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The goal here is to reproduce the oil painting above. Using the same pose but altering the color pattern to match the client’s beloved companion's likeness. (pictured on the left is our subject, "Zoe")
The painting above was my first attempt in painting an English Bulldog, using oils. I believe I completed it in the late 80's. The dog was our Champion, "Domino's Spark'O Godsend". For short we just called him, "Junior". The painting hangs in our family room.
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My pallet for the under coat (foundation), from here I will build layer upon layer adding lighter and darker values. (light yellow, burnt sienna, sap green, burnt umber; titanium white)
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I first sketch an outline on the canvas using a charcoal pencil.
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I then apply a generous undercoat of the basic colors of the subject. It is a medium value, later I will add darker and lighter values to this under coat. The white portion of the painted dog is not 100% white. The white is mixed with small amounts of the fawn color used on the patches. (to create the beige I mixed white and small portions of burnt umber; yellow)
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Here I applied my first coat of what will be my tentative background. This is a basic background; my goal here is to cover the entire canvas with paint. Once this first coat of paint dries, I will revisit the background and add darker values to create shadows. Lighter values will also be used to help create depth.
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Once the background dried, I covered the entire background and grass area with a thin layer of linseed oil. The same colors that were used to apply the first coat are used here. Small amount of purple were mixed with the darker shades in order to create shadows. The background and grass area will be revisited again.
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Here I decided to alter the background. I used a dry brush technique to create the cloud effect. First, I applied a small amount of titanium white on my pallet then I saturated my paintbrush (bristle) into my dirty solvent (I like to use odorless mineral spirits) then I blended the small amount of sprits with the titanium white. This gave me an off-white paint. I never like to use 100% white on my paintings unless it is going to be some sort of highlight.
Next, I took small amounts of this off white mixture and damped small random areas on my canvas. I then used a paper towel to dry my bristle paintbrush. Next, I began to rub the paint on my canvas, holding the brush almost parallel to the canvas. It is almost like scrubbing/rubbing the paint onto the canvas as you spread the paint. The defused clouds where accomplish by constant rubbing. This rubbing action will wear out your brushes very quick; therefore, I like to use my inexpensive bristle brushes for this technique.
The next colors I applied to the background were burnt umber and ultramarine blue. These two colors were lightly mixed on my pallet first. I then applied daps of this dark mixture on the canvas to areas I wanted to darken. Again, I took the same bristle bush after first removing the prior color from it. A quick wash in my solvent did the trick. I then dried the brush with the towel and began the same dry brush technique... scrubbing and rubbing in order to spread my paint. I was careful not to paint over my white paint for now.
The next step was to blend the white and darker background paint. I took a 2" hair paintbrush and dipped the tip of it into my solvent. I the removed most of the solvent with my paper towel. Next, with a very light touch, I began to blend the white and darker areas together..
The procedure is repeated two or three times until the desired effect is achieved.
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The image shows the grass area change. I took sap green with cadium yellow and lightly mixed it. I randomly applied the paint to certain areas using a fan brush. The bush technique was more of a dabbing effect to give the illusion of grass. Next, I applied another layer of 100% sap green with the fan brush. This gave me the darker areas. Note, most of my dog shadows disappeared for now. Later I will use sap green and purple to create my shadows. The grass area will not be finalized until the dog is finished. This will allow me to add blades of grass on the foreground (front of dog’s paws”. Shadows are necessary in order to anchor your subject to the ground; otherwise, the dog will appear to be floating.
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Once I was satisfied with the background and grass area, I began on the main subject. Again, I do not like to use 100% white even though my subject appears to be partially white.
Different off whites can be used for white fur. I decided to use a mixture of Payne’s Gray with white in order to give me a medium value for the white fur areas of the subject. Before applying any paint to the dog, I first took my linseed oil and applied a very thin coat. Using a paper towel that did not leave particles behind, I rubbed the linseed oil all over the dog. I was very careful not to disturb my background or grass area. Applying the oil allows the paint to better glide on the canvas.
Here I basically created an out line of my original sketch and adding more fur detail. For the brindle markings on the dog, I made a wash that consisted of 100% Paynes gray and very little solvent (mineral sprits). Note that most of the paint is removed from the fan brush before it is allowed to touch the canvas. Leaving too much paint on the brush will not give you the hair like pattern. I also applied short strokes in the direction of the fur pattern.
