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Glacier was one of those commissions that was incredibly challenging—but also deeply rewarding—to create. A memorial for a beloved horse who had crossed the Rainbow Bridge.
The hardest part of memorial pieces is that I can’t ask for better photos—or go take new ones myself. Often, there just aren’t many clear or detailed reference images available.
In this case, I was given around twenty photos, with only a handful that were truly “paint-worthy.” Thankfully, the client who commissioned the piece—on behalf of her friend—was able to answer my many questions. I focused on the little things—the kinds of details that, if this were my horse, I’d know by heart: the brown patch under his forelock that didn't show in every photo, the tiny black dots on his nose.
The photo my client and I kept coming back to was a great one to paint from—but the lighting was tricky. It made Glacier’s pink muzzle appear almost black. I had to rely on other references and my client’s input to get that detail right. I noticed tiny markings across the different photos and made sure each one was included in the painting.
Once we settled on the reference photo, my first step was to create an outline of the image I’d be painting. I use the app Procreate for that, then print the outline onto vellum paper. If I transfer the drawing before mounting the watercolor paper to my Gator Board, I use a light box. If I transfer after, I use Saral Graphite Transfer Paper (wax-free).
How does one paint a “white horse”? I’m so glad you asked. You focus on what you see—the subtle grays and shadows—not what you know (that the horse is white).
Before I started painting Glacier, I used Ruled Washi Tape and Grid Tape to block out the layout on Arches Cold Press Watercolor Paper, then stretched the paper. I adhered it to my GatorBoard with Water-activated tape and staples. The washi tape border keeps things tidy while I work. (If you’re curious about my prep, drop a comment—I might just write a full post about it.)
After studying the reference closely, I saw that the light grays were a bluish gray. The darker areas tended to shift to a brownish black or sepia. I mixed a soft black using the same burnt sienna I used for the brown spot under Glacier’s forelock, along with a deep blue and a touch of sepia. Mixing a black from colors already used elsewhere in the painting helps create a more harmonious, cohesive look.
At this point, I wanted to test a background I had in mind. When painting a white subject like Glacier, I usually rely on the white of the paper itself to represent those brightest areas. I needed to make sure the background I was imagining would allow him to really pop off the page.
Once the test run was complete, I applied masking fluid to preserve the areas I wanted to keep pure white.
Quick tip: Always test your masking fluid on the actual paper you plan to use. Some brands don’t play well together, and the last thing you want is ripped or stained paper after all your careful work.
My plan for the background was to keep it subtle but meaningful—just enough to suggest the original setting. I added a hint of clouds in the top left and mixed dark green into the black on the right to suggest the presence of pine trees.
The following day, after the paper was fully dry, I removed the masking fluid—and I was thrilled with the results.
From this point on, it was all about layering. I added depth with each pass of the brush, building up subtle shadows and painting in details like his ears.
With every new layer, the painting began to look more and more like Glacier.
The differences between the images are subtle. I deepened the shadows to add more dimension, carefully defining the wrinkles on his nose and adding a few hair-like strokes on his forehead for texture and realism. I also gave his mane more definition, extending some areas with Dr. Ph. Martin's Bleedproof White and adding light gray brush strokes for extra depth.
The final touch? The freckles/spots on his nose. That little detail made it feel complete.
I always let the client tell me when a piece is done. Even when I know there’s more I could do, because there’s always more that can be done to chase perfection. A message similar to, "I think I'm done, unless you see anything to fix," sent to the client determines if I am in fact done.
The best part of this painting? Hearing, through my client, that the recipient said the painting looked more like Glacier than the original photo I worked from. That kind of response is the greatest compliment I could hope for.
Have a special animal in your life you’d love to see captured in watercolor? Or just want to share a memory this post brought to mind? Feel free to leave a comment—I always enjoy hearing from readers, even if it’s just a quick hello.
Supplies Used in This Piece: Some links below are affiliate; I may earn a small commission at no extra cost—thank you!
