Whiskers in the Garden: Drawing a Gentle Rat

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For some of you, this post might make you want to grab a broom and swat at these dear, sweet creatures—not me. I love all animals!

I volunteered at the Lake Superior Zoo in Duluth, Minnesota. Because I didn’t freak out when they sent me into the flying fruit bat exhibit with a tray of food for the prehensile-tailed porcupines, I earned their respect.

Volunteering to handle the tarantula got me even more kudos.

Until the past year, I’ve always had some kind of pet—cats, dogs, birds, horses, not to mention mice, rats, and yes, my own tarantula.

And before you ask—yes, I’ve looked for reference photos of tarantulas. No, I haven’t found any adorable one, yet.

This is another incredible reference photo from Debbie Anne – Photography., an amazing photographer based in the UK. She shares some of her photographs in the Facebook group called Free Reference Photos for Artists.

And sorry, not sorry, but the second I saw this, I KNEW I had to try recreating it with my then-new (and very intense) hype fixation: colored pencils.

With my trusty iPad and the Procreate app, I traced what I felt were the important features—especially the direction of the fur. Then I printed the outline on vellum tracing paper and transferred it to Strathmore Toned Tan paper. For this piece, I used a mix of Polychromos and Prismacolor colored pencils.

With pencils in hand, I got to work. 

I began by slowly laying down the lightest colors I saw in her (yes, I decided the rat was a she—but I could be wrong). Colored pencil work is all about layering, starting with the lightest tones and gradually building depth. That’s exactly what I did with this sweet girl.

I’ve seen many other colored pencil artists zero in on one area and complete it before moving on. I’m not one of them — I tend to bounce around. I’m still adding the underlying colors I can see.

I don’t print my reference photos; I keep them on my iPad and constantly look back and forth between the drawing and the screen.

I hate to disappoint you by not sharing 3,279 images in this post. I was still pretty new at this and didn’t think I’d ever need progress photos. But here she is—pretty much completed—and now I’ve started focusing on the pole she’s on.

I actually thought I was done here. Her had whiskers have been added, and you could still see the paper showing through on the pole.

So many layers of pencil. I worked to make sure the “black pole” had some depth—not just flat black, but a build-up of dark tones and texture.

If you enjoyed this piece, I invite you to visit my Etsy shop, NorthernSwanArt. I’m gradually adding artwork to items like totes and mugs—pieces that weren’t commissioned and that lend themselves well to print. Commissions remain private unless clients specifically request otherwise.

Supplies Used in This Piece:

Some links below are affiliate; I may earn a small commission at no extra cost—thank you!

• iPad
• Procreate App (for tracing the outline)
• Vellum Tracing Paper (for transferring the outline)
• Strathmore Toned Tan paper 
• Faber-Castell Polychromos Colored Pencils
• Prismacolor Premier Colored Pencils
• Reference Photo by Debbie Anne – Photography. (shared via Free Reference Photos for Artists Facebook group)

Cosset: Beginning the 13 Horses Journey Through Portraits

Disclosure: This post contains affiliate links. If you make a purchase through one of these links, I may earn a small commission at no extra cost to you. Thanks for supporting my work!

I have a dear, sweet friend I met while volunteering at a local equine therapy nonprofit. She’s an incredible horsewoman, and I’ve always loved seeing her shared posts on Facebook—photos of her horses, glimpses into her life. Over the years, I’ve had the joy of watching her children grow up through her posts.

When I read that her daughter’s horse had passed away, my heart broke. I’d seen the bond between them, and it was something truly special. I felt deeply moved to try and paint the horse as a memorial for her daughter.

Had I ever painted a horse before? Not really. I’d only been painting for about a year. But I loved horses, and I figured I could find my way through it. So, I messaged my friend, shared what I was hoping to do, and asked if she had any photos of the horse I could use for reference.

My first attempt at painting Cosset wasn’t bad. Looking at it four years later, I’m honestly impressed with what I managed to pull off, especially considering how little I knew back then and how early I was in my painting journey.

