This
simple oil painting exercise in how to paint a dog’s head has been taken from
my art instruction book, 10 Bite-Sized Oil Painting Projects: Book 3, (also
included within my bundle art book: 30 Bite-Sized Oil Painting Projects). Each
describes oil painting projects for the artist simply wishing to have a go at
oils without having to pore over photos hoping to find inspiration.
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A shows the dog’s head can fit within basic shapes such as a triangle and
rectangle, ideal for calculating the outlines. The sketch was conducted upon
primed board 10 by 12in. The only other requirements were fine, medium and wide
sables, blue and brown acrylic paint and oil colors: titanium white, burnt
sienna, ultramarine blue, cadmium yellow and burnt umber. A YouTube clip on how this demonstration was completed can be found at the bottom of this article.
Drawing and Painting a Dog's Head |
1
The dog sketch was lightly conducted via a soft pencil onto the artboard and
then overlaid with blue acrylic paint, to help the drawing stand out beneath
the ensuing wash.
2
Once the drawing was dry, I applied a dilute wash of brown acrylic paint over
the art surface by use of a wide brush.
3
Once the wash was dry, I applied a few more coats of brown acrylic paint over
the background, for an even, opaque finish. This will help the highlights of
the dog stand out when the oil color is applied.
4
Once the acrylic paint was dry, I began with the oil painting. Cadmium yellow, burnt
sienna and mostly white was drawn via a fine sable from the snout towards the
ear. These highlights gather around the temple, cheek and the piping around the
ear.
5
A dose of burnt sienna was added to the brush and drawn from the edge of the
eye and snout towards the ear. Residual paint was then blended into the edges
of highlight, retaining brush marks.
6
Highlights were blended into deeper rustic tones to suggest fur. A little burnt
umber was then added to reinforce shadows around the underside of the ear and
around the eye.
7
More burnt umber was applied to the outlines of the ear, back of the head and
around the eye. This adds definition.
8
With a clean, medium sable, titanium white was dragged into the direction of
the furs’ growth. The white was then ‘scumbled’ around the snout and sections
of the dog’s neck.
9
Ultramarine and a little burnt sienna were added to achieve a slate blue. This
shadow color was worked over the underside of the neck. Lighter strokes enabled
the blending of shadow colors into pales.
10
Ultramarine, white and a little burnt umber were tracked around the rim of the
eye to add definition. Burnt umber and ultramarine was then tracked around the
dark outer edges. The iris comprised pure burnt sienna, darkened with
ultramarine for the pupil. A dab of blue-white just above the pupil and around
the snout suggests moisture.
11
A blend of burnt umber, ultramarine and white illustrated the nose and mouth. Notice
the nose is almost triangular in form and the mouth exhibits a soft ridge. Strands
of pale fur traverse this ridge, moustache-like. A little white was dragged
over in places.
The finished painting |
As
can be seen, painting a dog’s profile can be made simple. Patches of Russet
upon white exhibit bold shapes where soft textures reside. Care is needed
around the dog’s features, where a little detail can be found.
My YouTube Clip showing how this demonstration was completed.
Further
step by step projects can be found within my art book, which includes a
flamingo, a daffodil head, a sunset, topiary gardens and more.
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