In 1982, when artist Jean Pritchard was 17 years old, a representative from a local art and design college saw students’ work at her high school exhibition. Upon seeing illustrations of science and technology, she immediately knew what she wanted to do with her life.
The young Pritchard’s artistic vision quickly led her into the world of illustration, ultimately delving into wildlife art. She primarily depicts large felines in jungles, mountains, and savannahs.
Those early days were much simpler, as illustrators still used old-fashioned methods of drawing on parchment paper before transferring to canvas, as opposed to using Adobe software, let alone today’s artificial intelligence. Professors at the Blackpool Art College under Blackpool and The Fylde College in Lancashire, UK mainly trained her in watercolor techniques, but she later discovered bolder and more vibrant colors in oil painting.
“That was before the computer took over everything, so the illustrations in books were hand-done, not made with digital art on a computer,” she said. “The illustration world today is completely different.”
Illustrators in the 1980s were still using techniques that made early artists like Norman Rockwell famous, but Pritchard was enamored with even earlier styles. She began incorporating 17th-century chiaroscuro in her depictions of leopards, lions, and tigers—using dramatic lighting to shape forms.
“I really love Rembrandt, and I think that shines through in my paintings,” Pritchard said. “I tend to emphasize the portrayal of light sources to draw the viewer in.”
Living in the rural North of England with few museums, Pritchard primarily studied Baroque paintings through books.
While her paintings of white tigers are currently popular in the art market, her technique remains deeply rooted in tradition. Each painting starts on a canvas primed with raw sienna—similar to the monochromatic priming famously used by Rembrandt. She then applies layers of very thin paint to build color and volume, akin to the classical masters.
“I let each layer dry completely, so the colors don’t get muddy. I used to do this when painting with watercolors too,” she said. “As the layers of oil paint get thicker, more like cream, it works beautifully.” This slow layering process allows Pritchard the time to step back and carefully consider each move, deciding how to proceed.
“I usually start from the most important part of the subject—the head and eyes,” she said. “If that part is done correctly, the whole painting is a success.” She keeps the edges of the composition looser, tightening lines and enhancing light on the focal point to make it stand out and create depth.
Like artists of the Baroque and Renaissance periods, Pritchard finishes her artworks with rich layers of glazing in vivid colors.
Currently, a snow leopard stands on her easel, calmly staring directly at the viewer. So far this year, Pritchard has completed a pair of white tiger paintings inspired by some excellent reference photos she found. She has now “got used to painting white fur.”
“People love white tigers because they are so rare and face challenges to their survival,” she said.
Pritchard expresses disdain for painting from photos processed through Photoshop. She leans more towards traditional methods but has gradually become more tech-savvy in some aspects. She used to teach art in person but the pandemic forced her to switch to online classes. She has started using software like Procreate to sketch future artworks conveniently.
However, she is selective about the technology she uses.
“I really don’t like AI,” she said. “I feel it’s ruining art.”
Pritchard now plans to showcase her works in more southern and bustling art exhibitions.
“I’m trying out some new exhibitions closer to London, which is completely out of my comfort zone!” she said.
The original article titled “Wildlife Artist Paints Tigers, Snow Leopards, and Other Big Cats in Amazing Detail—Here’s How” was published on the English Epoch Times website.