A companion portrait to yesterday's, with this doggy looking rather more remorseful. Painted using the same methods: very thin oil paint, applied with a soft brush, on a smooth board toned with burnt sienna.
Allowing the undertone to show through gives the painting a vibrancy, I think. It also ensures the subject has a warm glow. I find this so important with black animals: black is the second coldest colour on the palette (the coldest being titanium white - which I must also use) and I have decided most problems I have with black subjects are caused by this coldness.
A living creature ought to be warm. The burnt sienna is also a huge help in avoiding the dreaded mud problem.