These dogs have wonderful faces, so painting him was irresistible. But such close-cropped portraits can be tricky to make into a nice painting and also the temptation to go down the hyperrealism route and paint every hair is quite strong.
To overcome this, I used a largish, flat bristle brush for everything except his eyes and nose. It forced me to concentrate on modelling the form and curves of his cheeks and muzzle without disappearing into endless and tedious detail.
The background is a different, larger bristle brush and a mix of olive green, cad lemon and a touch of the red/orange I used in the dog's coat - more or less the complementary of green - to tone the chroma down a bit.
Painted from a reference photograph by Karen Broemmelsick.