Dazed By Dapples: Tips for Painting a Dapple Grey

Introduction

Dapple grey is quite striking, making it a popular color with many people. It definitely grabs the eye! Being so, artists like to tackle this color, working evermore diligently to capture its unique features. However, those things that make it appealing can also make it frustrating to create! Its variability, quirks, and complexity blend together into a complex mixture of color, effect, pattern, and eccentricity. Nonetheless, with some simple ideas and observations we can decipher the color in a way that's not so daunting.

So let's explore some of these ideas, those that apply to all media. For a much more detailed discussion on dapple grey, and dapples in general, please refer to the article, Painting Conventions: Fact or Fantasy, Part 3. To complete the three-part series, refer to Part 1 and Part 2 as well.

So let's get to it!

Things to Remember 

• Dapple grey isn't really a color, but a composite pattern entailing the body color with the gradual infusion of white hairs in characteristic configurations and intensities. 

• As such, dapple grey is a progressive effect; it develops as the horse ages. Foals are born a normal foal color and the pattern progresses from dark to medium to light, as the youngster ages. A foal destined to “grey out” will sometimes (but not always) have white hairs around the eyes ("goggles"), muzzle, dock, and inside the ears. In other words, foals aren’t born dapple grey and, on the other end of the spectrum, senior horses aren’t dark dapple grey.
• Dapple grey can occur on any color or pattern, and in conjunction with any markings.
• The pattern can result in a pure “white” horse at maturity, but this color is really grey because the animal will have dark skin under those white hairs (except under markings, which will have pink skin). Also grey “white” isn’t cremello (also erroneously referred to as “albino”) because cremellos have pink unpigmented skin under the pale hairs.

• The “classic” or "porcelain" blue-tone dapple grey occurs on a black horse whereas a rosegrey is merely the pattern on a bay, chestnut, or other solid coat. Steel grey is the graying pattern without dapples and which also tends to have less pronounced greyed-out areas.
• Fleabitten grey (in which tiny flecks of the basecoat remain during the greying process; the fleabitten effect can be minimal or very heavy) can also develop in conjunction with dapples. In other words, a horse can have both fleabites and dapples at the same time. However, as the horse ages, the horse will lighten and the dapples will fade while the fleabites remain.
• Dapple grey isn’t roan, though the two colors are sometimes confused. Rosegreys and steel greys, in particular, are usually confused with roans. However, roan has a very different pattern of white hairs that make it distinct to the trained eye. 
• Not all aged horses grey out pure white, but sometimes retain some pigment, especially on the points (in particular, the joints) or in the mane and tail. On the other hand, some youngsters can grey out rather quickly. The rapidity of the greying progression can be hereditary or due to condition. Some breeds, such as the Lippizzan, have been bred to grey out white relatively quickly, for example. Therefore, while the pattern’s progression is linked to the horse’s age, it’s not necessarily an accurate indicator. Fleabites aren’t an accurate indicator of age either because they can pop up rather early in the greying process, too. It's a general correlation.
• Although dapple grey has some rules, within those parameters the pattern is diverse. No two dapple greys are ever alike, making the individual qualities as unique as a fingerprint. This  means we need to approach each of our dapple grey paint jobs with a totally fresh, new outlook to ensure that individuality.

• To start interpreting the pattern, first identify the “hot spots” on the horse. These are the areas that will first develop white hairs since it’s believed the heat from the blood close to the skin’s surface triggers the white hairs to first sprout there. In some instances, even the mane laid against the neck can create a hot spot, causing accelerated greying beneath it. Then, with age, the white hairs radiate out, creating dapples and eventually turning the horse “white,” or a light version of the pattern. Specifically, look for the pattern to first start at the crown, the ears, on the face, at the throat and jugular, between the jaw bars, in the elbow and flank area, on the inner forearms and gaskins, around the groin, between each haunch, and in the groove between the Semitendinosus and Biceps femoris muscles on the hindquarter. Even though there are exceptions, the first dapples tend to emanate from these starter hot spots. 
• Dapple grey also has some specific effects. For starters, hot spots can cause “sunbursts," or white hairs forming streaks radiating outward in a burst or in a branch-like fashion on the forearms, gaskins, and sometimes the lower haunch and Triceps area. Sunbursts are actually the white hairs following the superficial veins and capillaries. We can also see "ghost tracking," or squiggles or branches that connect dapples together, often seen on the neck and shoulder. In addition, the tendons have light patchy areas and often the tendon grooves are light in color. What's more, the coronets are often rimmed with light hairs, or "bracelets." Actually, streaking and patchiness is typically of the lower leg, especially in the medium phase of the pattern. Regardless, note that dark color tends to stick to the joint or boney areas on the legs unless the animal greys to “white." 