At the time, I had just discovered Arches paper, but I hadn’t yet learned the proper way to prepare it before painting. These days, I soak the sheet thoroughly, mount it to GatorBoard with double-sided tape, and reinforce it with staples to keep everything secure. Back then, the paper warped quite a bit—but even so, I managed to get the job done.

I also had no idea how to approach that soft, “white mane.” I made it work, and I’m still happy with how the painting turned out—but looking back, there’s definitely a lot I’d do differently now.

Once I felt I had the body correct, I had to figure out how to paint the mane and forelock

To tackle the mane, I used a product called Dr. Ph. Martin’s Bleed Proof White. Since watercolor is mostly transparent, using traditional white watercolor wouldn’t have worked for painting the strands of this palomino’s light forelock and mane—it just wouldn’t show up. But by mixing in a little bit of watercolor with the Bleed Proof White, I was able to create an opaque, water-based paint. I was pretty happy with the effect it gave me.

I used the same technique on the mane—and it worked. These days, I’d approach those areas differently, but considering I had only been painting for a year or two at the time, I’m still pretty happy with the results.

Looking back, Cosset was one of my first real horse portraits, created when I’d only been painting for about a year or two. While the techniques and polish have evolved since then, this piece remains close to my heart because of the story behind it — a tribute to a beloved horse and the bond it shared with her family. It reminds me how every step in my art journey is meaningful, and I’m excited to continue growing and sharing with you all.

I’d love to hear from you! Have you ever had a special bond with an animal that inspired you to create something meaningful? Or maybe you have memories of a beloved pet you’d like to share. Drop a comment below and tell me your story — or just say hello! Your messages brighten my day and inspire my art.
Feel free to ask any questions about this painting or the process, too. Let’s connect!

Supplies Used in This Piece:

Some links below are affiliate; I may earn a small commission at no extra cost—thank you!

• Arches Watercolor Paper — High-quality paper with a lovely texture, perfect for watercolor. (Affiliate link)
• Mijello Mission Gold Watercolor Paints — My favorite paints for vibrant, smooth color.
• Dr. Ph. Martin’s Bleed Proof White — I mixed this with watercolor paints to create the opaque colors I needed for Cosset’s mane and forelock.
• Painter’s Tape — Used to secure the paper while painting and help reduce warping.

Heart Hands

Disclosure: This post contains affiliate links. If you make a purchase through one of these links, I may earn a small commission at no extra cost to you. Thanks for supporting my work!

Heart Hands from Let's Make Art Tutorial

I first painted Heart Hands from a Let’s Make Art tutorial, the Heart Hands Project back in February 2020. Honestly, if you want to learn everything about watercolor, you can’t go wrong with Let’s Make Art. No kickbacks or affiliate links here—just genuine respect and gratitude for Sarah Cray and the entire team.

When my niece was getting married, I knew I wanted to create a heart hands portrait of her and her new husband. I pulled the photographer aside and explained what I had in mind. She kindly took the photo, and when I offered to pay for it, she graciously said she was happy to do it at no additional charge.

Once I got the photo, I traced the image using Procreate, printed it on Translucent Vellum Paper and transferred the outline onto Arches 140lb Cold Pressed Paper with my LED Light Box. 

Before I began painting, I used ruled washi tape to map out the edges of the composition on Arches Cold Press Watercolor Paper, then stretched the paper.  I secured it to my GatorBoard with water-activated tape and staples. The washi tape border keeps everything tidy while I work. (Curious about my prep process? Drop a comment—I might just write a full post about it.) 

To protect the  hands and arms while I worked on the background, I first outlined those areas with masking fluid, before covering them.

With masking fluid protecting the hands and arms, I started working on the background. I wanted the vegetation and beach to feel loose and a bit out of focus, just like in the reference photo, but with enough suggestion that someone might recognize the setting. Once I was happy with the initial layers of the background, I removed the masking fluid and started building up the hands and sleeves.

Once I felt I had gotten as far as I could with the beach at this stage, I removed the masking fluid. Watercolor painting is very much a dance—you think one area is finished, move on, and then realize it needs more work after all. As you’ll see in the photos, the foliage and beach kept evolving as I went.

