Ginger cat in coloured pencil


Coloured pencil in A4 moleskine sketchbook

This one is a present for my daughter.   In memory of her much loved cat who sadly is no more.

She was beautiful with eyes that appeared really blue against her fur, very unusual.


It isn't quite finished - I don't know whether to include her collar or not - have I got enough information on how her fur falls round her neck to leave it out?  decisions decisions ........

Comments

Jeanette Jobson said…
Lovely colours and the blue against the ginger really stands out.

I know she'll love it.

If you can find another image of a cat wearing a collar, you could adapt it for this piece. However, the drawing works beautifully as it is.
12:02 pm
annie said…
How lovely, Vivien. Your daughter will be so happy to have it. What a beautiful cat she was. I like it as it is.
annie
12:15 pm
vivien said…
thank you both :>)

She was a lovely cat and the biggest chatterbox ever

She does have a collar on in the photo I worked from - but I just thought it would look better without, I was concerned that the fur fell right as I was having to do it from knowledge of her and our cats anatomy and fur movement

You've done some beauties of Tripod Jeanette.
9:26 pm
Billie Crain said…
Love this, Vivien! So adorable.
10:14 pm
Bridget Hunter said…
Its just beautiful as it is. Lovely pencil work.
10:24 pm
Lisa Le Quelenec said…
This is so beautifully and sensitively done and I don't think you need to add any more. I'm sure your daughter will love it.
8:00 am
vivien said…
thank you all :>)

yes, she's only seen it online but burst into tears and said she LOVED it and it's going above her desk - so happy daughter ..... I think!

and yes, I agree, I'm not doing any more to it now.
9:26 am
Post a Comment

Popular posts from this blog

Hedges silhouetted agains the snow, winter light: watercolour and Derwent tinted charcoal pencils in Stillmand and Birn Beta Hardback sketchbook

Image
 Detail  I have always liked the calligraphic tangle of the hedges when they are sihouetted against the sky.   Recent snowfall meant even more opportunities with amazing light and the landscape simplified and hidden by the snow, throwing hedges into relief. Above is a detail of a double page sketch in the lovely Stillman and Birn Beta A4 hardback sketchbook.  This paper is so forgiving and the watercolour works beautifully with it.  It allowed me to work through wet washes with charcoal pencil - something that tears many papers, leaving holes.  Some of the hedge is paint, some tinted charcoal. First snow, more on the way, winter light: silhouetted hedges in watercolour and Derwent tinted charcoal in a Stillman and Birn A4 beta hardback sketchbook The earlier warm golden glow of the low sun is covered by clouds, threatening more snow to come.   The spiky calligraphic marks of the hedge and the underlying form of the bank, w...
Read more

The Eye, Urban/Rural exhibition

Image
Vivien Blackburn's work in the Urban/Rural show We've just hung a group show at the The Eye Project, Urban/Rural show.  If you want to come and see it it's on for a month - well worth seeing, 11 lovely artists and some fabulous work. Those large canvasses are 40 inches square. There are rural landscapes, flowerscapes, intriguing textile work including a large knitted building, abstracts .... something for everyone. It's in the gallery below the cafe in the Adult Education Centre at the top of Wellington street, Leicester, opposite Fenwicks.  Meet the Arttists day is Saturday 1st April 10-2.  Come and have a chat with us?
Read more

looking at non traditional composition and quiet vs busy areas in paintings

Image
Paul Klee I thought I'd look at non-traditional composition - where the rule of thirds isn't the key but the painting relies on different compositional methods. in response to an excellent series of posts on the various ways of looking at composition by Katherine (link at end). These alternative considerations or breaking of rules - but making it work - appeal to me more than too heavy a reliance on the rule of thirds. The painting above, by Paul Klee is a 'field' painting' - the composition is overall, the eye travels around enjoying the glowing colour that he creates by juxtaposing complementary colours, subtle greyed greens enhancing the oranges/reds/pinks. Most of the image is composed of the various greens, greeny browns and khakis, with accents of the warm colours. When working this way it's important that the balance is unequal and that the accent colours are placed carefully to keep the eye moving in the way the artist wants. A couple of the brighter...
Read more