Celebrated wildlife artist Pip Mcgarry reveals how he created this dramatic, detailed oil portrait of a majestic creature
This young lion was one of a group of five I witnessed in the Maasai Mara National Park in Kenya a couple of years ago. They were all young males and seemed to have broken away from the main pride. Being young adults, they were full of energy and were stalking and pouncing on each other. The expression on the face of this young lion hopefully captures some of that spirit. It is important to understand your subjects and I have been lucky enough to have taken nearly 30 groups of artists and photographers to Africa (Botswana, North and South Tanzania and Kenya) on safari. This has enabled me to spend nearly a year in total camping in some of the finest African wildernesses and experiencing the wildlife close up and personal.
Paint a lion with Pip Mcgarry
Winsor & Newton: Ivory Black, Payne’s Gray, Cerulean Blue, French Ultramarine, Blue, Burnt Umber, Burnt Sienna, Titanium White, Indian Yellow, Alizarin Crimson, Blue Black, Brilliant Red. Norma Schmincke Paints: Brilliant Orange, Lemon Yellow
Winsor & Newton, size 1; Pro Arte Series B Long Flat Hog, size 3; Winton Winsor & Newton long flat hog, size 6, 8, 10, 4; Cotman Watercolour Brush, Series 111, size 2 Round; series 111 Round, size 0000; Series 111 Round, size 5; Rigger Rosemary’s Brushes, size 7/0; Pur Sable size 6, Cotman Size 000 Watercolour; Swordliner
61x46cm canvas medium to fine grain
Painting wildlife is beset with difficulties not commonly experienced with other genres. This style of painting can be divided into many categories. One of the difficulties painting wildlife is that animals move around and can be hard to see. Many wildlife artists paint from photographs, something ‘purists’ are not keen on. But some animals are so rare, it is almost impossible to see them in their natural habitat. Many artists work from captive animals. I would suggest that, because of these factors, as well as the huge variation in subject matter, painting wildlife well is one of the most difficult of occupations. Fur, eyes, water, snow, trees, skies, animal skin, tusks, hair, habitat are all within the wildlife artist’s remit.
Start with pencil
Sketch your intended subject directly onto your canvas. It is much better to make your mistakes in pencil because they are easier to correct. With portraits, I usually start with the eyes, which will mostly be near the centre of your painting. You can start where you want, but you may end up having to lean across wet paint.
Stick to white
The rim of the eyes was painted in Ivory Black, while lit areas were added in Ultramarine Blue and lifted with a touch of Titanium White. It is best not to use other types of white, such as Flake White or Zinc White. They do not spread as well and are more translucent. Stick with Titanium White. (Trust me, I have accidentally used another white and results were much more difficult to achieve.)
Paint the eyes
Both eyes were painted in. I used Ivory Black, Burnt Sienna, Lemon yellow, Titanium White, French Ultramarine Blue and Burnt Umber with a Winsor & Newton long flat hog brush, size 5 and a Cotman watercolour brush 111 series, 0000 Cotman round. We are blocking in the ‘undercoat’ at this stage.
Focus on fur
Here I started to paint the fur using large brushes for big areas and small brushes for small areas. This sounds obvious but took me years to cotton on. There is no need for detail at this stage. I used W&N size 8 and 10 long flat hog brushes, using mostly Payne’s Gray, Ivory Black, Yellow Ochre, Burnt Umber and Burnt Sienna mixed with Titanium White to achieve the correct colour.
Block in the face
Most of the face and muzzle was blocked in with basic colours, using larger brushes such as the size 10 W&N long flat hog. I used smaller brushes when I needed more control using the same colours as in step 4. Once again, there was no need for any great detail as I was only marking out boundaries.
Work on the mouth
The colours were blocked in for the teeth and mouth, using size 4 W&N hog brush for the larger areas and a size 5 series 111 Cotman watercolour brush for the blue light relections. Colours used: Ivory Black, Burnt Umber, Ultramarine Blue, Titanium White, Alizarin Crimson.
Finish blocking in
This shows the halfway stage. The whole face has been blocked in as a kind of ‘undercoat’ or ‘primer’. This allowed the topcoat to be richer and ensured that when I put down detail at a later stage, it will be more successful. If I put down the detail too early, it could ruin a painting.