• Every dapple is unique. No two are alike. They can range from bursts to smudges, to jigsaw puzzle piece-like shapes to blockish shapes to star shapes to random shapes to pointy shapes to round shapes, and just about everything in between. Some also even have a spikey or “frosted window,” branching effect. Look for where these different shapes tend to occur over different parts of the body. And they aren't haphazardly splattered on the body, either, but fall into patterns themselves. There's a messy order to them, what we can refer to as "ordered chaos." They can also group together in nestled clusters, forming a pattern within a pattern. Furthermore, they can also line up, forming rows flowing down the body. These effects often most clearly happen on the barrel, for example. Each dapple also has a characteristic coloring: lightest in the middle and darker on its borders, where it blends with the body coat. Yet each dapple also varies in intensity and can also vary in tint and tone.
• Being a composite coat, dapple grey isn't "smoothly" formed. It's not highly blended, in painting terms. Instead, it has a grainy look to it, a speckled appearance, as the white hairs intermingle with the colored hairs. This is an important feature to mimic; otherwise our dapple grey won't appear as convincing as it could have been.

Simple Tips 

• Use good reference photos to guide us and alert us to unique features and details that add realism. Learn to compare and contrast dapple greys to build a mental library of options, too. And to help us further, it's also a good idea to use a photo editing program to turn our reference photos into black and white and inverse versions to help our eye gauge what's happening better. Often a straight reference photo just isn't enough for us to really discern all that's going on. 

• Think of dapple grey as a pattern, not a color. This approach really helps to interpret photos or life study by forcing the eye to perceive structure amidst the chaos. For example, the layout of the light dapples and the dark networks has a pattern in size, shape, placement, orientation, and intensity. Actually, using the skills we've learned for translating appaloosas and pintos comes in very handy with dapple grey. For instance, on appaloosas, we learn to interpret them as dark spots on a light background whereas we learn to interpret pintos as white areas laid onto a dark background. But with dapple grey, we need to apply both perceptions simultaneously. In other words, don’t just see white dots on dark areas or dark networking on light areas…see both, and paint both, concurrently. It takes practice and keen observation, but we can do it!
• Think of the various shades of dapple grey as different levels of intensity of light areas. And “intensity” doesn’t just refer to brightness either, but also the prevalence of these light areas as well. In other words, a dark dapple grey has a low intensity and occurrence of light areas and a light dapple grey has a high intensity and occurrence of light areas. On the other hand, a medium dapple grey is the most diverse, having various intensities of light and dark on the same horse. 

• Note that dapples are different shapes, sizes, spacings, intensities, orientation, and tones. Also note they often fit together like jigsaw puzzle pieces, in clumped groupings, rows, or various other discreet clusters. Also notice that dapples follow the pattern of the hairgrowth, especially around the flank area. 
• Markings and patterns become more diffuse and blotchy as the pattern develops, most notably on the legs and face, with the exception of muzzle markings. 
• The color of the mane and tail (and feathers, if present) are also subject to great variation and are important to note. Rosegreys tend to have the most arresting variations in this regard, often having flaxen, brown, or chestnut in the manes and tails. Also, the tip of the tailbone tends to be the first to grey out.
• Study lots of photos and living horses to mentally absorb more information about the pattern. After several pieces, painting it will become easier as we develop a mental library of characteristics, variations, and details. And use new references to stay fresh to avoid a formulaic approach. Remember, each dapple grey is unique.

