Maddie was my neighbor's dog. She was a sweet old soul. She would trot over to get some love in spite of the special collar that would gently remind her of boundaries. Many mornings I would catch her peeking in my back door window. She was gentle yet had a definite "presence" about her. One day she had a lump and within a couple weeks she was gone. I actually miss this dog and she wasn't even mine. Her owner said she was special, and he felt a deep bond with her. She loved trekking around the woods with him. He was lucky to have her, and she was lucky to have him. He is a young man, engaged to be married to another dog lover. He helps his mom and has cut down several trees for us over the past couple of years. He has a wonderful cooking hobby, and we have benefited from this as well. He brings us goodies for our parties. Well, needless to say, he never wants anything in return. So I have decided to paint him a portrait of his beloved Maddie. I asked him for a photo and he sent one where her back was turned and she was looking intently at something in the distance.
I am often asked about my technique. I always say that it starts with a well developed under-painting. This is where the thinking begins. I take a few things from the photo that I love. The way that the shadows break up the space and make that dynamic "X" composition. I knew I didn't want her to be central but I did want some empty space around her. I wanted the canvas to be large enough to pay homage to this sweet girl, but not so large that it demanded a prominent spot in the home. Size matters. And mood. I definitely want to keep that far away look, and the way the light hits her chest and legs. After much thought, I end up with my under-painting that maps out my initial decision about composition and mood.
Next I start adding texture by adding a layer of clear gel medium. I apply it with a palette knife. In the next layers I begin experimenting with color by raking color over the bumps created by the now dry gel medium. At this point I am not thinking too much about color combinations. I am simply thinking in terms of warm and cool colors. I am also trying to decide how much I want to include in terms of details. Should I keep the background ambiguous? Or add a detailed backdrop?
So I move on to the dog for a while, adding in more detail to his markings. All the while I am working with glazing medium and gel mediums, sometimes mixed with paint and sometimes just layers of medium to alter texture.
For now, the dog is black and white (and Payne's Grey). I know I need to add some other colors into the dog, but I need to resolve my thoughts on the background. For now, I have decided that the background is too "fantasy" and a bit cliche. I know I want to add a more earthly feel.
Stay tuned.
As you can see, this process allows the painting to evolve. It allows me to change my mind and gives me space to think. The result is that you can see bits of color peeking through the layers beneath. It creates a visual texture as well as a tactile one. But more importantly, it speaks to both the tedium and the spontaneity of the creative process.