Add eye detail
I re-visited the right eye, using finer brushes such as a ‘rigger’ for the surrounding fur. Riggers are long fine brushes that marine artists often use to paint the rigging of ships. They allow a long fine line to be painted, which is useful for fur. There are various types of riggers, this one is from Rosemary’s Brushes 7/0 series. I also used a 0000 Cotman watercolour brush as it allows extra control over any small details.
I used brushes such as a fine pointed sable brushes sizes 4 and 6 from Rosemary’s Brushes, to paint the fur, I started putting the detail on. I still wanted this to look like an oil painting and I used an old scrubby-looking brush to create a more textured finish. Often I will use a palette knife to highlight strong colours but didn’t on this particular painting.
I came back to the mouth and teeth. Repeating the same procedure as in step 6, I painted over the existing undercoat more carefully and putting in detail. A 0000 Cotman brush helped to place very small highlights in and a Cotman watercolour brush no 5 series 111 round for larger areas. The other colours I used were Alizirin Crimson, Burnt Umber, Ivory Black and Titanium White.
Fine tune the fur
The portrait was almost finished. I fine-tuned with larger brushes such as a swordliner and rigger. A large hake brush can soften outlying areas, which in turn enhances details, such as the edge of the lion’s fur.
Finish with whiskers
The final touches were the whiskers, which, for me, are usually the last step of any big cat portrait. I used a largish rigger brush to achieve this effect, making sure to keep the paint wet so it will create an accurate, long, fine line. Remember there are also whiskers above the lion’s eyes. Finally, I signed the picture using a 0000 Cotman watercolour brush.
Want to see more on capturing wildlife in your art? Get top tips from the late, great wildlife artist David Shepherd or find out how to portray animals in motion.
The Lion King Fan-Art Archive
The Lion King Fan-Art Archive (or TLKFAA for short) is the largest collection of The Lion King fan artwork on the Internet, featuring over 7,000 artists with a total of over 364,000 published pictures as of January 2009.
TLKFAA is a monument to the devotion of furry fans and others to Disney's 1994 blockbuster animated film. Established as part of lionking.org in late 1995, it contains artwork by a full gamut of artists, from professionals to fans who can barely do more than put pencil to paper or push a mouse. As with any fan art, the subjects to be found in the archive are often characters created by the artists for the established Lion King paradigm. The site also offers a place for artists with a visual style similar to that of Disney films to share their non-Lion King-related artwork.
TLKFAA is also connected to the Lion King Fan Art Messageboard, nicknamed "Lilymud" by its users for its random URL.
Some of this material is excerpted from fanart.lionking.org.
Look, we get it. With the social distancing protocols in place across the world, it's tough to find good, lighthearted content if you're a media company that doesn't peddle in hard news. So our sympathies go out to POPSUGAR for trying to post a gallery of sexy furryLion Kingfan art as if it were a brand new thing that people make on the internet.
On Thursday, POPSUGAR posted a gallery of Lion King art drawn by Los Angeles freelance artist Marco Bernard. The drawings feature humanoid depictions of Mufasa, Scar, Nala, Rafiki, etc, the lot of them looking muscular and weirdly sexy. Bernard says he was inspired in part by Beastars, a hit anime series which shows humanoid animals in a high school drama.
While the art itself is fine, what made the story noteworthy was the blatant thirst POPSUGAR displayed over the characters. The title of POPSUGAR's piece reads, "An Artist Transforms Lion King Animals Into Humanlike Characters, and I'm Shook by the Results." Author Victoria Messina wrote, "Putting "sexy" and 'The Lion King' in the same sentence may feel somewhat sacrilegious, but one artist has made it feel so, so right." What really drove the story home was POPSUGAR's tweet, which bragged, "We can guarantee you've never seen The Lion King characters like this before…"
Now, if you've been on the internet for more than 30 minutes or if you've visited this very website, then you have definitely seen The Lion King characters like this (or worse) before. Twitter users were more than happy to let POPSUGAR know that sexy animated character fan art was not exactly groundbreaking internet territory.
Welcome, POPSUGAR, to the furry fandom. You have a lot to learn.
Related Memes 2 total
Prehistoric ivory sculpture discovered in the Hohlenstein-Stadel, a cave in Germany
This article is about the prehistoric sculpture. For other uses, see Lion man.
