Patricia J. Wynne - Cats: Secrets of Observational Drawing

SECRETS OF OBSERVATIONAL DRAWING

PATRICIA J. WYNNE

Witness My Act and Deed, 1882, oil on canvas, Frank Paton, English, 18561909 / Private Collection / Bourne Gallery, Reigate, Surrey / Bridgeman Images

E VER SINCE THE ancient Egyptians domesticated the cat almost 4,000 years ago, its image has appeared in art. Whether pictured under the pharaohs throne, on the lap of Manets daughter, in a Kuniyoshi woodblock print, or in a Chardin kitchen scene, the cat is a subject chosen for its beauty and its mystery. Artists, both masters and beginners, bring their personal skills of observation and technique to the goal of portraying this enigmatic creature. Its soft fur, glowing eyes, liquid movements, and bold shape have repeatedly inspired creative people around the world. Assembled in this book are many classic renditions of the domestic cat. It appears elegant, fearsome, sensuous, and silly in renderings by master hands.

Almost from the beginning, students have learned by studying the works of the great artists. I went to museums to draw even as a child and am doing so to this day. While teaching at Wayne State University, I sent my students across Woodward Avenue to draw at the incomparable Detroit Institute of Arts because I knew they would profit from the experience.

You are welcomed to an ancient and honorable tradition. By studying the vision, line, and brushwork of the masters, all of us increase our understanding of how art is done. I come from a family who loved felines, all felines, and I have drawn cats my whole life. Inspiration comes from living with creatures at home and visiting them in zoos, from piles and piles of photos, from videos, from taxidermy, and from museum works. Sketching repeatedly from any and all of these sources will improve your work.

Open your sketchbook. I do recommend you use a sketchbook as a repository for your efforts just as the great artists of the past used sketchbooks to familiarize themselves with their subjects. By collecting your drawings in one place, they will be easily located while you build your knowledge of every aspect of the cat form. In the following pages, projects are arranged by cat anatomy, surface appearance, and behavior, which the featured artists observed and which we will be exploring together as well. You can do your sketches in any sequence. Pick your favorites, start there, and develop. The medium is also flexible. I have selected those supplies that I believe work for the projects, but use any material you like. Each subject has step-by-step suggestions for achieving a specific goal. Most importantly, study the images. Drawing is first and foremost an act of observation.

Now, lets get started.

Julie Manetwith Cat, 1887, oil on canvas, Pierre-Auguste Renoir, French, 18411919 / Musee dOrsay, Paris, France / Bridgeman Images

TOOLS AND MATERIALS

A N ARTISTS TOOLBOX is very personal. It evolves over many years and speaks eloquently about what kind of person has done the work. In any gathering of artists, the first conversation youre apt to hear is What paper do you use? What pencil is that? Have you tried the latest brush (or pen, or eraser)? Its the sort of shoptalk that we all love. I have learned volumes from my fellow artists, but Im still very resistant to insisting that anyone must use my tool choices. So, if you have your favorites, use them. My preferred materials are listed here, as suggestions.

PENCILS

The basic tool of every artist is the pencil. Pencils range in hardness from HB (the same as a #2 writing pencil) to 9H, which is hard enough to cut paper. Hard pencils can build up very subtle variations of gray and draw very crisp lines.