Artistic Hints

• Learn to interpret dapple grey as “ordered chaos," which is the best way to describe the pattern. The paintjob should give a clear impression of a pattern (order) yet be infused with a living, organic, non-static, and individualistic treatment (chaos).
• There are two ways to initially paint a dapple grey: Dark on light or light on dark. But the truth is we should avoid creating the pattern with both simultaneously. Indeed, a lot of “back n’ forth” adjustments are required to achieve a convincing result. When we paint light dapples on a dark background, they appear to artificially  "float" on top rather than seem part of the coat. Yet when we paint dark networks around light dapples, we can produce a regimented, honey-combed, heavy-handed appearance. 

• Our primary goal when painting a dapple grey is to avoid artificial regimentation. The pattern recognition response of our brains makes it unconsciously easy for our hands to fall into contrived patterns when we lay in the dapples or dark networks. Yet if anything can be said about dapple grey, we can say it isn't contrived. This is why also using black and white and inverse versions of our references can help us by "shocking" our eye out of the expected interpretation. Also, take breaks between sessions and come back to the paint job fresh. Dapple grey does have general patterns, so we should be sure we're painting those and not what our brain arbitrarily contrives. Never assume and never fall into habit, preconceptions, or formula when painting this pattern.
• A "classic," "porcelain" dapple grey is comprised of black and white hairs. We can use Ivory Black (for a cool blue variety) or Mars Black (for a warmer variety), and Titanium White. We can also add some browns and tans to tint it as desired.
• Rosegrey should be approached exactly the same way, but rather than just black, use tones appropriate for the basecoat.
• Keep the pattern distinct. We should be clear with our painting and not muddy the idea by becoming too complicated, over-worked, or over-blended. There’s a fine line between ordered chaos and a confusing mess, both technically and artistically. For this reason, it’s often better to just focus on the pattern itself and refrain from too much muscle highlighting and shading, which will quickly muddle the pattern into an unconvincing confusion. And we should never get messy with our media. The pattern may certainly look chaotic, but our approach to it certainly shouldn't be.

Details

• Fleabites are a fun detail to add. We can draw them on with a color pencil (keep it sharp) or paint them on with a size 00 paintbrush. We can even splatter them on with thinned down paint (the consistency of ink) and a stiff toothbrush (flicked with our thumb; do some practice before attempting this technique). And to add hair direction and detail, use pencils or liner brushes to refine them. The handy trick with this is that the flicked effect automatically creates variability for us so we can avoid that ever-present threat of regimentation. Fleabites can occur all over the body or be concentrated in certain areas. Fleabites are the color of the basecoat and can vary in color over the body consistent with the bloom of the coat. For example, they can be more like the body color on the body to become more charcoal around the eye and muzzle. Sometimes, a fleabitten grey will have a “bloody shoulder” marking in which a lacey, speckled patch of the basecoat remains on the body, which can be small or quite large.

• Rub marks, from lying down, often occur on the knee, outside of the point of hock and fetlock. They show up as white patches about the size of a dime or quarter.
• To recreate the impression of a thin-skinned or clipped horse, pinking the skin under markings is a nice touch. But keep it subtle. Also, dark skin can show through the white “hot spots” when the animal sweats, often appearing at the pectorals, elbow, point of shoulder, throatlatch, around the base of the ear, flank, and stifle. These dark areas shouldn’t be confused with the grey pattern because they’re the dark skin showing underneath the wet hot spots. It makes for a nice realistic touch.
• We can use color pencils to define, intensify, and detail the dapples and sunbursts if we like. Derwents are recommended since they have a high pigment ratio to wax. And keep them sharp! Color pencils are also great for detailing the mane and tail as well with subtle striations of hair.