The Löwenmensch figurine, also called the Lion-man or the Lion-human of Hohlenstein-Stadel, is a prehistoric ivory sculpture discovered in Hohlenstein-Stadel, a German cave in 1939. The German name, Löwenmensch, meaning "lion-person" or "lion-human", is used most frequently because it was discovered and is exhibited in Germany.
Determined by carbon dating of the layer in which it was found to be between 35,000 and 40,000 years old, it is one of the oldest-known uncontested examples of an artistic representation, one of the oldest statues ever discovered, and the oldest-known animal-form (zoomorphic) sculpture in the world. Its age associates it with the archaeological Aurignacian culture of the Upper Paleolithic. It was carved out of mammoth ivory using a flint stone knife. Seven parallel, transverse, carved gouges are on the left arm.
After several reconstructions that have incorporated newly found fragments, the figurine stands 31.1 cm (12.2 in) tall, 5.6 cm (2.2 in) wide, and 5.9 cm (2.3 in) thick. It currently is displayed in the Museum Ulm.
Systematic excavations at Hohlenstein-Stadel cave began in 1937 under the direction of prehistoric historian Robert Wetzel. The discovery of a fragmented mammothivory figurine was made on 25 August 1939 by geologist Otto Völzing. The start of World War II just one week later meant that the fieldwork was left incomplete and analysis of the finds was not undertaken. The excavation trenches were back-filled with the same soil in which the ivory had been found.
For approximately thirty years, the fragments lay forgotten at the nearby Museum Ulm. It was not until archaeologist Joachim Hahn started an inventory and assembly of more than 200 fragments that a figurine with animal and human features began to emerge.
Wetzel continued to spend summers digging at the site until 1961, and further finds of ivory were made on the cave floor in the 1970s. In 1982, paleontologist Elisabeth Schmid combined the new fragments with Hahn's reconstruction, correcting some errors and adding pieces of the nose and mouth that emphasized the figurine's feline characteristics.[a]
In 1987, a comprehensive restoration began in the workshops of the Landesmuseum Württemberg by Ute Wolf in cooperation with Schmid. During the work, which took more than six months, it was realized that the figurine was only about two-thirds complete. The back is severely damaged and the legs are missing some ivory lamellae. The ears, eye-holes, two-thirds of the mouth and nose, and the back of the head are preserved. To fill gaps in the head and body a reversible substance consisting of a mixture of beeswax, artificial wax, and chalk was used.
From 2008, further excavations were carried out in the cave. All layers were sifted systematically, which led to many minute fragments being discovered. The first new adjustments were simulated virtually so that fragments could be added without having to disassemble the original recreation.[b]
In 2012, a second restoration was begun in the workshops of the State Office for the Preservation of Historical Monuments in Esslingen under the leadership of Nicole Ebinger-Rist. The figurine was disassembled into its individual parts and newly discovered fragments were added along with the old ones, allowing further completion of areas of the head, back, and right side of the body, and artificial additions used during the first restoration were discarded. The Löwenmensch figurine grew in height from 296 to 311 millimetres. Work was completed in late 2013.
Some researchers have ascribed sexual characteristics to the object. Initially, the figurine was classified as male by Hahn who suggested a plate on the abdomen could be a flaccid penis. Schmid later classified this feature as a pubic triangle; however, from examination of new parts of the sculpture, she determined that the figurine was that of a woman with the head of a Höhlenlöwin (female European cave lion). Male European cave lions often lacked distinctive manes, so the absence of a mane could not determine categorically that the figurine was that of a lioness, and a debate about its sex ensued among some involved in the research and the popular press. Kurt Wehrberger, of the Museum Ulm, stated that the statue had become an "icon of the feminist movement".
After the 2012–2013 restoration it was realized that the triangular platelet in the genital area was processed all around, separating it from the figurine. A fracture point suggests that originally it may have been square in shape, which most commonly could be interpreted as a stylized male sex organ. Debate continues, even though an objective determination of the sex of the Löwenmensch figurine may be impossible.
The Löwenmensch figurine lay in a chamber almost 30 metres from the entrance of the Stadel cave, accompanied by many other objects. Bone tools and worked antlers were found, along with jewellery consisting of pendants, beads, and perforated animal teeth. The chamber was probably a special place, possibly used as a storehouse, hiding-place, or maybe as an area for cultic rituals.
