Ryland & Malakai

Session 1

One of my clients recently asked me to do a painting of her daughter Ryland with her dog Malakai. The client provided the photo and requested a rather large canvas …..24 “ x 30”. This session involved sizing the photo to fit the canvas. In order to give myself a form to follow, I roughed in the shape of the girl and dog with a medium gray tone. This general outline, once dry, will be my blueprint. So the goal was general form, in correct proportion, without worrying about details. This is the end of session 1.

Session 2

Once the sketch dried I began this session by working the eyes of both Ryland and Malakai. When I first started painting years ago I would leave the eyes for later. Now I feel it important to establish the eyes early on. I feel it important to set the eyes properly with good form and proportion very early in the painting’s development. That way, it is easier to make corrections before the rest of the facial features are developed. So, I began with a thin wash to start the iris color and used dark brown for the pupils as well as the area around the eye lids. Where the highlights will be in the eyes I carefully removed the paint with a dry, small, stiff brush. I used a thin wash of oil pigment about the consistency of water color to keep the paint in the irises thin and transparent. Since Ryland’s eyes are greenish brown I used a little sap green mixed with burnt umber for the irises making sure to keep it thin. For Malakai’s eyes I used just burnt umber since his irises will be dark brown. I will leave the eyes for both to dry thoroughly before developing them any further.

Next, using tones of gray I sketched Malakai’s nose, mouth, ears and the general form of his head as per the reference photo. I wiped out the gray where the highlights will be. As a last step in this session, I painted a thin coat of flesh tone mixed with light gray for Roland’s face which will serve as a ground once it is dry. I will leave it to completely dry before the next session. This is the end of session 2.

Session 3

In this session I sketched the hair and added a basic flesh tone to the face. I also added thin glazes to Ryland’s eyes to achieve her greenish/ brown color. I will let this completely dry before proceeding with Ryland. Next I will work on Malakai. This is the end of session 3.

Session 4

Allowing the work done during session 3 to dry, I began working on Malakai. My goal was to develop shape of his facial features, ears, and neck. I used only tones of gray to accomplish this and will add color later. As I worked I frequently referenced the photo to be as accurate as possible. My main concern at this point is form and general tones, details will be refined later. Lastly, I added flesh tone to Rylands arms and torso. Since in the original photo Rylands hands are cut off, I requested an additional photo from the client duplicating the original photo but including details of Rylands hands as she hugs Malakai. I will leave the background for later sessions. This is the end of session 4.

Session 5

I started this session by adding tones of burnt umber to the hair. Using gray and a little flesh tone I worked on modeling the face by better defining the features. I carefully added eye lashes from a little burnt sienna and burnt umber and then with vermillion with flesh tone I began to add rose color to the cheeks. I also darkened the area below Ryland’s chin. I added the dog collar and worked on the dog’s features. The color I used for the dog fur was Naples yellow with gray and white for highlights. I also roughed in the area below Ryland’s hands. I added a subtle light green background made from Sap green and shades of gray. I will now let the painting completely dry. So far I have purposely kept the colors subtle especially in Ryland’s face but in future sessions will attempt to enhance the lights and shadows to better form the facial features.

Session 6

Primarily I worked on Malakai during this session. Using Naples Yellow, gray, and black, I mixed various values and darkened areas in the ears and torso as per the original picture. I also added highlights of Naples Yellow and flake white in accordance with the light source emanating from the upper right. I added subtle flesh tones to her hands and arms to slowly build form. In the next session I will concentrate on redefining Ryland’s face and hair and working the background. This is the end of session 6.

Session 7

In this session I added the background using sap green, gray, and white. I used Q tips to carefully scrape in subtle blades of grass…….the client asked for the background to be green in keeping with the green wall where the painting will be hung. Also she wanted the painting to show the grass as it appears in the original photo that was taken outside. With white I added highlights to the background in keeping with the light source coming from the upper right. I also added subtle white highlights on the hair, face, and Malakai’s head. I accentuated the fur with combinations of Naples Yellow, gray, black, and white. I also added light gray to the leotard and added the design shapes. Lastly, I added highlights the Ryland’s hands and arms and small details to Malakai that are difficult to see in the photo. I signed the painting in the lower right and will wait for it to completely dry before adding varnish layer(s).