My favourite part of drawing Emmylou and Ted was their soft, wavy coats. When I’m working with long, wavy textures like theirs, subtractive techniques are essential. Instead of only building layers on the paper, I also lift pigment off to create those natural highlights and flowing strands. For this piece, I used a mix of…
Category: Commission
Emma (commission)
I loved working on this dog portrait, and if I had to choose a favourite detail it would be her ears. The colours, the textures, and that mix of long inner fluff with shorter outer fur came together so softly you almost want to reach out and touch them. To achieve that softer look, I…
Lacey (commission)
When I create a portrait, the eyes are always the heart of it. I start with a simple outline, just enough structure to build on, then slowly layer colour, keeping it light and deliberate. I’m always watching for how the light hits. There’s usually one strong highlight, but it’s the smaller, secondary reflections that give…
Joey (commission)
One of the key challenges, and most satisfying parts, of this golden doodle portrait was capturing the contrast between the looser, longer waves on the muzzle and the short, tight curls across the body. When rendering curls, I’ve found it’s far more effective to think in terms of shapes of colour, rather than trying to…
Mylo (commission)
One of the most rewarding challenges in coloured pencil work is capturing the softness and texture of long fur, especially on a white dog. For this commission, I leaned heavily into subtractive techniques, using a micro eraser and ceramic blade to lift and carve out delicate strands of hair. These tools allowed me to create…
Honey (commission)
My latest commission, and this one was a joy to create! Unlike traditional painting, where colours are blended together directly, coloured pencils don’t blend in the same way on drafting film. However, by applying colour on both sides, the film’s translucency allows the layers to interact seamlessly, creating depth and richness in the final portrait.
Lily (commission)
Creating a tabby cat portrait is a bit like doing the hokey pokey- you add some colour in, take some colour out, add more colour in. Layering tones and adjusting values is key to achieving that signature striped look.Of course, it’s best to skip the part where you shake it all about- especially when holding…
Marley (commission)
At first glance, white fur might seem like a challenge when placed against a white background. But here is the secret- white fur is rarely pure white. It carries subtle tones and shades that can be tricky to spot at first.One simple trick to help train your eye is using a small square of pure…
Thor (commission)
I was absolutely captivated by Thor’s charming ‘smile,’ and recreating it was the most enjoyable part of his portrait. Achieving a realistic gummy smile lies in capturing the glossy highlights on the gums. It’s essential to focus on getting the deeper tonal values of pinks and blacks just right. I begin by working outward from…
Molly (commission)
While looking at Molly’s photos, I could almost feel the softness of the fur on her ears. To capture this delicate texture in my drawing, I start with initial layers of colour applied with a very light touch, using circular motions to create a ‘soft blur’ without any harsh lines. Shadows are added with a…
Kelly Murphy, Fine Art 