Dog Portrait Commission

Dog Portrait Commission

12 x 16", Oil on canvas

Rita Salazar Dickerson (c)2014

These past several weeks have been extra busy with travel mixed in with painting and pen and ink sketches. Today I'd like to share a fun commission that I had the pleasure of creating for a new client who wanted to make this portrait a Christmas gift surprise.

All of the preliminary work for this painting was done via email. After the initial inquiry, a variety of photographs were sent to me; I was given the freedom to create from those and work on the composition from there.

This is the photo I used as my main reference photo. As you can see, the ears on both dogs were cropped and by using the additional photos, I was able to paint them back in. Also, the photo was a bit dark in places and so I enjoyed the artistic freedom of adding light and color that I saw in some of the other photos.

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Stage 1: The sketch. I approach every initial sketch for a portrait painting as though I am painting from life and so I paint it freehand, using the eyes as reference points for the rest of the features. Getting the angles and likeness right is very important at this stage. I really liked the pose of these two pooches; the way their beautiful faces came closely together, leaning into each other, was endearing.

Stage 2: Blocking in the main colors. Another nice touch to this painting was the way the the two dogs complimented each other with the color and markings of their coats. Because of some of their similar colors I was able to paint each of the dogs simultaneously. In this layer I did not worry about details and texture, instead I focused on their main shapes of color.

Stage 3: Completing the painting. This final layer is always pure fun for me. I enjoy applying thick paint with a palette knife and then moving it around with a coarse haired paint brush. Colors are enhanced and details applied. The final touches involved a small, fine paintbrush that gave me the ability to paint in the suggestions of their whiskers. 

The background was also a blast. My client requested light blue, grayish colors with touches of yellow. That was an easy request to fulfill since the colors of the dogs had already lent themselves to that type of background as a nice option.

Painting commissions are always an honor for me. To be a part of a story where kindness and generosity is involved is so special.

Aspen Tree Paintings

I have never thought of my self as an aspen tree type of artist until I took my palette knife out. And then it was a completely different story. A palette knife freed me from so many inborn tendencies to make straight lines and consistent edges with aspens. I also had fun with color and texture.

Vanguard
10x10", Acrylic on canvas
Rita Salazar Dickerson (c)2014

. Here is a step by step example of how I painted my second one.

Stage 1: Preparing the canvas. Tinting the canvas with a neutral color of ultramarine blue mixed with burnt umber toned down the bright white surface and enabled me to see my colors more realistically.

Once the canvas was completely tinted and dry I was ready to begin.

Stage 2: The underpainting. With this first layer I composed the background with three different shades of blues and purples. I worked quickly to blend since acrylic dries fairly fast even with a paint medium mixed in.

Stage 3: Painting in the trees. I chose ultramarine blue to lightly paint in the shapes of the aspens.

...And then I added a layer of white.

Stage 4: Using the palette knife. Once I had the underpainting of the trees in place it was time to apply the rest of the paint with a palette knife. The very nature of aspen trees gives me the freedom to interpret them with very few restrictions.

Whisper
8x8", Acrylic on canvas
Rita Salazar Dickerson (c)2014

Both of these paintings will be at G44 Gallery's annual Holiday Show, November 21-December 24. There will be forty-four artists represented. All work is for sale. If you are in the area I hope you can stop by.

Commissioned Seascape

Going Home
16 x 20", Acrylic on canvas
Rita Salazar Dickerson (c) 2014

Some sunsets take your breath away. I like to think of them as beautiful gifts signaling the end of a day.

The reference photo for this sunset painting, taken during a family vacation in Mexico, suddenly became more than just a beautiful picture.  A deeper significance came with the loss of a beloved family member the following week. This image began to take on new layers of meaning...comfort, loss, grief, journey, a passing from this life to the next. Gentle, tender emotions seeking solace in the middle of the night.

I was honored to accept this commission. To put brush strokes to an image that will hold special meaning in the hearts of loved ones.

Stage 1: Preparing my canvas and loosely painting the image. I had two photographs to work from. One emphasized the dramatic water, the second focused on the sail boat and sunset. I created this composition from both of them. No sooner had I placed the boat where I thought I wanted it, I decided to move it just a bit lower. From there, I began with the sky.

 Stage 2: Painting the sky. Working with acrylics makes me paint fast and think quickly about what I want to do. Blending the clouds with softened edges was important.

Stage 3: Painting the boat. As much as it seems like the boat is one solid color/silhouette, it is not. I added slight variations of oranges and browns to keep it from appearing flat. It was tempting to paint in every single little line and detail with the masts but instead I will let the viewer's mind fill in the rest.

Stage 4: Painting the water.Working quickly so that I could blend my strokes, I painted less detail  near the horizon and then added more color, light and drama toward the bottom of the canvas with the water closer to the viewer. My goal was to add just enough detail and information.

