males are called bucks, harts and stags.

Female deer are called does.

Fawns are born with white spots that fade within 3 to 4 months.

Deer can jump up to 10 feet (3m) and can run 40 mph (64 kph).

Male deer grow and shed antlers each year.

They have a great sense of hearing.

Deer are good swimmers and can swim up to 15 mph (24 kph).

Average life span is 10 to 12 years.

Fawns are born with 4 teeth.

DEER SKETCHES

EYES

Their eyes are round, dark and soft with a feathering of eyelashes.

EARS

Deer have large cone-shaped ears that rotate to detect the direction of sounds.

NOSE

Deer have dark soft noses that are part of their muzzles. It is said that their sense of smell is more than 5,000 times greater than a human’s.

PAINT A DEER’S EYE

1 Sketch the eye with a pencil, paying close attention to details. Apply a dab of frisket for the highlight.

2 Using Shadow Violet and a brush with a fine point, paint the pupil. Use Sodalite Genuine to color the iris, and Piemontite Genuine for the upper and lower lids. Use Tiger’s Eye Genuine for the lowest lid area.

3 Darken the overall eye with Sodalite Genuine and Raw Umber.

4 Mist with water to soften. Once dry, remove the frisket. Use a damp, clean brush to soften the edges of the eye highlights and a black pencil to add the lashes.

DEER LINE DRAWING

DEER PAINTING

SHEEP

SHEEP REFERENCE

This fluffy sheep image was photographed by Virginie Moerenhout. (See copyright info on page 122.)

Sheep remind us of spring and renewal. The sweet bleating of a new lamb brings a sense of hope. These animals were domesticated more than 10,000 years ago to use for wool, milk and food. There are more than 900 breeds, from short-haired to long-haired sheep as well as sheep with black faces. I have fond memories of the herd of sheep grazing on the fields beside my childhood home and especially the spring lambs running and bucking in the morning air.

COLOR PALETTE

Top to bottom:

Shadow Violet

Opera Pink

Yavapai Genuine

Raw Umber

Serpentine Genuine

Rich Green Gold

Sodalite Genuine

POETRY EXCERPTS

Black Sheep

by Richard Francis Burton

From their folded mates they wander far,

Their ways seem harsh and wild;

They follow the beck of a baleful star,

Their paths are dream-beguiled.

The Lamb

by William Blake

Little Lamb, who made thee?

Dost thou know who made thee,

Gave thee life and bid thee feed.

By the stream and o’er the mead;

QUOTES

“In order to be an immaculate member of a flock of sheep, one must above all be a sheep oneself.” —Albert Einstein

“To my mind, the life of a lamb is no less precious than that of a human being.” —Mahatma Gandhi

“Without tradition, art is a flock of sheep without a shepherd. Without innovation, it is a corpse.” —Winston Churchill

“Every man can tell how many goats or sheep he possesses, but not how many friends.” —Marcus Tullius Cicero

“It is not part of a true culture to tame tigers, any more than it is to make sheep ferocious.” —Henry David Thoreau

“Geographically, Ireland is a medium-sized rural island that is slowly but steadily being consumed by sheep.” —Dave Barry

INTERESTING FACTS

A ram is a male and a ewe is a female.

A wether is a castrated male sheep.

A sheep will produce up to 8 pounds (3.6kg) of wool a year.

Sheep live between 6 and 11 years.

They have a split in their upper lip that helps them grab leaves and grass.

President Woodrow Wilson let sheep graze on the White House lawn.

Breeding sheep is called tubing.

SHEEP SKETCHES

EYES

Sheep have very interesting eyes with horizontal tube-shaped pupils.

EARS

They have small cone-shaped ears.

NOSE

Their noses are triangular.

PAINT A SHEEP’S EYE

1 Sketch the eye with a pencil, paying close attention to details. Apply a dab of frisket for the highlight.

2Paint the iris with Naples Yellow. Use Tiger’s Eye Genuine for the outer shapes of the eye. Darken the center with Sodalite Genuine and use Quinacridone Pink for the corner of the eye.

3 Using Sodalite Genuine, paint the upper lid and bottom of the eye. Paint the pupil and lid with Hematite Genuine. Add Shadow Violet to the outer eye.

4 Once dry, remove the frisket. Use a damp, clean brush to soften the edges of the eye highlights. Use a sharp black pencil to add eyelashes and crayon to add texture and shades of gray.

SHEEP LINE DRAWING

SHEEP PAINTING

PIG

PIG REFERENCE

This small piglet is Violet, the beloved pet potbellied pig of my friend Linda Ledbetter.

These intelligent creatures have had a bad rap because of living in mud-filled sties, but really they are very clean animals. Pigs roll in mud to keep themselves cool. Until recently they were generally raised for food; however, they are making their way into homes and have become beloved pets to many.

COLOR PALETTE

Top to bottom:

Shadow Violet

Sodalite Genuine

Bloodstone Genuine

Zoisite Genuine

Rhodonite Genuine

Yellow Ochre

Hematite Genuine

POETRY EXCERPTS

The Pig

by Roald Dahl

In England once there lived a big

And wonderfully clever pig.

To everybody it was plain

That Piggy had a massive brain.

Sow

by Sylvia Plath

God knows how our neighbor managed to breed

His great sow:

Whatever his shrewd secret, he kept it hid

In the same way

He kept the sow—impounded from public stare,

Prize ribbon and pig show.

