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Impressionist Wildlife Painting

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Tiger Art

Based on Original Contemporary Wildlife Tiger Art Portrait Painting by Artist Diane Griffiths

This painting is very important to me. At the time it was my largest painting to date. I took particular pride in the fur and whiskers, aiming to capture the feel of both as the tiger stands poised; looking at his next meal but waiting for the right moment.


Original Painting Sold

  • Original Contemporary Cornish Landscape Painting
  • Acrylic on 1.5″ box canvas with painted sides
  • 76x61cm/30×24″ (2015)
  • Signed

Buy Art Prints and Gifts

  • Art Print – Printed on premium 240gsm paper
  • Framed Art Print – Mounted in 35cm deep chunky frames (Frame 52x52cm).
  • Canvas Prints – Printed on premium 260gsm canvas, hand-stretched over 38mm bars with white sides, includes handy hanging pack so your canvas can sit flush to the wall.
  • Cushions – Printed on soft faux-suede material with white coloured back, Hard-wearing and machine washable.

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Work in Progress

When I set out to do this painting I knew this was going to be a breakthrough for my own personal art journey. At the time it was the biggest canvas I had worked on and I was determined to create something really bold and beautiful. I had already painted quite a few tigers and was really pleased with how striking they look when captured in acrylic. After a visit to London Zoo with my camera I knew I had the perfect shot for my painting. It was a daunting blank canvas at first, but I quite confidently sketched out the shape of the tiger and blocked in the main colours. For me, this is one of the most enjoyable parts of a painting. Everything is new and exciting; adding that first layer of colour to the canvas and creating something out of nothing. The below shows my first blocky layer, where I’ve taken a leaf out of Van Gogh’s book and used quite bold brush strokes in order to get those initial shapes and colours. Once this has dried, it’s time to start adding the detail. I always begin with the eye. It’s the most structured and detailed part of the painting, it can make or break it, so I was keen to get it right. Next I move onto the nose and start to get more detail on the fur.

In hindsight I should have completed my background first, but I was so excited to paint the tiger I actually didn’t have the patience to do the background first!

The below is starting to look quite polished now, I had a few hairy moments when the fur wouldn’t do what I wanted it to do, but with patience and by building up the layers I started to get the effect I was after.

It was finally time to do the background before I finished off the tiger. I wanted to create an abstract grass-like effect; something with created a sense of movement.

The final layers are all about the detail now. I often take breaks between my painting sessions. During some of those breaks I sit away from the painting in order to check the overall composition, colour, texture and contrasts.

I also take photos of the painting during it’s creation, particularly towards the end; this allows me to view it in a new environment (on the computer) and get a fresh perspective. It’s very helpful to see when something looks wrong. I usually find with this step that there may be a perspective issue which needs fixing and the areas around the edges just drop-off (which sometimes is ok), but my focus is so much on the central part of the painting, I need that reminder to ensure that the whole of the painting flows.

I make notes on what I need to tweak and paint next, so when I approach my next painting session I know exactly what I’m going to do. I find that if I don’t have those notes, I’m somewhat aimless and can ruin a painting by overworking it. There is so much detail in this painting, the viewer can visually stroll around the image taking it all in – I just love it!

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