Hume evolved a sleek schematic technique for his paintings, achieving an impenetrable high-gloss surface through his use of industrial and household gloss paints over an aluminium support. Early works were full-size representations of swing doors in London hospitals, pared to a scheme of their rectilinear shapes and surfaces, representation behind a thin veneer of minimalist language. Around 1992 he turned for his motifs to images from popular culture, frequently forms of beauty and pathos, intended to produce an emotional effect. Hands, feet, teddy bears, puppies, women, plants and animals, all stylishly depicted in sheer viscous gloss with sensual juxtapositions of ice-cream colours. The identity of the subject is frequently buried within the curvilinear styling, selected for its ability to trigger emotion. He reduced media images to simplified icons, silhouettes with salient features remaining: a seductive pair of lips, a pair of eyes, a hand. In this print, Hume has indulged the irresistible urge to anthropomorphise the Rorschach spread of the green featureless spreading form: it is given black blobs to serve as eyes. They are the absolute minimum effect required to achieve animation, and leave the nature of the creature ambiguous: is this an amiable cuddly toy or predatory beast?