1. First I lay down solid areas of color with no blending to mark off highlight, deep shadow and mid-range tone, and color in the background with tonal values. These tones and colors become the underlay for the final portrait and I can see if the composition works; at this point, if I can "see" the subject in the first sketch, I know the portrait is right. Diviana, a miniature schnauzer, is in tones of gray, but the blue, yellow and green now in her fur, and those blues and violets in the background, will make the calmer earth tones more vibrant and dimensional when the portrait is completed.

2. Then I blend the colors together and soften the edges, checking the balance and especially the proportion and dimension of the subject. If anything is wrong, it's best to correct it at this point, whether it's compositional, proportional or overall color palette.

3. If the protrait is to be a tightly-detailed version, tt's time to make the background look like a surface and start pulling the highlights and developing the shadowed areas on the subject. I am working from several photographs to develop her: the one that is the actual pose is blurry, but I liked her position; I am using one closeup for her face, and another for her body. In the original photo, she is lying in the sun--I had decided not to use the sun and shadow, but I think I'll like the portrait better with it.