I learned a lot about mixing colors just by doing—mostly through early tutorials from Sarah at Let’s Make Art. She doesn’t dive into formal color theory; she simply tells you which colors to combine to get what you need. That hands-on approach worked.

As you can see in the photo above from when I first painted Heart Hands, skin tones come from a mix of red, purple, and green. It makes a kind of brownish base, and then you can adjust the tone depending on the skin you’re trying to match.

Because of that experience, I felt confident painting skin tones, even though many people feel the need to find the “exact” color. And honestly, what color is skin, really? It’s all about the variations and undertones you capture.

After enough practice, color mixing starts to feel natural—you develop an instinct for what to reach for.

Having said all that, my favorite way to mix a skin tone is to start with Raw Umber.  It is a yellowish-brown, and I add Light Red (which, to me, kind of looks the color of blood) to shift to pink, a touch of Cerulean Blue for cooler shifts.  (I am using my Mijello Mission Gold Watercolor 36 Set). Here I’m working on the first layers of their hands and sleeves.  

I wasn’t expecting to have to paint the bride’s white dress with those shirred sleeves. It was a good reminder of something I often tell myself (and other artists): paint what you see, not what you know. I had to take a deep breath and really look at what was in front of me—cool shadows, touches of blue—not just the “white” fabric I knew I was looking at.

Since this was a gift for them, I wanted to include elements in the painting that would help them remember their wedding day: the main focus: their heart hands and the sleeves of their wedding attire.

In the image above this, after working on the hands, I realized the background needed more attention.

Creating artwork is a constant balancing act—a bit of a dance. You get one area just right, and suddenly the rhythm shifts—something else needs adjusting. This painting was no different. Once I got the hands where I thought I wanted them, I realized the background was too light and needed more depth.

…and once you get the background right, the hands need highlights! That’s the nature of watercolor—it’s a dance. You make a move in one area, and it changes the rhythm somewhere else.

Some watercolor purists say never to use white, while others disagree. Let’s be honest—sometimes the paper is just a tad beige, or you accidentally paint over an area you meant to leave light. In this case, a few highlights on the hands helped them pop right off the page and brought the whole piece back into balance.

The happy couple was pleasantly surprised by the framed artwork, and it now hangs in their home alongside other wedding décor.

Do you have a special keepsake or piece of art that holds deep meaning in your life? I’d love to hear your story in the comments!

If this post gave you a behind-the-scenes glimpse into the creative process you enjoyed, consider sharing it with a friend who might love it too. Your support means the world and helps me keep creating and sharing these meaningful moments.

Supplies Used in This Piece:  Some links below are affiliate; I may earn a small commission at no extra cost—thank you!

• iPad
• Procreate App
• Translucent Vellum Paper
• LED Light Box A4, Ultra-Thin USB
• Saral Graphite Transfer Paper (wax-free)
• Dr. Ph. Martin's Bleedproof White
• Arches Cold Press Watercolor Paper
• Mijello Mission Gold Watercolor 36 Set
• Winsor & Newton Masking Fluid
• Water-activated tape
• Washi Grid Tape
• Ruled Washi Tape (I used tape from TheArtistLife.com, they are no longer in business)
• GatorBoard - Purchased locally at Blaines Art, mine is cut in half.

Painting Glacier: A Watercolor Tribute to a Beloved Horse

Disclosure: This post contains affiliate links. If you make a purchase through one of these links, I may earn a small commission at no extra cost to you. Thanks for supporting my work!

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!

• iPad
• Procreate App
• Translucent Vellum Paper
• LED Light Box A4, Ultra-Thin USB
• Saral Graphite Transfer Paper (wax-free)
• Dr. Ph. Martin's Bleedproof White
• Arches Cold Press Watercolor Paper
• Mijello Mission Gold Watercolor Paints
• Winsor & Newton Masking Fluid
• Water-activated tape
• Washi Grid Tape
• Ruled Washi Tape (I used tape from TheArtistLife.com, they are no longer in business)
• GatorBoard - Purchased locally at Blaines Art, mine is cut in half.