Things to Avoid

• Fight regimentation. We shouldn't allow our hand to be dictated by our brain's pattern recognition response.
• Likewise, avoid uniformity with dapples including uniformity in their shapes, sizes, orientations, clustering, intensities, spacings, and shadings. 
• Avoid uniform, smooth transitions from dark to light areas. In other words, the dark "honeycombs" around the dapples typically exhibit transitions into the grey areas that are abrupt, jagged, chaotic, and in a jagged “broken honeycomb” manner. A touch that's too even-handed creates a unrealistic look by compromising that "ordered chaos" so essential for dapple grey's believability.
• Avoid blended, uniform shadings on the legs since the greying pattern usually creates rather patchy and abrupt transitions between dark and light in these areas.
• Avoid excessive body shading and highlighting; focus primarily on the pattern. This will keep the pattern clear and distinguishable and prevent a confusing result.
• Be aggressive with the dark and light areas on a dark or medium dapple grey. These phases of the pattern are bold! And as the pattern progresses, toning down the contrasts between the darks and lights can help to duplicate the look of a dapple grey that’s lightening.
• Refrain from creating the pattern by applying colors in a flat, simple manner such as just laying down black or brown networks on a white background and calling it a day. For example, a common mistake here is the "Figure-8" method with an airbrush. Truly, a dapple grey paintjob requires many “back and forth” layers to be convincing.
• Pay attention to where dapples occur, intensify, are shaped, cluster, line up, and disperse on the different parts of the body. They shouldn't be evenly spaced or of the same nature over the entire body.
• Try not to misinterpret the color by laying white and dark portions in the wrong patterns. Really, many dapple grey paint jobs are unconvincing because the artist mistakenly juxtaposed the light and dark areas.
• Avoid pink shading where white markings aren’t present. Sometimes, artists inaccurately “pink” the elbow and flank areas, thinking that unpigmented skin lies underneath. But a dapple grey has dark skin underneath unmarked areas.
• Avoid painting a bloody shoulder marking in a flat color. In reality, blood marks are speckled and patchy with lots of interesting things going on in them.
• Pay close attention to the hair growth pattern when laying in fleabites. Hair growth also influences dapple shape and flow, so we need to be observant here, too.
• Harmonize the dapples and the dark networks. In other words, the dapples shouldn't look like they're "floating on top" of the dark color, but are set into it, part of it. This means we can't add dapples after the fact but have to paint them simultaneously with our dark networks and areas.
• Avoid a "powder-puff" look by blending the pattern too much. Remember, maintain that distinctive graininess characteristic of the coat.

Conclusion

Painting a dapple grey is no cake walk. It's easily one of the toughest patterns to capture realistically. It may take years to truly come to understand how to paint it! The trick is keen observation, using, comparing, and contrasting a plethora of reference photos, and practice. Lots and lots of practice.

Over time then, painting a dapple grey becomes less difficult. Especially when we come to See and understand certain aspects about the pattern and refine our tricks for duplicating them. And though these ideas discussed here may be time-consuming, they're well worth the effort!

Even so, many of these ideas discussed in this tutorial can be applied to any dappled coat such as “bloom," pangare, reverse, seasonal, sooties, and silvers. However, remember that every type of dapple coat has a different dappling pattern and set of characteristics. That means we can't apply the pattern lifted from a dapple grey and apply it to a silver. That means we need to use dapple grey references to paint a convincing dapple grey. Don't switch and substitute!

Keep working at it and practicing. Try different techniques and ideas, and we shouldn't be afraid to experiment. The dapple grey pattern offers us an infinite number of exciting variations, so stretch a little bit and enjoy!

"I made a promise to keep a watch over myself, to remain master of myself, so that I might become a sure observer."

~Paul Gauguin

Dazed By Dapples: Tips for Painting a Dapple Grey

Stayin' Frosty

Blue Frost's auction is now live! Now to sit and wait...

"Once an artist gets it in his mind that it's a blooming adventure, then, and only then, everything falls into place and starts to work." ~ Joseph P. Blodgett

Stayin' Frosty

Snowflakes Inside and Out

Blue Frost

Wheeeee -- done! Fresh out of the studio comes Blue Frost, that Laf'nBear Bram'll Blue Boy I've been painting, on and off, for the better part of a year as I figured out some painting methods. You can see more pix here, and he'll go up on Auction Barn tomorrow. I'm so happy I was able to "enlarge" the dapple grey ideas I painted on that fun mini Nahar -- I was worried that things wouldn't translate up scale. So, of course, I must try it on a larger scale next time!

Anyhoo, this guy got his name by a combination of the edition's fun title and the fact that it's been snowing big, fat flakes all day long. We must've gotten about two inches of snow today! So between that and his "snowflakey" dapples, "Blue Frost" was it. He was so fun to paint, even though my eyes were crossing at regular intervals! Here is the source reference that inspired his color and pattern.

