pet portrait artist Archives - Yvonne’s Artwork

“Paint your pet” workshop August 2025

What a great way to spend a weekend 5 ladies attended my latest workshop, in my studio in Pinjarra WA. The workshop runs from 9.30 am to 4pm both days. The first day was warm and sunny but the second day the weather turned wet and windy. Our first day was supposed to cover stretching paper to use for the weekend, but as the forecast wasn’t looking great, I pre stretched some Archers 300gm paper onto MDF boards for the ladies to use. One lady used a Langton Watercolour block in a 12 x 16 size, I use these blocks too, being gummed on all sides with just a 2 inch gap for separating the paper after use, they are convenient to use without having to stretch the paper. , Day 1: Drawing and background Day 1 starts with the drawing using a grid to enlarge an A4 photograph up to and A3/ A2 size painting. The grid is a very useful tool for this purpose creating an accurate image, that is proportionally correct to the photograph. All the backgrounds on these images are fantastic. This is a challenging workshop, the artist has to work with a completely different technique than they are used to, plus use colours in a very bold and bright way. They have to think about which colours will work together side by side, as some colours do not mix well with others, plus learning how the warm and cool colours will affect the finished painting. Day 2: painting the subject Now the fun starts. Day 2 is very full on with a lot of work to do. Using my warm and cool colour technique to create highlights and shadows, they begin to paint the subject. I do not expect them to go home having mastered this way of painting, it has taken me years to develop my style, and it is constantly being tweaked and adapted as my paintings are created. At first they are nervous to make a start, but with plenty of guidance they all create such wonderful images. Suddenly the bold and bright backgrounds are no longer the main focus as the subject emerges. Another workshop completed and 5 very happy students have taken away paintings they can all be very proud of. My aim in these workshops is to give the student the opportunity to play with colour and to learn that there are so many colours you can use to create the finished painting, even if they never use these colours like this again, just learning that black dogs, for example, are not just black, but blue, purple, green even pink, that white can also have pale tones of blue and purple in its shadows. If you are interested in attending a workshop or if you have a group that wish to attend, let me know via my contact commission form.

Going Incognito for a great cause

This year was the first year I have entered the Incognito Art Show. An amazing 20,000 pieces of art were submitted this year! three of them were mine. Every piece of artwork is A5 in size and is sold for just $100. Profits raised go towards funding programs, supporting artists working with disabilities. There are some very famous prize winning and very well known artists in this show, but that’s the beauty, you don’t know whos art you have until you have bought it. “Our mission… To support arts organisations / To provide emerging artists with professional pathways / To inspire and develop a new generation of art collectors and supporters. The Incognito Art Show is a not-for-profit organisation supporting Australian artists. We run Australia’s biggest and most inclusive art show. “ Give it a go! With this in mind I was eager to have a go. I realised that with so many art works on show, in one place and online, the art had to be bright enough to stand out on first glance, be a recognisable subject that would appeal to a wide audience, be well executed, and a good example of my individual style. So my subjects were easy. Firstly there had to be a greyhound, as greyhound lovers tend to be drawn to art with a greyhound on it, and why not!So my first image was Otis in his sunny spot. Being A5 in size the detail was important to me. I used watercolours, gouache and pen on my finished Image. Second was a Tiger. I love painting tigers, their colours and markings are so beautiful, and they also appeal to a wide audience. I have painted this close up tiger face before on an A2 size. This time I added splashes of gold Alcohol inks to catch the light. With this intense stare it is a hard image to ignore. Thirdly, “The head tilt” a beautiful brown and tan Kelpie. Kelpies have a wide appeal in Australia, the ultimate working dog and loved family pet. Their keenness to work and eager to please attitude makes them a firm favourite. I have painted many kelpies in the last decade or so, some examples were prize winners for me too, so third choice was an easy pick. This one also had that splash of gold alcohol ink to catch the light. So, how did I go? Otis and “The Sunny spot” sold on the first day! My other two sold in the first three days. I was thrilled to be able to contribute to this show and ecstatic they all sold for this great cause.Next year I will encourage more of my students to enter and get a “group pack”. My process will be the same, bright and well executed artwork, plus an appealing well known subject.

