How to Draw a Wolf (Howling)

For the first few steps, don’t press down too hard with your pencil. Use light, smooth strokes to begin.

Step 1: Draw a circle on the top right side as a guide for the howling wolf’s head. The circle doesn’t have to be perfect. It’s just a guide. Leave enough room at the bottom for the wolf’s body.

Step 2: Draw a couple of arcs on top of the head as guides for the wolf’s muzzle. The arc on the right should be thinner and shorter than the one on the left.

Step 3: Draw another small arc on the left side of the head as a guide for the wolf’s ears.

Step 4: Draw two bigger circles under the head as guides for the how to paint a wolf step by step body. These circles should be about twice the size of the first circle. The top circle should be almost directly under the head. The second circle should be off to the left more.

Oil Paint and Brand Reviews

I have used a wide variety of paint. I thought it might be useful to share my thoughts on different oil paint brands comparatively, and what I have come to value having experience with so many different brands (and price points).

There are three main levels to the manufacture of oil paint for artistic use. At the base level is raw pigment suppliers. Most raw pigments nowadays come from commercial suppliers who sell to many different types of industries. Most pigments in artists’ paint are therefore not particularly special unto themselves, but there are few which are very special indeed. The second (and perhaps most important) level is the artist holbein oil paint review manufacturer. These run the range from tiny companies of (sometime lone) colourmen to industrial scale automated complexes, and the quality and qualities of paint can vary widely. It can be confusing. The best artist paint manufacturers source quality pigments and mill them consistently and to the highest pigment load possible. Certainly each brand and paint line has it’s own characteristics (such as oil used or paint consistency), which is based on the manufacturer’s philosophy, taste, and price point target. Some paint manufacturers also make their own raw pigments – Michael Harding makes Cremnitz white pigment in-house, for example. The last level is the artist. Though no longer common, some artist still make their own paint because they want to control quality, create a particular colour mix, or are simply interested in the process.

I believe the quality/qualities of the paint an artist uses should depend on what it’s being use it for. For example, if you are toning a gessoed canvas with extremely thinned out mars red or earth green or something, it’s just a well to use cheap paint. Further, it really isn’t necessary to buy more economically produced pigments (Burnt Umber for example) in premium brands. With colours like these, the pigment load is less important than the preferred consistency of paint – a bit over-oiled might actually be preferable! Lastly, with some experience, I think it is very important to use good or even very expensive paint when required. The cost may be high, but the rewards are great. For a common example, cadmium red hue is worthless to most serious artists – you simply have to spend the money on the real thing. A proper Cremnitz white truly acts differently than Flake or Lead white, and a real Naples Yellow (also with lead in it) is a different colour than most manufacturers Naples Yellow, which are either single pigment approximation (like one that Williamsburg offers) or a hue (like everything else it seems). Consequent to this viewpoint, I use paints which sometimes have a massive price point difference side by side.

Painting, You’re Doing It Wrong

Don’t bother asking Mark Gottsegen – founder of AMIEN, author of The Painter’s Handbook, teacher, artist, and all around art materials guru – what’s the best type of paint to use?  “I get asked this all the time,” said Gottsegen, who took time out from writing to speak to me last week.  “And I say, well, I can’t tell you that.”

It’s not that he doesn’t have opinions on the matter, but as someone devoted to the scientific study of art materials he realizes the importance of maintaining an unbiased position.  AMIEN, which stands for Art Materials Information and Education Network, bills itself as “the only unbiased source of information about art materials on the internet.”  They do not accept advertising and do not allow the promotion of any specific products. In a series of forums on the AMIEN website, users can post their questions about art materials and get answers from a team of knowledgeable moderators and other experts in the field who monitor the site.  (Gottsegen informed me that he personally reviews each answer for accuracy).  AMIEN’s board of directors includes conservation scientists from top institutions, founders of well-known art supply companies, and artists from around the county.  Many of them help answer user’s questions on the site as well. – Trevor Spaulding, Los Angeles Contributor

While you are never going to reach a consensus among painters about something as personal and subjective as best gesso, when it comes to materials, there are some objective realities that dictate proper use.  Sure, you can ignore them, but you do so at your own peril.