QUOTES

“. . . the paradise of my fancy is one where pigs have wings.” —G.K. Chesterton

“Never wrestle with a pig. You both get dirty and the pig likes it.” —George Bernard Shaw

“One has a nose. The nose scents and it chooses. An artist is simply a kind of pig snouting truffles.” —Igor Stravinsky

“‘How do you spell love?’ asked Piglet. ‘You don’t spell it … you feel it,’ answered Pooh.” —A.A. Milne

“I am fond of pigs. Dogs look up to us. Cats look down on us. Pigs treat us as equals.” —Winston Churchill

INTERESTING FACTS

Pigs can run up to 11 mph (18 kph).

They cool off by wallowing in the mud.

Pigs have over 20 different vocalizations.

They are highly intelligent and very social.

Sows have 7 to 12 piglets in a litter.

A male pig is called a boar.

Pigs were domesticated in China 6,000 years ago.

Pigs are strong swimmers and prefer water to mud.

The largest pig on record is Big Bill, who weighed 2,552 pounds (1,158kg).

PIG SKETCHES

EYES

Pigs have small, triangular shaped eyes.

EARS

Pigs have large triangular ears.

SNOUT

A pig’s snout, its most prominent feature, is a flat disc of cartilage, which they use to move and lift objects as well as to smell.

PAINT A PIG’S EYE

1 Sketch the eye with a pencil, paying close attention to details. Apply a dab of frisket for the highlight.

2 Use Shadow Violet to paint the outer eye area and Tiger’s Eye Genuine to paint the inner eye.

3 Paint the upper lid and bottom of they eye with Piemontite Genuine. Then paint the upper and lower eye and pupil with Sodalite Genuine to intensify the overall color.

4 Once dry, remove the frisket. Use a damp, clean brush to soften the edges of the eye highlights. Use a sharp black pencil to add eyelashes and crayon to add texture and shades of gray.

PIG LINE DRAWING

PIG PAINTING

ABOUT THE AUTHOR

Gina Rossi Armfield is a painter, photographer, wife and mother. She lives in Southern California with her husband, Mark, two sons, Grayson and Payton, and a herd of furry critters. Gina started painting when she was six years old and was lucky enough to find many mentors along the way who encouraged her to pursue her talents. She grew up in Baltimore, Maryland, and in addition to painting, spent most of her time riding and showing horses. A passion for the four-leggeds endures to this day and can be seen in much of her work. Gina received her degrees in fine art and education. She has taught people of all ages and continues to enrich her life by sharing her gifts with others.

Gina is the author of No Excuses Art Journaling (2013) and No Excuses Watercolor (2015), and host of two North Light mixed-media instructional videos: Art Journaling With Gina Rossi Armfield: The No Excuses Approach to Drawing and Watercolor and Art Journaling With Gina Rossi Armfield: The No Excuses Approach to Mixed-Media Collage. Gina can be found teaching around the country and through her online eCourses. For more great instruction, visit her website noexcusesart.com.

CONNECT WITH GINA!

instagram.com/noexcusesart

pinterest.com/ginararmfield

noexcusesart.com/blog

facebook.com/noexcusesartjournaling

twitter.com/NoExcusesArt

ACKNOWLEDGMENTS

I would like to thank my husband, Mark, for always believing in me, supporting me in my dreams and being my biggest fan. To my sons, Grayson and Payton, for their love and support. To my mom for always telling me I can do anything. To my brothers, Rico and Dino, for believing in me and my abilities without question. To my dad, for showing me that living a creative life is possible and adding music to my life. And last but not least, my dear friends who hold me up, dust me off when I fall, and keep me going.

Copyright Notice

The following reference images in the book have been made available for use by a Creative Commons licensing agreement with Flickr, with the exception of the two licensed iStock images. Creative Commons is a nonprofit organization that enables the sharing and use of creativity and knowledge through free legal tools. Creative Commons provides a simple, standardized way to give the public permission to share and use your creative work. Thank you to the artists and photographers below for making their images available in the public domain for educational use in this book! Please visit their Flickr pages to view more of their photography, as well as creativecommons.org to learn more about the organization.

Wolf image, pg 40: © 2013 by Fool4myCanon, Flickr image 8756057368

Fox image, pg 46: © 2008 by Eric Isselée, iStock image 7681354

Rabbit image, pg 52: © 2009 by Marit and Toomas Hinnosaar, Flickr image 3706445364

Owl image, pg 60: © 2005 by Suzanne Kempke, Flickr image 53902650@N00/218061394

Raven image, pg 66: © 2013 by bgsmith, iStock image 27386105

Chicken image, pg 72: © 2012 by Paul Woods, Flickr profile 14268156@N04

Blue jay image, pg 78: © 2015 by Finiky, Flickr image 16055838954

Cardinal image, pg 84: © 2007 by Tim Lindebaum, Flickr image lindenbaum/399058039

Cow image, pg 98: © 2013 by Charlie’96, Flickr image 11260135763

Deer image, pg 104: © 2008 by Jen Morgan, Flickr image momocita/2980676214

Sheep image, pg 110: © 2010 by Virginie Moerenhout, Flickr image 4462394467

IDEAS. INSTRUCTION. INSPIRATION.

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No Excuses Watercolor Animals. Copyright © 2016 by Gina Rossi Armfield. All rights reserved. No part of this eBook may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems without permission in writing from the publisher, except by a reviewer who may quote brief passages in a review. Published by North Light Books, an imprint of F+W Media, Inc., 10151 Carver Road Suite 200, Blue Ash, OH 45242. (800) 289-0963. First Edition. Other fine North Light products are available from your local bookstore, art supply store or online. Also visit our website at fwmedia.com.

Edited by Sarah Laichas

Designed by Breanna Loebach

Production coordinated by Jennifer Bass

eISBN: 978-1-4403-4744-3

This e-book edition: December 2016 (v.1.0)