Yvonne Chapman-Brooks

Biography I was born in the UK in 1962 and have been painting all my life. After leaving school at 16 I went to art college for 2 years then onto Lanchester Polytechnic, (now Coventry University) in Coventry UK, where I completed a 3 year BA(hons) course in Graphic design, finishing in 1983….pre computers! In 1983 on leaving Polytechnic, jobs were scarce, in 1985 I started my State Registered Nursing at Leighton Hospital in Cheshire. This nursing role took me to Australia in 1989. Sadly ill health meant I and had to leave nursing, so I concentrated on my art as a hobby. I used pastel and acrylics as my main mediums, then began including textiles in 2009. My hobby and passion is my art, and around 2013 I started exploring watercolours, my specialty is pet portraiture, animal paintings and recently tree-scapes. I am known for my very vibrant colours. I have been sending my pet portraits worldwide now for several years and have won prizes for my art in Art Exhibitions in WA. I have given workshops in my rainbow colour theory technique. I am the Artist in residence at Vineyard 28 in Harvey, Western Australia. Painting and textile workshops I also work with textiles and have won awards in the USA and Australia for my art quilts. I specialise in thread painting and have held workshops in this technique. My watercolour workshops are a perfect way to explore the watercolour medium beyond the normal parameters of colours, by using the vibrant colours seen in my portraits. The techniques used to create the signature background of my work are demonstrated, along with the stretching of watercolour paper, and drawing from a photo using a grid. There is a materials list of requirements, paints, brushes etc if you would like to do a workshop with me. The workshops are held over two days as there is a lot to learn, and in groups of 6 to 8 people. I can come to you if you are a group that would like to have a visiting tutor. There is a fee for travel and accommodation. The following paintings shown are students work, so far no one goes home without a painting they are proud of, and an idea of how bright colours can work to create highlights and shadows. Textile workshop students I have held a couple of textile workshops and demonstrations in Perth, for various groups of ladies who want to have a try at Free motion sewing. They are held over an 8 hour day as there is quite a lot of ground to cover. They leave with having experienced the basics of how to reach a finished image using just straight and zigzag stitching. Below is my finished “Out of the Ashes” that they are using as reference for this workshop. Tree scape workshop Some examples of student paintings at the Tree Scape workshop. If you would like to attend or enquire about me hosting a workshop for you please contact me using the commission request, or email yvonnechapman841@gmail.com

The Plight of the Galgo

As you may know I love Greyhounds, I had two beautiful rescued Greyhounds, Daisy and Otis, who I have loved, and sadly lost recently. The story of the rescued greyhound is very similar to another breed, the Galgo, a Spanish hunting dog, very similar to a greyhound, part of the sighthound family, they are used for coursing in Spain. These elegant, beautiful dogs are calm and gentle, like their greyhound relatives, but in Spain they were not viewed as a family dog, but as a “thing” that is disposable. Every year thousands of Galgo and Podenco dogs, another sighthound hunting dog, are disposed of horrifically. It is believed that the more suffering the animal receives in its death, the better luck next season for the Galgueros. This mentality sees the dogs suffering the most inhumane deaths. Thrown down wells, poisoned, beaten, starved, burned or hung from trees, the higher in the tree the quicker the death for the better performing dog, the others hung from low branches, forced to support their own weight on tiptoes, until they tire and hang themselves. This is known as Pianoing. This noble breed is mentioned in ancient history, named “the Spanish greyhound”, and is thought by some popular writers to have descended from Egyptian dogs brought to the Iberian Peninsula the Phoenicians nearly 3,000 years ago.They were protected, with heavy penalties for the abuse or death of a Galgo. Over time these dogs worth has dwindled in the eyes of their hunter owners, it is a travesty that such a wonderful dog has been allowed to suffer brutality and inhumane acts of violence. In Spain they were not given any acknowledgement in the eyes of the law. As a result thousands of dogs have disappeared, unaccounted for. In today’s society Spanish Galgo rescues are pushing for change. A new law, as of January 5, 2022, amends the Civil Code to “provide that animals may no longer be considered ‘things’ but ‘sentient beings’ and family members, and that animal owners are now required to provide proper care to ensure their animals’ well-being in accordance with the characteristics of each species.” I support and sponsor dogs through Galgos Del Sol, a rescue in Murcia, Spain, run by an amazing woman, Tina Wales Solera, and an army of volunteers, Thanks to social media the word is getting around the world about this breed, and its ability to make a perfect pet. Education is the key for the future, teaching the children about respect and love for this beautiful breed. Hopefully they, and future generations will once again regard them as the noble breed they are. I wanted to create the image as a more ethereal version, so here it is black on black with an swirling mist, as the Galgo seems to be invisible to many in Spain, and they disappear without being noticed or recognised. Several animal photographers are bringing the Galgo to the eyes of the world, via social media, with exquisite photographic images. Travis Patenaude of StinkEye Photography, allowed me to use his reference image for this painting. He assists rescues in Spain, and helps with the rehoming of Galgos into the USA. As their popularity grows, Galgos are now being adopted throughout Europe, UK, Ireland, USA, Canada, Scandinavia. The public opinion of Galgo and greyhounds has shifted, seeing them as worthy, loyal and perfect companion animals. They have waited many years for this, now they are being given a voice.Once again they can be a noble breed.