I mean -- look at those soulful eyes. What's not to love?

And speaking of fun -- I got my custom-made rubber stamps yesterday to stamp out my ornaments! I can't wait! I also got drywall boards to dry them -- a handy trick is to sandwich the tiles between two slabs of drywall to help them dry evenly and to keep them from curling up at the corners like potato chips. Granted, this is assuming you don't have any "sticky out bits" on a bas-relief tile, but a flat surface with recessed areas. But I'll be rolling out and stampin' the first slabs tomorrow! Hi-KEEBAH!

"Joy is but the sign that creative emotion is fulfilling its purpose." ~ Charles du Bois

Snowflakes Inside and Out

EUREKA!

Or, "the bathwater is too hot," but whichever it is -- it's good. As you may have surmised from my previous posts, I've been struggling with my paintwork. I'm trying to redefine my "painting paradigm," to aim for more objective, realistic effects, rather than, well...what I thought was realistic. Certain areas of my skill set needed updating or a new perspective. This has held up the completion of many painting projects, however, because I couldn't bear to paint in a way that I wasn't happy with -- I don't like spinning wheels. But I had a series of massive "ah-ha" moments thanks, again, to writing for The Boat (specifically for Part II of my painting conventions series). Two trouble areas for me, in particular, were eyes and facial fleshy areas.

I've been frustrated with the painting of my horse eyes -- they weren't exactly what I wanted. Plus, I was confused by what I was seeing in life study -- I just couldn't make sense of what I observed in life and then because of that, I had difficulty rectifying that with what I was comfortable painting. So -- kick the "same 'ol" routine out the door and time for some open-minded research with fresh eyes. And WHAM! Now I get it! It's funny how you can look at something...earnestly look at something...for decades and still not see what you needed to see. Every insight comes in its own time. Now I understand what I was seeing in life study, and why it occurs -- so now I can start painting my eyes with renewed confidence.

I've also had a hard time with painting the fleshy areas of horses -- the muzzle, eye area and inner ear. These facial areas are remarkably difficult to paint if you're aiming to mimic the various effects you find there -- especially when they aren't shaved and baby-oiled like you would see in a horse show. But again, thanks for writing for that segment in the series -- I get it now! New effects and using new colors. I'm looking at these areas with fresh eyes and that has totally opened up new possibilities. I'm not going to take anything about painting realistically for granted anymore. Amen! Testify!

I've inputted these lessons in the sooty dun paint job I just finished* -- this piece was a guinea pig of sorts for these new ideas. Now, admittedly, I started the experiment not entirely sure these new ideas would work in application. Often what we see in life doesn't translate well in a paint job. But now that the piece is done, I cannot be more thrilled with how well these new interpretations worked! I'm now able to achieve the look I've been after!

What was especially interesting to me was how badly my eye and brain wanted to revert back to the old habits. These new takes on reality were a "hard sell" to them. But once completed, it's like they totally bailed on the old team and switched sides. Perhaps it takes a good uncomfortable jolt now and again to realign artistic development. Crank up the juice!

So now I'm full bore back at work on Lynn Fraley's wonderful Bram'll Blue Boy! He's not anywhere near done (above), since these are only the preliminary layers. But these first layers are just as important -- they establish the "palette" of the piece, and coat depth and layering, which is especially important for a complex pattern such as this, a dapple grey. He's going to benefit from all the lessons I've learned, and I'm very excited to see if I can pull it off again, especially at this smaller scale. I hope to have him done in about a month.

(*But yes -- it's done! I'm just waiting for the custom made marble base to be finished for it.)

"To the artist is sometimes granted a sudden, transient insight... A flash, and where previously the brain held a dead fact, the soul grasps a living truth!" ~ Arnold Bennett

EUREKA!

Mayhem Mojo

These are my guard frogs. Other people have guard dogs. Or noble lions. Perhaps even a bear. Not me!---I'm all about buggy eyes and funny feet. I'm crazy about frogs and about this time of year they start to appear, singing their strange songs of love into the night. The irrigation pond at my parent's house typically rings with a cacophony of little froggy voices and if you're lucky, you can see them chillin' on the rocks along the rim. They have the right idea---hanging with buddies by the pool!