Stage 5: Completing the painting. To complete this painting I went over it all adding touches of light, variations of color and more paint where I thought it was needed. 

Colorado Landscapes Series: Cottonwood Gold

Last summer and fall I had Colorado Landscapes on my brain. Everywhere I looked I thought, "painting". On the 13th of last October my husband, Robert, my sister, Joan and I, were heading east on I-70 and had stopped at a gas station in Rifle. There were fall colors everywhere. The cottonwood trees were literally adorning this quaint little western Colorado town along the interstate. While they went into the store I grabbed my camera and made haste to capture these trees down by the river with my lens. The air was still but there was visual movement in their branches. Their colors added such drama; I was spellbound.

Stage 1: Using my photograph as a reference, I loosely painted in the lines of the trees freehand, focusing on the composition. From my photo there really wasn't much in the foreground and so I lengthened and exaggerated the grasses that I had in the photo a bit so that the painting would be more balanced.

Stage 2: Blocking in the green leaves with a thin layer of paint.

Adding in the golds and rusts.

Stage 3: After blocking in the trees I came back in with a second layer of thicker paint over the entire painting. I then alternated with a palette knife and brushes to get the effect I wanted.

Now it is time to let the painting rest and then make the final adjustments and changes in a week or so. Just looking at the photograph of the painting below, I already see things I want to change just a bit.

Cottonwood Gold
14 x 18", Oil on canvas
Rita Salazar Dickerson (c)2014

Landscape Painting: Part 4, "Mt. Daly"Completed

Finishing a painting always reminds me of the sensations I had after completing a final test while in college. Happy and extremely relieved. I could hardly stand the pressure. I tried to think back to my high school days and can't remember my feelings at all about the tests back then (I must have really hated them). Ironically, now as a professional artist, I love the challenges of a painting deadline. In fact, I welcome them. Which is probably why I like doing commissioned paintings. There is usually a deadline involved and the pressure gets my adrenaline going which in turn gives me the energy and inspiration I need to see the creative project to completion.

This landscape painting was one of those challenges which I thoroughly enjoyed. The deadline gave me the excuse to paint night and day and ignore all my other day to day responsibilities.( I will admit that I still have to put some miscellaneous Christmas stuff away. Its all hidden in my laundry room.) A couple of times I painted in my pajamas for most of the day...it was very comfortable and guilt free.  But in the end, the painting was completed in time and was just barely dry enough to put it in the frame I had ordered. Two days later it was ceremoniously presented to a very deserving recipient.

Stage 8: Painting the foreground. I started by blocking in the grassy area with an under painting of a neutral green, leaving hints in the areas where the trees and rocks would go.

And then with a darker green, I blocked in the trees, rocks and then the stream.

 Stage 9: Applying the second layer of paint.Working wet on wet paint, I came in with a putty knife to apply the thicker paint that would give depth, color and texture.

Here is a closer look at Stage 9. From there, with a variety of brushes, I worked the colors into the canvas.

Mt. Daly
24 x 30", Oil on canvas
Rita Salazar Dickerson (c)2014

Landscape Painting: Mt. Daly, Part 1

Every January I look forward to the new year with excitement and anticipation. What will 2014 hold? Some of it is planned in advance with goals that have been in place for several months. I enjoy the new challenges. For example, I am ready to begin in earnest my "Colorado Landscape" series with an exhibit scheduled in early May at G44 Gallery. I am also looking forward to some commissioned portraits. And then there are the surprises. Paintings in my future that right now I am totally unaware of. Creative surprises in the new year. What will they be?

The first oil commission of this year falls right in line with my new landscape series. It brings back special memories of the backpacking trip my husband Robert and I took last summer. The reference photo for this painting was taken on the first day. I was so excited and in awe of the beauty that surrounded me. Before we had even reached the trail head I was captivated by this view: Mt. Daly looming straight ahead, welcoming me to the Maroon Bells-Snowmass Wilderness in the White River National Forest.

Stage 1: Mt. Daly. Sketching in the composition freehand with a thin wash of Ultramarine Blue and Transparent Earth Red mixed with mineral spirits. This stage always seems like it can be loosely done but in reality I force myself to take great care and really think through the composition. This is a good time to do some problem solving while mentally creating a plan of action. My natural impulse it to rush through this stage telling myself that I will fix it later. While that is possible, it always takes more time and wastes energy.

Family Portrait Painting: Part 8

Rocks, rocks, rocks. I spent the last couple of days and and both evenings painting rocks. Their variety of textures and colors were challenging and fun. But along with the time it took patience. The challenge was not just the painting of them, but making them fit into the composition realistically. I didn't want the stones to overwhelm the subjects. It kind of felt like I was painting rocks into a puzzle, making sure each piece fit around legs, arms and hair...