I have your back

“I have your back.” I don’t get to paint horses very often unfortunately, but when I saw my friends photograph of her two horses, Llewella and Persia, it shouted out to be painted. There is a local art prize exhibition in June so I decided to paint this as one of my entries. It is a large painting (910mm x 760mm) and I decided on mixed media, for me, is Oils (water-based) and Acrylic. The two work well together as they are both water based products, and the acrylic used as a base for blocking in saves time and is a fraction cheaper. I use the oils as my top layers and love the way I can layer them with brush and palette knife. The do take longer to dry but there is a fast drying medium that can be mixed with it which does help to speed up the process. Using a grid I drew the image using a 2b pencil onto the primed canvas. I like to prime my canvasses with a good quality gesso, even though the are pre primed, I find the paint seems to adhere better and more evenly. Once sketched I paint in my background using the acrylic paint. Here I have used Dioxazine purple, Indigo and Blue Violet, with a touch of Titanium White. The first horse, Llewella is blocked in using Dioxazine purple, Indigo, Blue Black, Cobalt Blue light, Magenta, and Titanium White. I try to get as much main detail in at this stage, but the more subtle shading and blending will be in the next couple of layers. It is hard not to do too much at this stage, the temptation to produce a finished image quickly has to be reigned in. I finds it easier to make changes when the whole painting is blocked in. Even if at this stage the painting looks great, I always seem to change things. I have now blocked in Persia and this is where the gorgeous warmer tones come into play, they contrast beautifully with the cool tones of Llewella. I realise that the background needs some warmth over Persia so introduce some Magenta Oil paint with the purple. The oils are evident by their sheen in the photograph. I now begin to finish Llewella using the oil paints, making much smoother blending on her body. I do have to be careful not to let the paint get “muddy,” so I spread the painting out over a few days, using the fast drying medium does helps to reduce this. Now I can focus on Persia, enhancing the beautiful warm colours. I use Lemon Yellow, Cadmium Yellow Mid, Orange, Magenta, Dioxazine purple and Titanium White in my oils, over similar acrylic colours. (The orange and Dioxazine Purple make some beautiful browns.) The beauty I find of working with the water-based oils are their buttery texture, they blend so beautifully. The other advantage is no smell and easy soap and water clean up. The drying time is about 2 to 4 weeks, longer if I use the palette knife and thick layers. Unfortunately they don’t have the large range of colours as the mineral oil paints do. When finished, I use the same varnish as I do for my acrylics, 2 coats of Atelier gloss varnish. Almost finished, and I have introduced some cool tones with the cobalt blue light into Persia’s’ mane, plus some warm highlights. A touch of white on the shine in her back and the painting is finished. I have thoroughly enjoyed painting this, I need to paint more horses I think!

Watercolours: Lets start with the basics part 2

What to consider when buying watercolour paper PAPER When you start watercolour painting there are so many things to consider, paper becomes a personal preference as to make, surface and weight. The traditional and most common paper to paint on is Cotton, or cotton and wood pulp (known as RAG content,) these make up most of the papers, but also bamboo and agave are becoming popular. Watercolour paper is heavily sized. This sizing is like a glue that seals the paper and stops its surface absorbing all your paint. Artist quality paper has good archival quality meaning your painting will last. There are different formats available: sheets, pads and blocks. Sheets need stretching, using watercolour paper tape, and can be cut to customised sizes. Pads are usually spiral bound or gummed on one edge, pre-cut to a certain size. Blocks are gummed on 4 sides with a small opening to remove the page once painted, these don’t require stretching and will remain flat when the image is dry. They have less sheets than the pads but give a stretched paper finish. Stretching paper prevents the paper cockling (buckling) when dry, it will stick cockle while wet but will dry flat, unstretched paper will cockle and this will remain as the painting dries. WEIGHTS OF PAPER The weight of the paper is important. Watercolour paper is mostly made in different weights, shown here in gsm (grams per square metre for metric), or British imperial lbs (pounds per ream) The weight indicated on the paper pack or pad is the weight of a full ream, so 140lb is the weight of 500 sheets measuring 22” by 30”. 190gsm/ 90lb, 300gsm/140lb, 425gsm/200lb and 640gsm/300lb. 185/190gsm is thin and needs stretching, 640gsm is similar in thickness to card and therefore doesn’t usually need stretching. In summary, and as a rough guide, I recommend that paper of or under 140lb needs to be stretched to avoid the paper buckling. PAPER SURFACE What the difference is between NOT, hot pressed & rough papers? These terms refer to the surface of the paper and its texture. Hot pressed papers have a smooth surface made by passing the paper between two hot cylinders. Great for lots of very fine detail such as botanical paintings. Cold Pressed or NOT (as in not Hot Pressed) papers have a slightly textured surface which is great for most types of painting. Rough the roughest surface. This surface is great for painting landscapes where a more textured finish is required. Telling the front from the back of your paper sheets can be difficult, however if your paper has a watermark, it will read correctly on the right side when held to the light. Usually there’s is little difference and either side can be used, but the right side will have more “tooth” or texture. Not every make of paper is the same and you will find a paper you prefer and a weight you are comfortable with. Stretching your paper You will need… a board (MDF 9mm thick is a good size) large enough to take your selected piece of paper. Paper, watercolour paper, ( as a rule paper over or around 600gms does not require stretching) watercolour stretching paper tape, gummed on one side and easy to tear, KEEP AS DRY AS POSIBLE when stored! Clean sponge Cold, clean Water How to …. Dampen the board by wiping with a damp sponge. Tear selected lengths of tape to fit your paper with overhang, Check your paper for the correct way round, look for embossed paper marks or watermarked name. Soak your paper well on both sides, you can use a hose or watering can for large pieces, or for smaller pieces a sink/bath of cold water, submerge your paper. Drain the excess water slightly. Place paper evenly on the board, some buckling will happen, try to keep it flat but don’t pull the paper flat, or try and smoothen out the buckles. Dampen the tape with a wet sponge. Don’t soak it, just LIGHTLY wipe with the sponge, don’t rub hard or you will remove the glue. Place the tape so half its width is over the edge of the paper and press down, do this for all four sides. Leave somewhere warm to dry. It should dry nice and taut/flat. To remove your painting from the board when finished, run a cutting blade halfway through the brown tape where it covers your paper, if you give yourself a 5mm margin where there is paper behind your tape, you will find the tape stuck to the board will remove easily . Excess tape can be removed by soaking it with water, then using a scraper remove the softened tape, wash the board with soapy water to remove the glue, let the board dry. You are now ready to stretch another piece of paper.