Once the fur and facial features were painted on, I used a dry fan brush to blend and stroke in the direction of the fur.
Note: this step is your under painting used to give a general foundation as to where to revisit, building on darker and lighter values. Most of the under-painting will be painted over, but some of the under-paint will still be visible, allow for the illusion depth
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Today I concentrated on increasing the values. The dark became darker and the light, lighter.
I created a wash in order to help me create the brindle color. This dog color would be classified as a white, fawn-brindle. The brindle is the darker almost black color that is blended with the fawn color. The brindle allows you to see the directions of the fur pattern.
To create the fawn I took titanium white, and small amounts of burnt umber and yellow. The brindle was created using a blend of burnt umber, purple and Persian blue.
Before I began, I covered the dog with a thin coat of linseed oil and wiped it off with a lint free paper towel.
Building on the previous fawn color, I used a fan brush and began to build on the texture, creating short strokes to simulate the length and pattern direction. I also created a wash using the same fawn color and went over the fawn/brindle area. The wash allowed the previous painted brindle to show through. Next, I took my brindle color and applied the brindle strokes using a brush and using a short fine point brushes.
Once the fawn-brindle area was covered with paint, I used my #20 flat blending brush to blend the fawn and brindle.
Later I came back with the same fawn color and added more color to areas that required highlights. The same holds true for the brindle, after the blending most of the brindle lost its dark value; therefore, I introduced more of the brindle, randomly.
The head and white areas where revisited with their same colors, but darker and lighter values were introduced. Using my blending brush to simulate the direction of the fur.
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Per the client's request, the teeth were added. Most clients that
are into showing their dogs perfer not to show the teeth.
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At this point, I am done with the washes...
The entire canvas was covered with a generous coat of linseed oil, and then wiped off with a lint free rag.
A fawn color was created using... about 95% white, 4% orange and 1% black. Using the fan brush, I revisited the fawn areas where the fawn/brindle fur colors are located.
Next, I used burnt umber, purple and blue to create the dark brindle color. Again, I used the fan brush to simulate the fur pattern. Your brush strokes should be in the direction the fur grows.
Once both the fawn and brindle are on the canvas, I used another fan brush (dried) to lightly blend the two colors. Make sure you use a light hand in order to obtain the correct effect.
Using small amounts of the brindle color, I used a flat brush to bring out the outlines on the portions of the dogs white areas. Next, I used an off white to cover the white areas of the head, body and legs. Using a flat sable brush I blended the brindle and white, that is I worked the canvas using a light hand, going back and forth, working the paint until the paint look correct. Always keeping in mind which direction the fur grows. The blending portion of this is one of the most important steps. Correct blending is what allow your painting to look 3D/professional. Do not worry about making a mistake. You can always repaint.
Now, from here on I will go back and forth with my lightest and darkest values until I am satisfied. I am striving to give it a 3D feel. As you can see, the painting is almost to the same values as my reference painting.
In a couple of days, I will give it the last coat, which will consist of mainly, shadows and highlights.
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The final application consisted of merely adding detail. That is creating contrast with your shadows and highlights in order to give the painting a 3D feel.
I took Payne’s gray and mixed it with small amounts of linseed oil in order to allow the paint to aid in the application. Without the linseed oil the paint straight from the tube is usually not runny; therefore, too dry.
Now with the Payne’s grey we revisit most of the darkest areas of the painting...
The pupils, eyelashes, nose, gums, the darkest brindle areas on the fur. Moreover, the shadows can also be darkened with this application. Using a fan brush for the larger areas and a small flat or pointed brush for the smaller areas. Do not forget to blend/scuffle/rub/pat the paint onto the canvas in order to allow you to achieve the correct look (for this painting I performed a combination all techniques) Not all areas are blended, for instance the hair lines on the brindle pattern. Sometimes you want a strong, full stroke of paint.
Next, I took the white and mix linseed oil to it, just as above. Here I concentrated on the areas I wanted to draw attention to. For instance, the winkles on the head I wanted to bring to the foreground, the wrinkles on the legs and paws.
Try taking several steps back; view the whole canvas from 6-10 feet; then squint your eyes.
Invite someone to comment on your work, they will most likely find something that you missed. Never get upset with their harsh remarks, for they are usually right with their objective observation.
My toughest critique is my mid son Sean. I usually do not ask him for his observation until my wife tells me she likes it. Sean is too critical and usual pushes the wrong buttons with his choice of words, but he has never been wrong.
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