Painting dog portraits can be a true challenge. How do you capture not just the likeness, but the essence of a dog—the sparkle in their eyes, the tilt of their head, the quirks that make them unique? Even persuading a dog to sit still long enough for a photograph can be difficult. But for UK artist Justine Osborne, one of the leading names in canine portraiture, this challenge is the very thing that drives her passion.
interview
Painting Dogs on Canvas and Beyond
With over a decade of experience, Justine has developed a style that transforms photographs into soulful, painterly works of art, and more recently, even delicate ceramics. We sat down with her to learn how she captures the heart and personality of every dog she paints.
Justine has been specializing in painting dogs for over 12 years. She began by studying life drawing, hour upon hour, sketching both people and animals. Practice, she explains, was essential.
“Life drawing was the groundwork for everything that has come since, working spontaneously and, using oil and charcoal in a loose, quick way, as you only have a limited time before the model moves. Then at Central St Martins College of Art I received a degree in Fine Art Painting. My degree time took me away from the more traditional route, and into more critical thinking and placing your own practice in contemporary art. So I think it is fair to say that these two contemporary aspects have influenced the way I approach my work today. The best days are when I really can get lost in a painting or drawing.”
Working with dogs and their owners from around the world, Justine almost always begins with photographs.
“I love working with owners and their dogs and take commissions from around the world, so this invariably means working from their photos. I plan out the final layout, and if it is a commission, discuss with the customer. If I foresee any problems with the photo, I will work it out with some pencil sketches, and often start with a sketch to loosen up before starting a painting.”
This process allows her to build a foundation before the brush even touches the canvas.
“The best days are when I really can get lost in a painting or drawing.”
When it comes to materials, Justine has a sweet-shop approach to paints.
“I use many different brands of oil paint, it’s a bit like being in a sweet shop picking paint – and I will always try a new colour that catches my eye. I have the staples on the palette, raw sienna, burnt sienna, raw umber, ultramarine blue and mars black – and use up to 5 palettes at a time with different tones. I work very quickly as I like spontaneous decisions, but spontaneity needs lots of planning! I use pre-made paint as some earth tones, made so very specifically from a particular pigment might just be the right tone for a coat. I stretch the canvases myself using fine linen or cotton, and I also prime and sand a few extra times, as I like a very smooth surface. Brushes, I tend to use mostly a 1 inch Da Vinci flat, it can make the tiniest mark or the biggest, and this helps keep momentum when working quickly, and not having to change brushes.”
Inspiration and Artistic Influences
Justine’s portraits often feature bold cropping and simple backgrounds, a stylistic choice that reflects her contemporary influences.
“The cropping came about quite naturally, a lot of photos of animals are quite candid, and the dogs are almost bouncing into the frame. The cropping helps focus on an expression. I find it very liberating not painting literal backgrounds and this has been consistent in my work for 20 years, for me I think it came about as I love drawing, essentially an object on paper, and this has transferred to my painting. I want the subject to be the most important part of the image, and the flat background to leave you in no doubt that it is a painting rather than an illusion, contrasting with the painterly marks of the subject.
When I am appreciating other art, it is quality of paint marks and perhaps with no coincidence two of my favourite painters are obsessive in their subjects. Morandi and Lucian Freud. I enjoy the scrutiny of a subject.”
For Justine, the endless variety of dogs is what keeps her work fresh.
“At the back of my mind I always have an idea of breed specifics. I always let the individual dog guide the work, but the knowledge of how to cope with different coat textures from past paintings might get me there more smoothly. For example the Border Terrier coat is very unique and involves many layers of paint to get it just right.”
She adds: “I love the Weimaraner, the delicate tones, the unusual eye colour, it is really intriguing to paint. I also love painting Pugs,
the eyes are incredible and the furrowed brow. Really it is this constant variety that keeps me interested. I have become more and more interested in dogs the more I paint them.”
Capturing Personality and Character
Justine believes that the essence of a dog shines through in the smallest details.
“There is a breakthrough moment, a magical moment that occurs in every painting when you can actually feel the essence of the individual dog emerging, whether a little glint in the eye or a slight mark creating an expression, this is the exciting part!”
A Studio Companion: Morris the Basset Hound
While Justine often paints from photographs, she isn’t without a live muse. Her inseparable studio companion is Morris, her Basset Hound.
“He is just great company to have around in my studio; I love having him near. I do sketch him when I can, and often I will come up to him, gaze into his eyes, and work out how the light falls on his eye and the colors and shapes within. This often helps with a current painting! I would of course love to have a room full of dog models lounging around all day!”
Beyond Paintings: Prints, Ceramics, and Exhibitions
Justine’s work doesn’t stop at paintings and commissions.
Her limited-edition prints are displayed in galleries across the UK and regularly appear at art fairs and even Crufts. Justine prefers to let galleries handle the sales so she can focus on her art.
A recent expansion of her work has been the translation of her charcoal drawings onto ceramics.
“Victoria Armstrong, from the Dogs in Art gallery, a specialist dog related gallery in the UK, approached me with the ceramics idea she had featuring my charcoal drawings. I saw some samples and was really taken with reproducing what is generally a delicate charcoal drawing onto pottery. There is also a card range featuring paintings. Whilst customers often identify with their favorite breeds, the challenge has been creating images that are captivating in their own right. The selection process I leave to Victoria, as she has been curating dog exhibitions for years!”
A Final Word
From carefully layered brushstrokes to the magical “glint in the eye,” Justine Osborne’s work goes far beyond simple likenesses. Her paintings and ceramics capture the very spirit of each dog, honoring the deep bond between dogs and their humans.
As her companion Morris snoozes nearby in the studio, Justine continues to translate the love, loyalty, and quirks of man’s best friend into art that dog lovers around the world can treasure forever.
To explore more of Justine Osborne’s artwork, commission a portrait, or browse her prints and ceramics, visit her website or Etsy shop. You can also follow her on Facebook and Instagram for updates on new pieces and exhibitions.
Do you want your dog’s story—or your pet-focused business—to be shared with our community of animal lovers? Email your ideas to info@pawsymagazine.com or submit them through our contact page.
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