Speaking of chillin' with buddies, albiet not around a pool, but around a pool-sized kiln...Mayhem 2008 was a blast! This annual mudfest is a shameless drench in all things ceramic, splashed with lots laughter and food. Lots and lots of food. We revert to our own inner Emile, dang straight! It's food for the soul, too. Truly, when Joanie, Lesli and Lynn are together, I hear happy cosmic harmonics that rattle my neurons in pleasant ways. Yet like every year, it all came and went in a blink of a buggy eye, and the house is left so quiet and still. There's a tangible feeling my house seems to have after each Mayhem that speaks, "What the heck was that?!"

Same with my brain! Wow...my mind is still spinning from everything I've learned. There's no substitute for hands-on doings and picking the brains of experts to really jump-start the learning curve and the inspiration to tackle it. Also casting from an unprecedented nineteen piece plaster mold (Stormwatch) does a lot to whittle away any sense of timidity! I think I've finally conquered my trepidation with underglaze, too, since the two pieces I worked on came out so much nicer than I expected, and pretty much what I'd aimed to create, which is new. I suspect because I underglazed them boldly, with total abandon, with no sense of worry or anxiety that typified my earlier attempts. I had nothing to lose. It's alarming how a sense of caution can impede a creative attempt, and there's rarely a less forgiving media than ceramics, which only heightens a deep sense of artistic existential agony! Yet if you're gonna learn to swim in the glaze, you just gotta jump in! There's something to be said about uninhibited chaos in the studio. So my big breakthrough this Mayhem was experiencing the difference between freedom and fretting when working with ceramics, which was the key I needed to unlock my resistance. As anyone who knows me will tell you---I'm impulsive. I'm not a "plan ahead" kinda gal. I thrive in an "eraser situation." Yet ceramics demand a very regimented way of thinking because you have to see each step in perfect clarity, all the way to the shiny end. This is very hard for me to do, which had brilliantly impaired my ability, and desire, to even venture forth. Things are very different now. The ability not to care has unshackled my ceramic mind! So, thank you Mayhem for...well...the new creative mayhem in my mind!

Which brings me to new mayhem with cold-painting. Besides going bonkers with ceramic techniques, I'm also playing with a new cold-painting method for my dapple greys, using charcoal pencils, in white and black. I've been searching for that method that duplicates the graininess of a dapple grey accurately, while also providing absolute control so those dapples look right...and I think I finally found it....after 20+ years! I'm applying this technique in earnest on a wonderful Fraley Bram'll Blue Boy and I'm pleased as punch with how he's turning out! Here's the "before":

Then using a tortillion, I smudge strategic parts and areas to soften it:

Then I spray with Testors Dullcote, and start again, building up layers and effects. Shown here is only the first layer, so you can see I have a ways to go. I also plan to use an airbrush and hand painting to accentuate certain things. The great thing about this approach, what actually sold me on it from the get-go, is that the graininess remains in scale. I'm a big stickler for painting effects to be fastidiously in scale, which becomes increasingly important the smaller the sculpture. Honestly, there are few things more effective to erasing the "believeability" of a paintjob than having its key aspects out of scale to the pattern or the sculpture. So me thinks an article on this method for The Boat is in order!

I'm a believer in sharing information. I like a jumbled sticky sweet mess of fresh ideas heaped in a big communal bowl, tantalizing our artistic senses. Some may think this is confusing, perhaps intimidating, or even foolish, but I think it's enlightening! Exciting! To my mind, the whole point of discovering new artistic methods and concepts isn't to horde them and let them stagnate, but to douse the world with them and watch them grow. The more brains that puzzle on a technique, the more possibilities are revealed! This is why those minds that show a predilection for creative exploration and those spirits that show a fondness for sharing the lessons learned tend to garner my deepest admiration. It creates such good juju. Dessert for the mind and soul. So thank you, Joan, Lesli and Lynn for another year's serving of enriching soul food!

"Anyone who isn't confused here doesn't really understand what's going on." -- Anonymous.

Mayhem Mojo