Watercolours: Lets start with the basics

Usually just a few good brushes will do, the choice is split into Synthetic or Natural hair, personally I prefer the synthetic, they are cheaper, easier to replace and work well for watercolours. I find the synthetic holds its shape well, and the hairs are slightly firmer than the natural hair brushes. Natural hair brushes hold larger amounts of water and are great for mop brushes. Natural hair brushes are more expensive, BRUSHES ROUND This brush is very versatile, comes in a good range of sizes and is the one most often used, the round refers to the round profile at the tip of the ferrule, the metal bit before the hairs…and they taper to a fine tip, ideal for detail. by applying pressure as you paint you can spread the brush hairs to widen the stroke. (You can create fine detail with any size brush if you have a nice fine point, so you don’t have to us the smallest brush available to create small fine detail.) Mop brushes or Quills Great for painting very large areas or wetting areas for wet-on-wet applications. Quills have extra large, round body of hair that tapers to a fine point. Mops have densely packed hairs in a rounded shape. Riggers or Liner brushes Riggers are similar to rounds but have much longer hair. They’re perfect for painting long, fine lines. You need more fluid to create a longer stroke. Flat/Chisel or Filbert Flat brushes can be useful for covering large areas or for creating angular strokes. Use the large flat side of the brush for the best coverage, or twist to use the edge of the brush for thinner lines. Filberts have a similar profile to flat brushes. However – instead of having quite sharp, defined edges at the tip – they are gently rounded. Their oval shape creates a round stroke useful for painting petals and blending. Fan Fan brushes have tips where the fibres fan out into a canopy formation. They’re great for painting special effects, (Foliage or grass) creating texture. PAINTS These come in either tubes or pans, student grade or Artist grade. Tubes are good for larger areas; pans are good for travel or smaller areas. Student grades are cheaper, have a smaller range of colours and contain cheaper pigments or artificial pigments rather than the cadmiums and cobalt, found in artist grade. There is a huge difference in price, but I find the Windsor and Newton Cotman range has good colour vibrancy and a good range of colours. The word HUE after a colour means it’s a cheaper pigment used to create the same colour. Artist grade is more expensive, has a wider choice of colours and uses real pigments, they come in “series”, ranging from 1 to 4 or 5, 1 being the cheapest, 4 or 5 the dearest purely because of the pigments and minerals used, e.g. Cadmium and Cobalt. These paints tend to go further, are more vibrant, and are smoother in texture. Opacity Each colour has a level of transparency, affecting how it will look with other colours, for example yellow is very transparent, layered over or under red will make that colour more Orange. Some tubes in both watercolour and acrylic paint will have symbols on the tubes to depict the transparency. An empty square or circle = transparent A Half-filled circle or square = semi-transparent A solid circle or square = opaque. Permanence rating and Lightfastness Referring to the amount of fade over time in museum conditions. AA = extremely permanent A = permanent B = moderately durable Lightfastness is usually I or II (I is the lowest) and refers again to the amount of fade over 100years in museum conditions, both numbers are considered good for Artists.

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