I have painted my two dogs on numerous occasions. I have been their primary caregiver for all of their eight years. So I went into a new piece of my dog Coco with a healthy dose of confidence. I had great reference material, as well as the bravado that comes with being the person who knows this furry subject better than anyone else in the world (except maybe that other furry subject). And it was all downhill from there.
My color choices, each and every one of them. Off. Some more than others. My selection of toned surface in the wrong value. Neutrals where I should be choosing distinct warms and cools. Darks that are too dark. Blocking in lights too soon. My big takeaway from studying with pastelist Ed Chesnovich last fall was that I have a tendency to go too light too soon. And here I was, doing it again. *Palms forehead*
The piece is not a complete loss. Her eyes are perfect. When I paint animals, I prefer to paint the eyes first, plus other areas of important anatomical detail (muzzle, etc.). I have the clean board free to lean my hand, and I can work as much or as little as I need to. Eyes matter in my animal portrait work. Once they are established, I feel much more relaxed to build up the rest of the painting.
I had a good backup plan, to use a, redemptive coat of Krylon Workable Fix, which would let me start anew without scrapping the whole piece and actually starting over. But then the board -- a beautiful wine-colored mat board prepped with clear Gesso by yours truly -- started to lose its tooth. And by that I don't mean that the tooth was filling in with too much pastel. I mean the tooth was coming off. In my haste to bring the piece back to a point where I could rework it, I was being too rough with the support. I typically use one coat of clear Gesso, which is usually adequate for a successful painting. In this case it wasn't enough to sustain a workable surface. I am my own worst enemy!
Sometimes starting over is the best option. I've chosen a new support: Sennelier LaCarte in a gorgeous British tan color. LaCarte is a really unique surface, made with pulverized cork. Pastels go on velvety and soft. It's fragile, and you can't overwork it. But that's ok, because it means i MUST be careful. Work slowly and deliberately. Lose the bravado and approach the subject with the same critical eye that I use when I don't know a dog that I'm painting.
She's a pesky dog, that Coco. Sweet, friendly and so playful, but as soon as you turn your back she'll steal the sandwich off your plate. This portrait of her is turning out to be not so different...
My color choices, each and every one of them. Off. Some more than others. My selection of toned surface in the wrong value. Neutrals where I should be choosing distinct warms and cools. Darks that are too dark. Blocking in lights too soon. My big takeaway from studying with pastelist Ed Chesnovich last fall was that I have a tendency to go too light too soon. And here I was, doing it again. *Palms forehead*
The piece is not a complete loss. Her eyes are perfect. When I paint animals, I prefer to paint the eyes first, plus other areas of important anatomical detail (muzzle, etc.). I have the clean board free to lean my hand, and I can work as much or as little as I need to. Eyes matter in my animal portrait work. Once they are established, I feel much more relaxed to build up the rest of the painting.
I had a good backup plan, to use a, redemptive coat of Krylon Workable Fix, which would let me start anew without scrapping the whole piece and actually starting over. But then the board -- a beautiful wine-colored mat board prepped with clear Gesso by yours truly -- started to lose its tooth. And by that I don't mean that the tooth was filling in with too much pastel. I mean the tooth was coming off. In my haste to bring the piece back to a point where I could rework it, I was being too rough with the support. I typically use one coat of clear Gesso, which is usually adequate for a successful painting. In this case it wasn't enough to sustain a workable surface. I am my own worst enemy!
Sometimes starting over is the best option. I've chosen a new support: Sennelier LaCarte in a gorgeous British tan color. LaCarte is a really unique surface, made with pulverized cork. Pastels go on velvety and soft. It's fragile, and you can't overwork it. But that's ok, because it means i MUST be careful. Work slowly and deliberately. Lose the bravado and approach the subject with the same critical eye that I use when I don't know a dog that I'm painting.
She's a pesky dog, that Coco. Sweet, friendly and so playful, but as soon as you turn your back she'll steal the sandwich off your plate. This portrait of her is turning out to be not so different...