A similar but smaller lion-headed human figurine was found in Hohle Fels. Archaeologist Nicholas Conard suggested that "the occupants of Hohle Fels in the Ach Valley and Hohlenstein-Stadel in the Lone Valley must have been members of the same cultural group and shared beliefs and practices connected with therianthropic images of felids and humans" and that "the discovery of a second Löwenmensch lends support to the hypothesis that Aurignacian people practised a form of shamanism."
The figurine shares certain similarities with later French cave paintings, which also show hybrid creatures with human-like lower bodies and animal heads, such as the "Sorcerer" from the Trois Frères in the Pyrenees or the "Bison-man" from the Grotte de Gabillou in the Dordogne.
The carving of the figurine from hard mammoth tusk would have been a complex and time-consuming task.[c] A similarly-sized tusk found in the same cave has marks that "indicate that the skin and thin bone around the tooth cavity of the upper jaw were cut through to the surface of the tooth, which was then exposed for detachment with a hammer. The tip was harder and had to be removed by wedging and splitting."
Wulf Hein and Kurt Wehrberger conducted an experimental replication with the kinds of stone tool available at the time. Removing the base of the tusk took ten hours. The body was carved with a steep-fronted scraper; the burins requiring regular resharpening. Several different tools were needed to separate the torso from the insides of the arms while shaping the head and shoulders, which involved difficult cutting across the grain of the ivory, often required two hands on the tool. The basic shaping took around 200 hours, and in total the recreation took more than 370 hours.[d] Jill Cook, Curator of Palaeolithic collections at the British Museum, suggests that "unless the sculpture was created slowly at odd moments over several months, someone as skilled as an artist may have been excused from other subsistence tasks to work specially on this piece."
In his October 2017 BBC Radio 4 series Living with the Gods, Neil MacGregor asked Cook
"... so why would a community living on the edge of subsistence, whose primary concerns were finding food, keeping that fire going, protecting children from predators, allow someone to spend so much time away from those tasks?"
She replied that it was
about "... a relationship to things unseen, to the vital forces of nature, that you need to perhaps propitiate, perhaps connect to, in order to ensure your successful life".
- General stone age art topics
- Examples of zoomorphic stone age art
- Related ancient history lion-headed figures
- ^The images at this reference: show how much has been achieved after years of painstaking reconstruction.
- ^This reference: shows the lion-man after restoration 1987–1988 with new fragments from the 2010 excavation (red) and free fragments from the stock of the museum (green).
- ^This reference: shows the position of the figurine inside the original tusk. Schmid found that the groin area coincided with the apex of the tusk's pulp cavity. "The long axis of the figure follows the nerve canal with the head at the narrowing end. This expert positioning suggests that the make deliberately selected a portion of the tusk suitable for a preconceived work." (Cook, 2013)
- ^The Ulm Museum site says 360 hours, Cook (2013) says 320 hours, whereas the video made by the team says 370+ hours.
- ^"14C dating - The age of the lion man". loewenmensch.de (in German). Ulm, Germany: Museum Ulm.
- ^"Discovery: 1939". Löwenmensch: Entdeckung (in German). Ulm, DE: Museum Ulm.
- ^ abcSchulz, Matthias (5 December 2011). "Puzzle im Schutt". Der Spiegel. Hamburg, DE.
- ^ abcLobell, Jarrett A. (March 2012). "New life for the Lion Man". Archaeology. 65 (2).[page needed]
- ^"Discovery: 1956". Löwenmensch: Entdeckung (in German). Ulm, DE: Museum Ulm.
- ^Images of a preliminary lion-man reconstruction (photos). Löwenmenschen. 1980.
- ^Adam, K.; Kurz, R. (1980). Eiszeitkunst im süddeutschen Raum (in German).
- ^"Discovery: 1987". Löwenmensch: Entdeckung (in German). Ulm, DE: Museum Ulm.
- ^"Discovery: 2011" (in German). Ulm Museum.
- ^"X-ray computed tomographs". Löwenmenschen.
- ^ ab"Discovery: 2011". Löwenmenschen (in German). Ulm Museum.
