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The Process of Creation

Bat Masterson From Beginning to End

Part One

Initially I began with the title, and then images of this little bat dressed as a sheriff started to form in my head. I gathered every picture of a bat that I could find from my vast resource of animal photographs. I was looking for facial position (and a face I could actually tolerate looking at - bats are not a pretty sight!), wing position, color, and total body positioning that would fit the picture in my mind. 

My next step was to research on the Internet the real person known as Bat Masterson. It was here that I learned why he always carried a walking stick (he was actually shot in the hip during a gun battle) and the way he wore his gun. I researched his own personal gun and had pictures of how he carried it backwards. I also researched different types of sheriff badges and found one that could've been used during his lifetime. At this same time I was also looking through western style clothing catalogs checking for color and positions of vests, Derby hats, belts and buckles that could have been used during those days.

While combining and eliminating specific photos I was able to come up with a more finalized image in my head. Learning that bats never stand upright on their feet (or claws), I knew he had to be upside-down. As I always include a rose in my work because it represents me, I decided that the only obvious thing that my little Bat Masterson could hang from would be a rose.

My first sketch was too out-of-proportion for me, so I made numerous corrections and decided that this pencil image would be the final one. Even though it may appear totally incomplete, I always correct my own drawings with the paint brush and pigment.

Part Two

This view shows the head totally completed with the rest of the piece having the basic colors washed in, leaving only those areas blank where I want pure white. I always complete the eyes first in every painting I create involving animals or humans because that's what every viewer focuses on. If the eyes don't look right, it doesn't matter how good the rest of the painting is executed-it will never look right. I have thrown away paintings because the eyes did not look the way I thought they should.

Almost as important as the eyes, I tend to complete the entire face before proceeding to my next chosen segment. I always work in sections and complete each area before moving on to the next. By working this way, I eliminate extra physical movement of the illustration board, leaving me with that little bit of extra energy for painting. As I already see the piece completed in my head, it does not bother me to work this way. I'm sure it's difficult for someone viewing my painting in progress, though, because they don't know what to expect like I do.

I chose the Fruit Bat as my favorite looking candidate because it kind of looked like a mouse instead of a monster. The basic coloring of the Fruit Bat was also lighter than most of the other bats, which allows details and texture applications to show up more easily.

After being satisfied with the bat's eyes and face I proceeded to wash in the lightest basic coloring on the rest of the painting. I used the positioning of the Black Bat's wings but maintained the transparency of the Fruit Bat's wing color when fully extended.

Part Three

In this view, most of the torso is completed along with one wing. By working in sections the way I do, I'm able to put my total concentration on one area making it as colorful and detailed as I like. 

The torso, with all its decorations and historical details, was the most difficult part of the piece. I wanted the vest to have a satin-like texture with a high level of rich color in order to show the volume of the torso and to highlight his badge, gun with holster, belt with buckle, tie and white shirt collar. I completed the vest totally before doing all the details because it's more difficult painting around a small, completed area first. That is the whole trick to watercolor-you must be completely sure of what colors you want where because once the pigment is applied to the surface of your working area, it cannot be removed or changed easily. If I had completed the badge, for example, it would not only have been tedious painting the vest around it, but also dangerous as one small mistake could have disfigured or ruined the badge beyond repair.

In the same fashion as described above, I completed the wing in sections before placing the walking stick in his tiny thumb-like claw. Every section of his wing was painted in a specific order. I first applied the directional texture that is visible while the wing is fully extended. Then I painted over the texture with plain water to soften any harsh areas. I then carefully washed in the colors yellow, pink, and blue in certain areas to show the depth of each wing segment and to capture a transparency of lights and shadows.

Part Four

Voila! The masterpiece is completed! In my eyes, it is a beautiful image with interesting composition and colorful details to attract any viewer. Many people who have seen Bat Masterson in person tend to want to turn my painting upside-down because they think it's easier to view that way, and I have to keep reminding them that bats are usually always hanging upside-down. I must admit, though, that I'm glad they look at it enough to be disturbed by his positioning!

All things considered, Bat Masterson took approximately 80 hours of work combining research time and painting. And that's not including all the hours I spent laying awake at night thinking about it and planning every detail involved in it.

I have not yet decided how I want to expand on my Bat Masterson - whether to make a limited edition print out of him for my collectors or add him to my collection of greeting card characters.