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Painting a leopard skin Finally, the pattern seems very complicated, but by doing a little methad, it is actually not that difficult. First, an image of the original (poor thing ...) Of course, all of creation Panthers are different. And there are no two identical tasks. This leaves some room for maneuver to reproduce this complex pattern! By carefully observing the picture, we see that: * the animal's back is red and this color gradually brightens to the flanks and legs are white * the backbone is well marked from head to tail, with a series of dark spots aligned and tightened; * the spots then arrange in concentric circles centered on the head until the middle of the back, then the base of the tail; * on the back and flanks, tasks are large, donut-shaped (more exactly of ocelli) on their stomachs, they are always so great, but all black; an the legs, they are small and black The only solution is likely to proceed in two steps: first, the background color of fur; then tasks. At work! The background color of the fur On the traditional underlayment Humbrol matt gray No. 28, the base color is a beige Humbrol matt Spent two layers thin much diluted with white spirit I started painting the edges of the skin in white. This white border, on very thin legs, is wider on the parts Fur corresponding to the flanks and belly of the animal Then I cover the rest of the surface of a yellow-orange mixture I funds and the two colors with an old brush by pulling the white to yellow After locating the backbone in the folds of the skin, I covered with a brown roux And I fund this line, drawing from brown to yellow. Finally, I raises the hairs of the fur in the most enlightened: - For the parts in white, pure white light I, - The parties in yellow, I shine with yellow paler by adding white to the initial mixture The background color of the coat is complete. Before starting the tasks, it remains only to let it dry. A passage in the oven can usefully speed things! Some close-ups of tasks i Boone a The tasks The first step was simple. The second requires more time, and it is better to have it in one go, to keep a constant stroke. So plan a long painting session, quietly, before you start. Here we go! I started painting a primary task of the spine, neck to the tip of the tail. Tasks are elongated by rings, small, usually completely closed. The Mix: The paint is slightly extended to White Spirit, until mixture "creamy" which lets you paint with brush strokes. The White Spirit rapidly evaporating, this dilution must be taken continuously on the pallet The brush is a 3/0 short hair (brush transplants), Series of 8400 in Raphael. Then I put a second line, the first identical but offset by about half a ring, so that tasks are properly nested. These first two lines being made, there remain (dare I say!) To complete the rest based on this benchmark I start with the side and thigh. Tasks are large. The rings are irregular compounds actually 3 or 4 black spots juxtaposed with a central clearer. If the brush "skid", and you make a ... task (), do not attempt to clean, you will damage the neighboring tasks; best left as, is and correct after drying I continue to work down to the belly. The tasks are slightly clearer, I increased the proportion of umber in my mixture. 1 agree with the backbone of smaller tasks (not always easy at the bottom of the pleats!) And I treat the hind leg and tail with tasks into smaller and smaller until the end. The tip of the tail is entirely black. After some additional effort, the entire pattern is in place. Tt remains to raise in red brown (burnt umber + Dark Chrome Yellow) within the larger tasks of the yellow fur. And now, there is more than dry. Small alterations can then be useful to refine the design. And the skin over