Stage 20: Blocking in the rocks. The simplest way to approach this challenge was to break each section into shapes and form, light and dark, blocking it in with flat color using a larger brush. "No reason to panic or feel overwhelmed", I told myself. "Just take it on, one section at a time".

Stage 21: Painting wet-on-wet. After the shapes were blocked in on the steps I came back in with more paint and additional color, creating the illusion of the steps and the path in the background. From there I worked on the stone wall behind Laurel.

 Stage 22: Painting with a palette knife. For the large stones I started with a brush and then realized the palette knife would be much easier to achieve the effect I was after of rough and smooth stones.

Detail of the stone path.

Stage 23: Completion of the stone wall.

Detail of the stone wall.

Another close-up of the stone wall.

Family Portrait Painting: Part 2

Stage 3: Painting the clothes. If you study clothing, it becomes obvious that there can be many reflected colors in them depending on the lighting and environment. For Steve's yellow shirt, there are greens and oranges with hints of blue.  His khaki shorts also reflected light blue and hints of orange.

Stage 4: Painting the arms and legs. In situations such as this, I feel like I've been given a break having  to paint only one full arm and hand with one leg. I did have to give his other arm and leg (partially exposed) my full attention just to make sure that they are believable and work with the composition. As with all my work, I gave it my all but know, deep down, I will soon see things a bit more clearly and will make adjustments and corrections.

Now its time to work on Patty, Steve's wife.

Family Portrait Painting: Part 1

It has been years since I have painted a family portrait and so it must be time. This 36 x 48" painting of the Johnson family will be a great challenge for me. Just getting started with the composition of five figures on the canvas was exciting enough all by itself. My plan is to paint one figure at a time.

Stage 1: Drawing the figures. With a thin wash of paint I used the reference photos I had taken to loosely draw in the family members, freehand. At this point I did not worry about getting their features just right; I was more concerned about the composition and proportions.

Stage 2: Painting the first face. With multiple figures I am most comfortable painting from left to right and so I began with the husband/father, Steve. Painting wet-on-wet, (alla prima), my goal was to complete his face as much as possible. I will work on him more later when I have fresh eyes - plus it will also be helpful to study him in person.

Sunflower Painting

Medley
24 x 18", oil on canvas
Rita Salazar Dickerson (c) 2013

Ever since I painted this still life, I have wanted to go back in a rework it. I kept waiting to see it with fresh eyes. At last, this weekend, I took the time to take it out of its frame, mix the paints and get it done.  

Painting Of A Flower Angel

With all the chaos going on in the world, it was nice to lose myself in this painting of a flower angel. This delightfully unusual commission was an enjoyable challenge not only because of its size, 36 x 48", but also because I wanted to successfully depict in this painting a visual representation of what my client likes: irises and angels. And whimsy.

 

 

Flower Angel
36x48", acrylic on canvas
Rita Salazar Dickerson (c) 2013

Stage 1: Painting the background. This abstract background set the stage for the flower. Using a large brush I intentionally added drama by darkening the edges while using the colors (purples, greens and golds with lots of white) my client specifically requested.

Stage 2: Lightly painting in the lines of the angel, freehand. Using two previously drawn rough sketches that my client and her husband had approved, I combined what they liked from each drawing and created the beginning of the flower angel.

Stage 3: Painting in the image of the flower and angel.

Stage 4: Before adding the final details on the flower and angel, I had a private little painting party where I threw and dripped paint in reckless abandon. Not really. It was all quite intentional, but the splatters were a bit of a challenge to control. I like throwing paint.

Snowmass Lake Backpacking Trip

It has been two years since my first backpacking experience into the Maroon Bells Snowmass Wilderness area. It was time to go again. In my backpack I carried our tent, extra clothing, my paint box, brushes, acrylic paints, water and then some "essentials": hot cocoa mix, graham crackers, marshmallows and dark chocolate. All together it was about 27 pounds. My husband, Robert, carried about twice that weight.

During the second half of the journey, there was a scary log jam to cross. It seemed harmless enough but as I picked my way across, the thought of slipping, falling and hurting myself crossed my mind many times. Getting wet was the least of my fears. Some of the logs held steady, others moved and dipped under my weight. My trekking poles came in very handy. Plant and step. I can live happily the rest of my life if I never have to cross another log jam - though I am quite pleased with myself that I did it. Twice. Coming and going. 

My reward was at the other side, a breathtaking path through wildflowers. I love Colorado!

After 6 1/2 hours of climbing over 3,000 feet, (with several breaks along the way), we arrived at the lake. 

Besides taking tons of reference photos my other goal was to paint a color study. (The next day while Robert fished, I painted.)  Snowmass Mountain loomed over our campground, so surreal in its majesty, it could not be ignored. I will use this study as a reference when I paint a larger, more accurate version.