- ^Petershagen, Henning (2 November 2013). "Löwenmensch ist gewachsen" [The Lion-man has grown]. Südwest Presse (in German).
- ^Duckeck, Jochen (10 December 2008). "Der Löwenmensch". showcaves.com. Darlegen Archäologie [Explain Archaeology] (in German) (German ed.). Archived from the original on 21 May 2009. Retrieved 17 May 2009.
- ^Duckeck, Jochen (10 December 2008). "Lionheaded figurine". showcaves.com. explain Archaeology (English ed.). Retrieved 17 May 2009.
- ^"Sex?". Löwenmensch: Bedeutung (in German). Ulm, DE: Museum Ulm.
- ^"Depot, hiding place, or cult place?". Löwenmensch: Bedeutung (in German). Ulm, DE: Museum Ulm.
- ^ abConard, Nicholas J. (2003). "Palaeolithic ivory sculptures from southwestern Germany and the origins of figurative art". Nature. 426 (6968): 830–832. doi:10.1038/nature02186. ISSN 1476-4687. PMID 14685236.
- ^"Animal and human being". Löwenmensch: Bedeutung (in German). Ulm, DE: Museum Ulm.
- ^Kind, Claus-Joachim; Ebinger-Rist, Nicole; Wolf, Sibylle; Beutelspacher, Thomas; Wehrberger, Kurt. The smile of the Lion Man – recent excavations in Stadel Cave (Baden-Württemberg, south-western Germany) and the restoration of the famous Upper Palaeolithic figurine(PDF) (Report). Baden-Württemberg, DE: State Office for Cultural Heritage. Retrieved December 22, 2019.
- ^"Image showing the positioning of the lion-man figurine within the original tusk".
- ^ abcdCook, J. (18 February 2013). Ice Age art: Arrival of the modern mind. The British Museum. ISBN .
- ^ abPresenter: Neil MacGregor; Producer: Paul Kobrak (23 October 2017). "The Beginnings of Belief". Living with the Gods. 06:08 minutes in. BBC. BBC Radio 4. Retrieved 23 October 2017.
|Wikimedia Commons has media related to Lion-man.|
- "Lion Man". lowenmensch.de. Ulm, DE: Museum Ulm. — museum official Lion-Man website with information about the figurine
- Hitchcock, Don (ed.). "Der Löwenmensch" [The lion person]. Don's Maps. — materials and photos of the figurine
- Lion Man 2.0 - The Experiment (video) (in German) – via YouTube. — showing the manufacture of a replica using authentic tools, in German with English subtitles
- presenter Neil MacGregor (23 Oct 2017). The Beginnings of Belief. BBC Radio 4. Living with the Gods. British Broadcasting Corporation. series 1, episode 1. Retrieved 2021-07-18.
Furry art lion
Lion Dressed Aloha Shirt Furry Art Water Bottle Holder Premium Reusable Bottle Carrier With Adjustable Shoulder Strap Iced Coffee Cup Sleeve For Hot & Cold Drinks(12-24oz)
About the cup sleeve
It is made of composite sponge fabric, which is cold and heat-insulating and water-absorbing to prevent external dew from wetting your hands. Equipped with a detachable cross-body strap, which can be hand-carried or worn on the body, which is convenient and beautiful. Suitable for most standard size coffee cups, cups, water bottles, paper cups, etc., suitable for cups from 12 to 24oz.
- Size : 8.3x6.7x9.5 cm/3.3x2.6x3.7 in.
- Suitable for offices, schools, shopping, outings, etc.
- Foldable to store easy, a great gift for your families, friends, teachers.
- Hand wash or machine wash, dry in shade.
1.Please use mild neutral detergent for detergent.
2.Please remove the shoulder strap when cleaning.
Satisfied yet. "Fucking her in the ass?" savory slapping my girl on the ass, he asked me. I did not immediately understand that they were addressing me, and belatedly replied: "No, we did not have anal sex. " He parted the halves of her ass, and happily said:. Virgin.
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I had no opportunity to look around. My position strongly constrained me in movements, which, by the way, made it even more difficult to put up with the cold. Lot of time has passed, I tried to warm myself as best I could, trampled from foot to foot, rubbed my body with my hands, but it did not help much.
The uncomfortable position also affected, the back ached strongly.